poe-zine 04 1

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About 70 young Romanian Writers attended the fourth colloquium dedicated to them in Alba Iulia. A movie about the contemporary poetry was made with some of the poets invited to this event.

r.ț. r.a.

poetry. the power young poets and their powers

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You’ve leant in school how poetry goes. It’s time to show you how it really is. 24 young writers explain literature where it comes from and where it goes to. Some may swear that prose is mother for poetry; others think it a pyramid, a means of communication, or rage, a beeline for rock celebrity. “poetry. the power” is a documentary that takes the pulse of the Romanian contemporary poetry, of its public and its indecency: an hour with the new poets and their special powers. A movie by Andrei Ruse and Răzvan Țupa.

Movie project

Andrei Ruse and Răzvan Țupa

filmed, cut and edited poetry.

Poetry. The power- a film

with 24 young poets and two

questions:

What means poetry today?

What is the power of poetry now?

where: Alba Iulia, Romania

and online www.poetica.rocultura.ro www.poeticsofthequotidian.wordpress.com www.andreiruse.ro

Bucharest, Romania

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June

2009

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Con

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Mih

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lovski.

poe-zine 04 3

RĂZVAN TUPA was born in 1975 in

Braila.

Since 2006

he has been

reading

poetry at

internatio-

nal festi-

vals and

projects in Berlin

(2008), Bratislava (2008), New

York (2008), Prague (2008), Paris

(2006, 2009) and Rome (2007) and

developed different projects

for video poetry. In 2009 he

deployed a project of filming

poetry. This project was „poetry.

the power” documentary. It is a

film that introduces 24 new

Romanian poets selected to The

National New Writers Coloquium

in Alba Iulia (May, 2009).

He published „fetish” (2001, 2003)

and „corpuri romanesti” (2005),

two books of poetry.

Until now, the only anthology of

new Romanian poetry in English was

published by David Morley at

Heaventree Press in UK, “No Longer

Poetry: New Romanian Poetry”.

ANDREI RUSE was born on 16th

December,

1985, in

Bucharest.

His online

activity

includes

developing

Sketche

(2006), IIIrd

place as a culture blog at

Roblogfest 2007, Hyperliteratura

(as an admin durring 2007),

ROcultura.ro (2008), IIIrd place

at Webstock 2008, a project he

sold in 2009.

His first book of poetry was

„Black Job” (ed. Vinea). In 2008

he published SONI (ed. Tritonic),a

novel.

poe-zine 04 4

I. Starting point. 1989

Before the fall of communism in

1989, literature was perceived as a

powerful instrument. As in other ex-

communist countries, the free

market and the explosion of

traditional and new

media proved to be a

bit hard for well

established authors.

In Romania the

easiest way of

organizing the

multitude of

directions proved to

be a separation

based on the year of

publishing one’s first

book.

This is how the 60’s

generation was

described as shifting away from the

socialist realism imposed to the

writers officially recognized in the

50’s.

From that point on, every 10 years a

new generation of Romanian writers

was considered to appear. It wasn’t

until the end of 80’s that a definite

new way of approaching literature

was promoted by the emerging

writers of the moment.

The so called ’80s generation

imposed the term of post-

modernism in Romania reintroducing

experimental ways of approaching

literature that were continued form

the Romanian avant-garde

movement. Writers as Traian T.

Cosovei, Ion Muresan, Florin

Iaru, Mariana Marin, Liviu Ioan

Stoiciu, Alexandru Musina, Nichita

Danilov and Mircea

Cartarescu imposed

gradually different

ways of dealing with

reality by using

textual marks of

irony and fantasy.

Recuperating the

values imposed by

the beat generation

in USA, poetry of the

Romanian 80’s

became very fast a

way of affirming a

different literary conscience. After

1989, the new context became

chaotic for a poetic voice to become

powerful. In 2005, Mircea Cărtărescu

was the best known contemporary

writer in Romania. His success was

not in poetry, but in prose. His short

fiction reached a wide audience.

Poetry in turn had to go two more so

called “generations” of writers until

it started to be regarded as a

possible success for publishing

houses in Romania.

Romanian Bodies

An essay on new Romanian Poetry

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II. The problem of “generations”

The usage of the term “generation”

for the writers who published in the

80’s proved to work against the

personal mark of each writer. When

the public speaks of the 80’s

generation in Romania, they see

rather the general elements (that

are not so many) of this writers

works and less the differences that

proved to be more useful for the

following years

A group of writers that marked a

transition from the literary

postmodern avant-garde of the 80’s

to a market oriented literature

managed to emerge in the 90’s

in Romania. Poets as Cristian

Popescu, Mihail Galatanu, Ioan Es

Pop imposed a clear shifting of

themes and approaches from

specific literary world towards a

more border-like realm.

All this time, personalities as

Gheorghe Iova avoided the

classification

accepted by the

literary critics on

the generation. His

writing, published

officially just after

the fall of

communism, was

initially considered

as belonging to the

90’s generation,

although his

manuscript writings were pretty

influential for the theory and

practice of writing in the 80’s. In

2000 the term of generation 2000

started to be used. Editors (Ni-colae

Tone, Marin Mincu) launched the

term regarding books like “The

Coffee Baby” by Zvera Ion and

“Anarchist Manifesto” by Marius

Ianus. Marin Mincu was the critic

that systematically anthologized and

promoted the directions of the Ro-

manian poetry during the 20th

century. He supported strongly the

apparition of a new poetry

in Romania. Marin Mincu used the

press and a series of literary mee-

tings at Romanian Writers Union and

later in The National Museum of

Literature in Bucharest to support

new trends of the contemporary

Romanian poetry.

Marius Ianus, already mentioned

above, is credited, together

with Dumitru Crudu, as the founder

of fracturism, indisputably the most

influent movement in Romanian

poetry between 1997 and

2005.

Eventually, the discu-

ssions regarding the cha-

racteristics of the

“generation” turned

ineffective, as the initial

intentions of the new

movements were aban-

doned and the discussions

became more and more

literary oriented.

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III. Contemporary directions

Fracturism was not so much a

literary movement as it was a state

of challenging esthetical, political or

ethical authority. For Dumitru Crudu

and Marius Ianus, Fracturism proved

to be not only a fertile banner but

an opportunity of affirming the new

search for rigorous literary discourse

that can raise reactions from the

reader. Marius Ianus proved to be an

influent voice for formulating a

poetic discourse that shocked and

touched the audience of literature

and not only. His most popular

poem, “Romania” was dedicated to

Allen Ginsberg, the poet assuming

explicit connections to the well

known poem “America” of the Beat

poet. Subsequently, Ianus launched

a so called “elementary lyrics” as a

possibility of renouncing the ex-

treme and sometimes superficial

interpretations that critique pre-

ferred for fracturism. Elements from

Beat Generation writers as Gregory

Corso, Allen Ginsberg, Lawrence

Ferlinghetti and from Romanian and

Russian Avant-garde movements (V.

Maiakovski, Tristan Tzara, Gellu

Naum) can be considered as po-

werful influence for fracturist

movement in Romania.

Influenced by Pier Paolo Pasolini,

and Romanian poets like Mircea

Ivanescu, Gellu Naum, the above

mentioned books established a

breakthrough for a poetry written

addressed to the common reader.

Adrian Urmanov (”Cannonical

flashes” 2001, “Utilitarian poems”

2003) and Andrei Peniuc (”A small

animal” 2002, “Abridged manual of

Terrorism” 2002) launched a so

called “utilitarian poetics” which

affirmed the need of a poetry

written for the public, a poetry that

uses the means of marketing to drag

readers to poetic message.

Dumitru Crudu brought something

more than his colleagues. As he kept

a close connection with new authors

from Moldavia, Crudu managed to

impose a trend that came up with

something new for the Romanian

literature.

Over the years, the literature

written in Moldavia (the ex Soviet

Union country where the official

language is Romanian) was

considered at its best as equal with

the literature written in Romania.

After Dumitru Crudu emerged as a

respected and remarkable new

writer in Romania, it was clear that

authors as Mihail Vakulovski,

Alexandru Vakulovski and Mitos

Micleusanu are releaseing a new

kind of power for Romanian

language. The influences from

Russian underground poetry or

writers as Erofeev (Viktor and

Venedikt as well), Sorokin or

Mamleev became recurrent topics

for approaches of a violence very

often accessed by the new Romanian

poe-zine 04 7

poetry. A very special exuberance of

expression was imposed in this

manner meeting the experimental

intentions of a group of young

writers in Constanta (South Eastern

Romania) that brought together

among others, Mugur Grosu, George

Vasilievici and Mircea Tuglea.

A very peculiar direction was opened

in 2000 by Constantin Virgil

Banescu (”The Dog, The Woman and

the glance”, “The flower with one

petal” 2002, “The same sky that

isn’t”, 2007). The poet born in 1982

used to chant his poetry with

traditional instruments. Unfortuna-

tely, he died in 2009. The movie

”poetry. the power” presents one of

his last public readings.

A direction that shaped a very

distinct part of the contemporary

poetry in Romania challenged the

expressionist tradition. Claudiu

Komartin (”The Puppeteer and other

Insomnias” 2003, ”The Domestic

Circus” 2005 ), Dan Coman (”The

Year of the Yellow Mole” 2003,

), Cosmin Perța (”Zorovavel” 2002)

and Teodor Dună (”The Train of

Thirty-first of February” 2002),

although in very different ways,

approached the hieratic manner of

shifting themes and atmosphere

effects without the restraint

expressed by their colleagues

regarding the bookishness. This

group of Romanian writers took a

grip into continuing poetics that

bring in one’s mind Paul Celan,

Georg Trakl or the later

developments in terms of the

atmosphere and tragic scenario in

poems by Sylvia Plath.

In Iasi (North Eastern Romania)

acted, maybe, the most active

literary group in Romania. Club 8

brought together writers that were

not strictly people born in the 70’s

and 80’s. Writers as Constantin

Acosmei, Radu Andriescu, Michael

Astner, Mariana Codrut, Gabriel H.

Decuble, Dan Lungu, O.

Nimigean and Dan Sociu shaped a so

called “new realism” of the

Romanian poetry. The Romanian

new realism can be described as a

poetic alternative of the

maximalism.

IV. The display of forces

The opposition to the official

literary institutions

in Romania began with publishing

the magazine “Fracturi” (a

publication of writers involved with

the fracturist movement). Although

the magazine appeared just for one

year (2002) its impact was important

especially for the literary Romanian

society which was confronted with a

new situation: a literary magazine

that attacked constantly the

accepted canon of contemporary

Romanian literature aiming to a

wider audience than the usual

readers of the literature.

poe-zine 04 8

The headquarters of new Romanian

poetry moved for a while on Internet

websites as club literar

and hyperliteratura gathered the

most active new Romanian poets.

Since 2002, different clubs

in Bucharest and in other cities have

been hosting regular events of

performing and reading poetry. Club

A in Bucharest organized the

Fracturi evenings in 2002 and since

2005 it is the main location for

Poetics of quotidian, a series of

meetings that introduce writers and

new books, most of them poetry

books.

In Arad, (North Western Romania) a

group of writers (Catalin Lazurca,

Vasile Leac, Florin Maduta, T.S.

Khasis) tried to present poetic tools

to argue tragic situations.

Recently, new writers as Andrei

Ruse or Sorin Dinco are introducing

projects of visual poetry using the

Internet as a medium of expression

as well as an alternative to printed

magazines of poetry.

V. Romanian Bodies. Table of Elements

Before listing a few of the most visible Romanian poets who had emerged in the last 10 years, we should state that together with the above mentioned literary influences, the new Romanian poetry kept a very close relation with music. Diamanda Galas, Placebo, U2, Eminem, Tupac, Madonna were mentioned as recurrent creative motives.

a) The Exuberance of

Poetry

-Mihai Vakulovski

-George Vasilievici

-Vasile Leac

-Catalin Lazurca

-Mugur Grosu

b) The Game of Masks

-Serban Axinte

-Dumitru Badita

-Livia Rosca

-Robert Mandroiu

-Andrei Ruse

c) The Neo-

expressionistic

manierism

Dan Coman

Andra Rotaru

Teodor Duna

Claudiu Komartin

Cosmin Perta

Tudor Cretu

Florin Partene

d) The Poetics "New

(excesive) realism"

Marius Ianus

Dan Sociu

Dumitru Crudu

Bogdan Perdivara

Eugen Suman

e) Trans-textual poetics

Adrian Urmanov

Andrei Peniuc

Razvan Tupa

f) The chalange of the

profound

Stefan Manasia

Linda Maria Baros

Adela Greceanu

Ioana Nicolaie

Constantin Virgil Banescu

g) The Traumatised

Voice

Elena Vladareanu

Miruna Vlada

Ruxandra Novac

Olga Stefan

T.S. Khasis

Domnica Drumea

Diana Geacar

Oana Catalina Ninu

poe-zine 04 9

poe-zine 04 10

Domnica Drumea (b. in 1979) graduated from the Literature Faculty of Bucharest

University in 2002. Her debut collection of poems, Crises (Vinea, 2003), won

Bucharest Writers’ Association Debut Award. She has a second collection of

poems, Not for sale, in course of issue at Cartea Romaneasca. At present she is

editor and translator.

With or without

I imagine liviu’s town

from which more routes

open

the message split

you were talking about

and I wonder if you did it

with or without

if in the smell of fried potatoes

can happen

warm and slippery things

like love

which in fact

is so close

like me

my frown pressed to the window

all I have to do is

turn to my little girl

and smile

Photo pm.ablog.ro

Domnica

Drumea

poe-zine 04 11

Ph

oto

: in

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com

Mugur

Grosu Mugur Grosu was born at 11th

February, 1973 in Constanta, on the

Romanian Black Sea coast. At the

early age of five he started to play

piano and to attend a jazz club lead

by Harry Tavitian –

who will became his

mentor, friend and

...Godfather. The

Armenian born in

Romania jazzman is

one of the most

influent and original

contemporary

musicians of his

country, wide

known for his

concerns about

cultural bridges and

syncretism of the

arts, so meeting him was a turning

point in his life, and the beginning of

a series of biographical accidents

too... After some years, Mugur was

kicked-out from the music school

because he played at exams some

variations of Bach in a jazz manner,

later he was rejected 3 times from

the Fine Arts Academy of Bucharest

and so on... But he became a self-

taught, independent artist, writer

and publisher, he had a lot of

exhibitions, performances and

experimental projects, he co-

founded two independent cultural

organizations and he published four

books: Haltera cu zurgalai (poetry/

Ed. Pontica, 2001), Macelărie

(essays, Ed. Tomis, 2006), sms/ ei

respiră şi fac dragoste ca şi fluturii

(zapping poetry / Ed. Vinea, 2006),

press/ troleul 43 s-a spânzurat cu

cordonul de la capot (zapping poetry

/ Ed. Vinea, 2007). In 2008, in

contradiction

with the whole

course of his life

he became a

member of the

Writers' Union

of Romania. But

he’s still

breathing...

I remember the

collateral woman

I had been blabbing all night long making some bets I knew how to keep an unctuous secret I couldn’t get back breathing my last had been admitted to a Harvard gazelle supposed to get down there in my socks to begin the adventure of my punctuality

poe-zine 04 12

Starla Remp my fatherly transformed lung couldn’t stop preaching our honourable artistic creed in anno domini ’73 nobody was singing O mio bambino caro there was no launch of my painful copies nobody was going to panic of that somebody still ought to announce me to kidnap me lawyers were revenging us we were damn scared were opening the ears’ amphitheatre were populating complaints were thinking about our mammals’ problems calm down Remp the collateral woman still hails me from the quay’s ambush in the renal way her hip is staring at us from the clouds and we dream of her all night long however she was bending me and in her dead lake I had to fly with the Caucasian wing she was playing my trumpet forcing me to run through the iron of her fall who are you I was asking in a hidden place she was laying daughters and sons of myself I was pudding with lions around the pipe I wanted to scream are you going to die I was asking

she saved a snail growing under her breast her sloth was spreading from the window smiling waving to travellers she was carrying a restless trauma saying to everybody Good night Mr. Starla Remp she had something on the dike that was pissing me off she was depriving me of my ordinary fortuitous grace making me swim screaming through my former abject love stories in front of the train I told her I would take care of all her collateral honey moons to take part of the tribes to carry some gas in the house every little thing was easy to be seduced with the help of the wind and the speed of the strawberry I was able to help a comet to be introduced to society I was able to fix the all I loved petting her armpit on a million streets planet away I used to be that fast cause I always ran in the opposite direction I couldn’t bear the time when I would not lie on her my sticky sweat was honestly pleading for the right of every single candidate to a chilly salad remember we are a family I was asking

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most of you don’t know me well she was wandering in her speech there are some spells in the food in the water I was saying sweetening my haircut I trust the unstableness of the placenta It is a desirable felt message she added that I’m bringing right now from the crops of Venus country I would have become a president without a problem I would have received an approximate cat and probably

I would have said some peach skin laws setting up drastic visas to the collateral woman only my wet shampooed hair Starla Remp could have checked on the blockade If I think twice the immaculate sheets helps me to scream with an outdated grace

Photo pm.ablog.ro

poe-zine 04 14

Cosmin

Perța Cosmin Perţa was born in 1982 at

Vişeu de Sus, Maramures, Romania.

His poetry was translated in

Confluences poétiques (France),

Magyar Naplo (Hungary), Électron

libre (Marco), Alora, la bien cercada

(Span), Balkani (Bulgaria),

Literaturnaia (Slovenia).

(3. the madness)

Look how gently death comes, but she is neither violet nor soft, she comes very late at night, leans your head against the tub, dunks you a little in the dung of foolish wonder and goes. But there is nothing attractive about her, when she comes, she comes silently and you are already further away from yourself than all your gestures. You walk slowly; you try to open your eyelids and only the cold din of voices

poe-zine 04 15

reaches you. A chocolate, a glass of wine. A half-hour of sleep. You arrive too late at a certain point and you no longer know how to get back on track.

You lean a little against the sink and hope it won’t break either, that your entire body won’t collapse into a puddle. The shame and the fear.

You arrive too early at a certain point. You are alone and bald, the head shaved. With your parents to whom you rarely speak, even if you know too well how in autumn their chests tremble like weightless plastic leaves, like a nothingness. The shame and the fear. Your plans no longer have any consistency or force, your hands comb the cobbles, scrape the dried-out skin of some neighbour, knead ineffectually into the flesh. Your hands are no longer what they used to be and the worm floats in the hard air. My father brought me up well. He gave me a brain and a body and some supplies. He gave me the supper as promised and some cigarettes. In the deserted outskirts of the town among the cockroaches and mortar, everything’s fine. Nothing can reach you, memory is short around here and all these things exist only for you.

Volatile and dry, soft, downy, undeserved.

Translated by Laura Solomon by means of a French first draft from the original

Romanian

Photo pm.ablog.ro

poe-zine 04 16

Stars speak your language A romanian body is the other one to whom you transfer everything you are In school we all had a cousin who had seen who had been—he was the romanian body of each of us—he he does luxury hands trafficking—of each of us like a duty like a possibility— the same for every fear of our nape fluff one by one or several that you dream in—and the dream is what you do since you wake up till late evening In a very clear moment when my phonetic sound covers everything with a breeze of touches one by one or several—tongue thrust in the air our duty is pleasure Above the roof of the mouth stars rise one by one

English version Adam J Sorkin

Răzvan

Țupa

Since 2005 he hosts the Poetics of

the quotidian event in Club A.

Relational poem

1. Tell something you had dreamed (at most 3 lines) 2. Name/forename (optional) 3. place/country/city 4. 3 words on (1) country (2) city (3) you 5. 2 words you prefer 6. 1 word you can't stand 7. HELLO

Afterwords please add:

1 + I am let’s say + 2 + Now you call

me + 3 + and I repeat as a sacred

formula + 4 + here we can stop: + 5 +

Beyond this, only + 6 + 7

poe-zine 04 17

New Romanian poetry readings in Prague and Berlin

Two Romanian poetry events for the autumn of 2009

in Prague September 30th Krásný ztráty Cafe (Náprstkova 10, Praha 1, Staré Město) 17.00 – 20.00 Krasny Ztraty Cafe Oana Ninu, Domnica Drumea, Mugur Grosu, Cosmin Perta, Răzvan Ţupa With a presentation of the issue dedicated by the Plav magasine to Romanian literature

in Berlin Friday October 30th 22:00 Live Poesie LiteraturWerkstatt Ioana Nicolaie, Sorin Ghergut, Rita Chirian, Svetlana Carstean, Gabriela Eftimie, Constantin Acosmei, Stefan Manasia, Vasile Leac and Vlad Moldovan, with a video selection by Andrei Ruse introduced by Razvan Tupa

poe-zine 04 18

poetics of the quotidian 4 years latter

poe-zine 04 19

From literatures in motion to republica poetica

PoQ was initiated as an event intended

to promote contemporary literature to a

non-specialized public. The Poetics of

the Quotidian become after 4 years of

weekly meetings an original literary

event involving its own idea over

literature: relational poetics.

Until June 2009 event used the

formula literatures in motion. Our aim

was to present literature by the means

of live interviews and performances as

work in progress and moving image of

the author.

This year, the new format of Poetics of

the quotidian is Republica poetica.

Republica poetica is a project aimed to

present the contemporary

manifestations of poetry, it’s power and

effectiveness. Public readings, debates,

live interviews

are presented in

the new format

in order to

present at least

two guests for a

meeting.

Each edition of

the 105 of the

poetics of the

quotidian

meetings invited

writers to

present their

works and their

positions

regarding the

most close actu-

ality.

Most of these meetings were held in

Club A, one of the clubs impossible to

avoid when one intends to address the

history of Bucharest underground in the

last 30 years.

A series of poetics of the quotidian

workshops developed the concept

of relational poetics in 2009 in

Timișoara (Cărturești and Cartea de

Nisip bookshops) and Constanţa (Fishzila

pub). This concept involves researching

the poetic data and potential of any

individual starting with writing exercises,

elaborating poetic personal and general

maps and interacting.

2005- I-XVI – 16 editions

The first season of meetings included

inviting a writer and a music band on

stage, reading,

performance

and a live

interview on

literature and

poetic attitudes.

This first series

of Poetics of the

quotidian was

appreciated as a

public event

open for non

specialists.

Since 2005, The

PoQ has become

a habitual pre-

sence for the

Bucharest litera-

ry display.

poe-zine 04 20

2006- XVII-

XLII- 26

editions

In 2006, the

“poetics of

the

quotidian”

included

visual

projects,

different

performances

and experiments, being invited to bring

colour to the meetings that continued to

involve readings and live interviews.

Season 3 (spring) and 4 (autumn)

created a real stir by bringing in club A

many writers from all over Romania.

Since 2006, The Poetics of the quotidian

became a meeting point for fresh

literature in display.

2007- XLIII-LVII-15 editions

In 2007, the “poetics of the quotidian”

had guests who were less popular at the

moment of their debate at PoQ.

Gradually, the central aim of the

meetings changed from dynamic

presentation to a debate and oral

presentation of the guests and, mainly,

of the works that gathered the audience

for this events.

Season 5 (spring) and 6 (autumn)

managed to introduce many writers

from Timisoara or Cluj Napoca in club A.

For The Poetics of the quotidian 2007

was a hard year, the fact that we already

had raised an interest for the meetings

bringing the necessity of a more

attentive selection of the guests.

2008- LVIII-

LXXXIV-27

editions

In 2008, the

“poetics of

the

quotidian”

introduced

guests that

were already

known as

writers or

cultural projects managers. The core

purpose of the meetings of PoQ became

more organic in using different means

(artistic and technical as well) to present

an eloquent side of contemporary

literature.

In 2008, for the first time, PoQ was

opened for writers who would decide to

meet the public. For 10 minutes before

the beginning of the evening, anyone

who would be curious to see the

reaction of an audience could sign in for

5 minutes of performing their writing.

2009- LXXXV-CVI- 21 editions

After almost four years, the Poetics of

the Quotidian transformed the initial

effort of promoting contemporary

literature into a scene for debating and

presenting dynamic projects.

Contemporary writers answer questions

from the audience and present a

personal approach for their own work

and for the influences they received.

The new format of PoQ includes a

section of open mic for anyone who

would perform their own writing or the

poems that are important for their

development.

poe-zine 04 21

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We, the people of poetry, to assert sincere confidence, the expression of calm fascination, the clear joy,

the burst of limpid passion, the organization of diurnal intensity of approach, the usage of quiet rustling-

touch, and full breath, decide and define this

Constitution of Republica Poetica

1. Poetic status

a) The poet is the state of trans-sovereign

state, independent unitary and indivisible

b) Form of government-state status is poetic

republic.

c) Poetica is an aesthetic, social

and democratic state where human dignity,

rights and freedoms of citizens, the free

development of personality, justice and poetic

pluralism is supreme and guaranteed values.

2. Sovereignty

a) Trans-national

sovereignty belongs to

the poetic state that

exercise it through

formulation and

delimitation carried by

explicit language.

b) No group or person

may exercise

sovereignty on their

own.

3. Territory

a) The Poetic territory is primarily an inner

territory.

b) State borders are established by textual

definition, respecting the principles and

generally accepted rules of untextual poetics.

c) The territory is organized administratively in

poems, poets and poetry. Some poets are

declared laureate.

d) Throughout poetic territory don t live

persons but their states.

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4. Unity and equality

a) The state foundation is poetic unity of

states.

b) The poetic is the common and indivisible

state of all attitudes irrespective of race,

nationality, ethnic origin, language, religion,

sex, opinion, political adherence, property or

social origin.

5. Citizenship

a) Poetic citizenship is acquired, retained or lost

in conditions of dynamic poetry.

b) Citizenship may not be withdrawn to anyone

and is assumed by own responsibility. Poetics

citizens are responsible towards

themselves and can be made liable only for the

acts of those around them.

6. Right to identity

a) Republica Poetica recognizes and guarantees

the right to preserve and develop emotional

and expression of their

cultural, linguistic and

religious to persons

belonging to

poetic minorities.

b) The protection measures

taken to preserve the

republic and emotional

expression of

minorities’ must comply with the principles of

equality and discrimination in relation to other

citizens’ poetry.

7. Poetics abroad

a) The Republic supports the strengthening of

links with poetics outside the borders of the

country and working to preserve, develop

and express their ethnic, cultural, linguistic and

religious identity in compliance with the laws of

the State whose citizens they are.

8. Pluralism in poetic society

a) Pluralism in society is a poetic condition and

safeguard Constitutional democracy.

c) Poetics are constituted and operate in

conditions of absolute freedom. They help

defining and expressing the will of citizens,

respecting national sovereignty, territorial

integrity and the principles of poetic democracy

poetic.

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9. Transnational Relations

a) Poetics maintain and develop peaceful

relations with all countries and, in this context,

relations of good aesthetical neighbourhood,

based on poetry and the other principles

generally accepted in contemporary society.

11. Contemporary society

a) The Poetic State undertakes to fulfil in

good faith its obligations in poetic and aesthetic

treaties to which it is a part.

b) Treaties ratified by the inner court are

part of private poetic.

12. Poetic Symbols

a) The poetic flag is a language flag. Its

distinctive signs mean assuming responsibility

of poetic discourse.

b) Transnational day of poetry can be any day.

c) Transnational anthem of poetry is the poem.

d) The coat of arms of the country and seal are

established by poetic forms.

13. Official language

Any language used in communication between

people and even the natural or invented

languages are official languages in the Republic

of poetics.

14. Capital

Poetics Capital is internal, personal and multiple

external manifestations.

15.Diplomacy

Embassy of poetry in France is at the Romanian

Cultural Institute in Paris.