Abstract:
The positive critical reception and the acknowledgment of Brumaru as an original poet by the mainstream and the literary establishment of the 70’s make it even more unexplainable — in the historical and cultural context — the tardiness of the poet’s editorial debut. If the difference between Brumaru’s lyricism and the reportage-like verses of the veterans of the socialist realism was immediately perceived, the differentiation towards the abstract neo-modernism of the first wave of poets of the 60’s generation was later understood. The article tries to demonstrate the following hypothesis of critical interpretation: Brumaru was not related to the 60’s generation, for his lyrical universe was created from the start with different elements, distinct registry, a new poetry, from a different perspective not focusing on metaphysical aspects, on the contrary rather, focusing on the physical, concrete and objective aspects. The extensive space, beyond the perception’s limits, from Nichita Stănescu’s poems will be replaced with a domestic space, an intimate micro-universe that Emil Brumaru starts exploring from his first poetry book. The analysis leads to the conclusion that Brumaru has a different poetry than the neo-modernist approach of the 60’s generation.
