Sez Ner/Muntele Sez Ner. Editie bilingva romansa/romana

Traducere din romansa, note si prefata - Magdalena Popescu-Marin

DESPRE CARTE

Putine carti din literatura elvetiana - si poate chiar si din cea mondiala - s-au bucurat de un succes atat de rasunator, imediat dupa aparitie, ca volumul Sez Ner, tradus si de noi. Cartea s-a vandut rapid in mii de exemplare, iar autorul a fost invitat sa-si prezinte volumul in peste o suta de locuri in tara lui si in strainatate. La ora actuala, Sez Ner este o carte tradusa in vreo zece limbi, iar autorul a primit nenumarate premii in Elvetia si peste granita, in tarile vecine. Arno Camenisch este unul dintre rarii scriitori care traiesc din scris. Editura romansa din orasul Chur (Cuera) a facut o editie auditiva pe sase discuri compacte in lectura autorului, iar diferite teatre din Elvetia vor prezenta incepand din acest an o versiune dramatizata a cartii. Lucrarea lui Arno Camenisch s-a bucurat pana in prezent de peste 60 de recenzii in publicatii germane, romanse, franceze si italiene si de o prezentare in romana.

Ce vrea sa spuna titlul cartii? In centrul cunoscutei regiuni romanse Surselva, patria cea mica a scriitorului, se afla intr-adevar un munte de inaltime medie numit Sezner. Scriitorul a despartit numele propriu real intr-un nume literar Sez Ner care, in functie de cuvantul accentuat din sintagma, poate sa insemne fie „cel negru, el insusi negru (diavolul?)”, cu accentul pe sez, fie „scaunul negru” cu accentul pe ner. Fiind vorba de un nume propriu fara rezonanta si semnificatie in spatiul romanesc am preferat un titlu mai transparent in limba noastra: Muntele Sez Ner. Desi independenta aparent, cartea face parte dintr-o trilogie, din care anul trecut a aparut in germana si al doilea volum „In spatele garii”. Ambele scrieri se refera la ambianta copilariei autorului.

Mai multe motive, dupa opinia noastra, au contribuit la acest succes literar in Elvetia si in exteriorul ei. In primul rand faptul ca autorul insusi si-a scris opera in doua limbi, mai intai in una de circulatie (germana) si apoi a rescris-o in limba lui materna, mai putin raspandita, dar foarte adecvata subiectului (romansa), cunoscuta fiind bogatia lexicala a acesteia din urma in domeniul pastoritului. Comparand cele doua versiuni, realizam imbogatirea reciproca a celor doua idiomuri, unul pe seama celuilalt. Romansa accede la vocabularul tehnic al germanei, de exemplu, iar germana se imbogateste cu termeni specifici pastoritului din romansa. Cele doua versiuni nu sunt perfect egale, dar coincid in esenta lor. Autorul marturiseste ca a vrut sa combine „duritatea” limbii germane cu „muzicalitatea” romansei, un idiom caracterizat prin prezenta diftongilor si a cuvintelor terminate in vocala. De altfel, bilingvismul este propriu ariei geografice din care provine autorul, obisnuit cu sonoritatea celor doua idiomuri, diferite structural. Din punct de vedere lingvistic, cartea este o modalitate de adresare catre un cititor plurilingv, tipic tarii cantoanelor. Si daca initial ea a avut in vedere vorbitorii de germana si de romansa, prin traducerile ulterioare (in franceza si italiana) ea a devenit accesibila tuturor locuitorilor din cele patru zone lingvistice ale Elvetiei. Scriitorul este atent la evolutia idiomurilor cunoscute de el, cultivandu-le sonoritatile si ritmul, grija de conservare a romansei, profund germanizata in textul sau, neconstituind un scop in sine.

In al doilea rand, alegerea subiectului. Autorul a ales sa descrie o realitate dura, pe cale de disparitie, viata pastorilor din Alpii sursilvani, asa cum a cunoscut-o in copilarie, cand a fost el insusi de patru ori baiat la stana. Aceasta realitate n-are nimic romantic in sine, pastorii sufera, au mainile crapate, au picioarele ude, sunt confruntati cu bolile lor si cu bolile si moartea unor animale etc. Simplitatea mediului prezentat, viata de o vara langa vaci, porci, gaini, capre fascineaza cititorul modern al zilelor noastre, traitor intr-o lume de confort, si ii atrage curiozitatea. Asa se explica si faptul ca multi tineri intelectuali se angajeaza ca pastori in Alpi si pentru noi, cei din est, mai ales prezenta fetelor (de obicei studente) este surprinzatoare. Un scriitor de marca din regiunea Surselvei, cu studii inalte, a fost ani de zile cioban la oi in platoul Greina. Civilizatia actuala, nociva in general pentru specia umana, reclama intoarcerea la natura, iar tineretul din tarile industrializate este sensibilizat in acest demers. Noua insa ne este ingaduita comparatia cu stanele noastre traditionale unde nu exista, in general, apa curenta, boiler, robinete, fosa ecologica etc., prezente in relatarea lui Arno Camenisch. Ocupat cu scrisul si cu prezentarea operei sale literare, autorului, traitor actualmente intr-un orasel din regiunea joasa a tarii cantoanelor, ii lipseste din cand in cand posibilitatea de a se relaxa, atunci cand simte ca-i iese „fum” din cap, dupa expresia lui, practicand o munca dura, tipica muntenilor, taiatul lemnelor.

Nu este deloc de neglijat nici talentul interpretativ al lui Arno Camenisch la citirea fragmentelor din opera sa, caracterizata prin oralitate. Lectura lui este ritmica si captivanta. El stie unde sa-si punctueze textul, unde sa puna o pauza mai mare sau mai mica, unde sa intrerupa lectura cu o remarca. Este un fel de magician al cuvantului in doua limbi pe care le domina la perfectie. La asta se adauga, in afara talentului, si o cunoastere aprofundata a stiintei scrisului, dat fiind ca autorul este un proaspat absolvent al Institutului Literar Elvetian de la Biel / Bienne.

Multi recenzenti denumesc aceasta opera literara roman. Pentru noi, este dificil sa o incadram intr-un gen literar clasic. Autorul simuleaza mai curand o specie de reportaj artistic modern, compus din fragmente, adesea foarte scurte, dar cu talc, aparent disparate, cu scene si actiuni tipice mediului descris din care lipsesc insa comentariile autorului, plasat ca observator si nu ca participant. El cerceteaza cu lupa ambientul pastoresc dintr-o scurta vara alpina, marcata de urcarea turmelor la munte, la inceputul verii, si de coborarea lor, la sosirea toamnei, si prezinta acest mediu alpin intr-o succesiune de imagini, ca intr-un film documentar. Locul actiunii este un munte din Surselva, regiunea natala a autorului, cu versantii, pasunile inalte si cele joase, izvoarele care servesc de adapatori pentru animale, drumurile prafuite, padurile inverzite si crucea de pe varf. Personajele principale sunt creionate si identificate prin numele ocupatiei lor: baciul, ajutorul sau, vacarul si porcarul. Ele n-au nume. Raporturile stabilite intre eroii principali ai povestirii sunt ierarhice si dure, dominate de autoritatea baciului. Personajele secundare, de obicei proprietarii de animale, sunt individualizati prin numele lor de botez. Nici pastoritei de la cireada vecina nu i se spune pe nume, ci pastorita de juninci. Turistii sunt rareori identificati (exista o Margrit care filmeaza), iar soldatii, care fac exercitii de lupta pe munte, sunt anonimi. Dintre animale doar vacile au nume, ne spune scriitorul: „Vacile au nume, porcii nu. Porcii sunt porci. Vacile poarta la ureche placute rotunde de aluminiu si cifre pe solduri. Pastorii cunosc vacile dupa nume. E mai familiar cand vacile au nume, spune vacarul porcarului seara, in spatele grajdului, cand vacile sunt pe pasunea de noapte si-i da tutun. Tutunul l-a luat Duminica de la un taran. Vaca nu-i numai vaca. Porcarul trage din tigara si zice ca el nu poate intelege pe taranii care spun ca ar avea cinci vaci, in loc sa spuna ca au pe Marta, pe Barla, pe Marlis, pe Nicki si pe Petra ...Parintele ar fi trebuit sa binecuvanteze fiecare vaca in parte dupa nume si nu numai la gramada si gata, zice vacarul cu mainile in buzunar.” Cainii si pisicile sunt identificati prin atribute: Tigratul, Cenusiul, Batranul. Capra, gainile si cocosul, ca si porcii, n-au nume, dar despre berbecul negru, desi e singurul din specia lui, se spune adesea ca are o pata alba in frunte.

Si cu animalele pe care le ingrijesc cei patru eroi se poarta brutal, neezitand sa le bata in absenta proprietarilor. De altfel eroii se misca intr-un mic univers plin de contradictii, orizontul lor limitat fiind o combinatie de religie si paganism, de traditie si inovatie tehnica, de intelepciune populara si ignoranta.

Stilul scriitorului este marcat de oralitatea si muzicalitatea limbii. La prezentarea variantei italiene a lui Sez Ner la Bellinzona, in Ticino, Arno Camenisch declara intr-un interviu ca nu-l intereseaza conventiile narative. Nu exista semne de citare, linie de dialog, semnul intrebarii sau al exclamarii. Virgulele sunt folosite parcimonios. Dialogurile sunt nemarcate grafic, exista un joc al discursului direct cu cel indirect, reliefate prin prezenta verbelor dicendi sau numai din contextul lexical ori prin alternanta timpurilor si a modurilor verbale: „Berbecul s-a ingrasat de cand nu mai are ghipsul. O sa facem o masa mare, spune baciul cu sort alb fara sa ridice ochii si rasfoieste mai departe revista Blick pe care au lasat-o taranii Duminica trecuta. Iau cu mine berbecul, dupa ce trece vara, zice ajutorul de baci. El poate lua capra si, in ce-l priveste, si gainile, dar berbecul, nu. Baciul rasfoieste revista pana la capat si o pune pe marginea ferestrei, langa radioul cu antena rupta. La naiba cu blestemata asta de capra.”

Prin mijloace simple, dar alese cu grija, tanarul scriitor slefuieste ca pe o piatra textul sau scotand nestemate din noroi si aratand ca frumusetea si magia sunt de gasit pretutindeni, chiar si intr-o realitate dura. Pentru a accentua culoarea locala, scriitorul face apel la numeroase regionalisme, unele neconsemnate in dictionarele curente, si, cand simte nevoia, creeaza el insusi cuvinte noi. Munca lui de Sisif cu textul, marturiseste autorul intr-un interviu, se aseamana cu actiunea de demontare a omului de piatra si de refacere a lui intreprinsa de porcar: „Iarta-ma, zice porcarul, si incepe sa demonteze omul de piatra. Ia cu mana piatra dupa piatra, se uita si o intoarce pe toate partile, ca si cum ar fi vrut sa-i vada consistenta, pune pietrele deoparte, cele mari intr-o gramada, apoi cele mijlocii si cele mici, pana ce omul de piatra este demontat. Asa, zice el, ia o dala de piatra, trece cu mana peste ea si o pune in iarba, unde statuse omul de piatra. Ia apoi o piatra ascutita si graveaza un semn pe dala. Porcarul pune teanc pietrele pe dala, una cate una, cu grija, ca omul de piatra sa poata tine piept vremii proaste, pana ce acesta este refacut. ”

ABOUT THE BOOK

Few books of Swiss literature - and perhaps even in the world - have enjoyed a resounding success so immediately after the occurrence, the volume Sez Ner, translated by us. The book quickly sold thousands of copies, and the author was invited to present the volume in over a hundred places in his country and abroad. Currently, Sez Ner is a book translated into ten languages, and author of numerous awards received in Switzerland and across the border to neighboring countries. Arno Camenisch is one of the rare writers who live in the writing. Ed Romans in the city of Chur (Cuera) made an edition of six compact discs audit in reading the author, and various theaters in Switzerland starting this year will present a dramatized version of the book. Arno Camenisch`s work so far enjoyed over 60 reviews in publications German, Romanian, French and Italian and a Romanian presentation.

What does the book title says? In the center of Roman Surselva known regions, the small country writer, is really a mountain called Sezner average height. The writer has separated its real name in an Sez Ner literary name which, depending on the stressed word in the phrase can mean either „black, black himself (devil?)”, With emphasis on SEZ or „black seat” with emphasis on Ner. Being a resonance own without significance in the Romanian space and I preferred a more transparent way in our language: Mount Sez Ner. Although seemingly independent, the book is part of a trilogy, which appeared last year in Germany and the second volume behind the station. Both writings refer to the author`s childhood environment.

Several reasons, in our opinion, have contributed to the literary success in and outside Switzerland. First, that the author himself wrote his work in two languages, first in one movement (Germany) and then rewrote it in his mother tongue, less common, but very appropriate subject (Romans), known as lexical richness of the latter in the field grazing. Comparing the two versions, realize the mutual enrichment of the two idioms, one at the expense of others. Romans access to technical vocabulary of Germany, for example, and Germany is enriched with specific terms of grazing Romans. The two versions are not perfectly even, but coincide in their essence. The author confesses that he wanted to combine the „hardness” German language „musicality” novel, a diphthong idiom characterized by the presence and words ending in a vowel. In fact, bilingualism is their geographical area in which the author used to sonority of the two idioms, different structures. In terms of language, the book is a way of addressing the multilingual reader, typical country cantons. And if it originally had in mind German speakers and the Romans, through subsequent translations (French and Italian), it became accessible to all residents of the four language areas of Switzerland. The writer is aware of the evolution of idioms known to him, cultivating them and rhythm sounds, the care of conservation of the novel, deeply Germanized in his text, constitute an end in itself.

Second, the choice of subject. The author chose to describe a harsh reality, endangered, sursilvani Alps pastoral life, as he met in childhood, when he was a boy himself four times in the sheepfold. This reality has nothing romantic in itself, suffering pastors have chapped hands, feet wet they are confronted with their illnesses and diseases and death of animals, etc.. Simplicity environment presented a summer living near cows, pigs, chickens, goats fascinates today`s modern reader, live in a world of comfort and attracts curiosity. This explains the fact that many young intellectuals engage as pastors in the Alps and we of the East, especially the presence of girls (usually students) is surprising. A brand writer Surselva region, with higher education, was for years shepherd to sheep in Grein plateau. Current civilization, generally harmful to the human species, ad return to nature, and youth in industrialized countries is sensitized in this endeavor. New but we are allowed comparison with our traditional Stanele where there is generally water, boiler, valves, etc. Ecological fossa., Present in the story of Arno Camenisch. Busy with writing and literary presentation of his work, author, live now in a town in the lower regions of the country cantons, occasionally missing the opportunity to relax when you feel them out „smoke” in the head, After his term, practicing hard work, typical mountaineers, cutting wood.

It is not negligible either Arno Camenisch`s interpretive skills in reading excerpts from his work, characterized by orality. His reading is rhythmic and exciting. He knows where to point the text, where to put a break higher or lower, where a notice to discontinue reading. It is a kind of magician of the word in two languages that dominate perfectly. When this is added, besides talent, and a deep knowledge of science writing, as the author is a recent graduate of the Swiss Literary Institute in Biel / Bienne.

Many reviewers call this literary novel. For us, it is difficult to fit into a genre classic. The author simulates a kind of reportage rather modern art, composed of fragments, often very short, but with talc, seemingly disparate scenes and actions described typical environment of the missing author`s comments but, placed as an observer rather than participant. He explores the pastoral environment of a magnifying glass short alpine summer, marked by flocks to mountain climbing in the early summer, and their descent, the arrival of autumn, and presents the alpine environment in a sequence of images, as in a movie documentary. Is a mountain scene Surselva, the author`s native region, with slopes, pastures high and low, which serve as watering sources for livestock, dusty roads, forests and green cross on top. The main characters are pencil and identified by the name of their occupation: Baciul aid or horse cowboy and crap. They have names. Relations established between the main characters of the story are hierarchical and rigid, dominated by the Baciului. Secondary characters, usually animal owners are individualized by their baptismal names. No herd sheep from neighbor not told the name, but shepherded heifers. Tourists are rarely identified (there Margrit filming), and the soldiers, who exercise the fight in the mountains, are anonymous. Of animals only cows have names, the writer says: „The cows have names, not pigs. Pigs are pigs. Cows wearing ear round aluminum plates and figures on hips. Pastors know cows by name. It`s more familiar when the cows have names, horse cowboy says swineherds evening, behind the barn, where cows are on pasture at night and give him tobacco. Tobacco Sunday took him to a farmer. Cow not only cow. Porcari says comes from the cigarette and he can not understand the peasants who say they would have five cows, rather than say they have Martha on Barla, the Marlis, Nick and Petra ... Father would have to bless each cow in part by name and not only in bulk and ready, says the horse cowboy with hands in pocket.” Dogs and cats are identified by attributes: Tigratul, gray, old man. Goat, chickens and rooster, like pigs, they have names, but about black ram, although it`s one of the species, it is often said to have a white spot in the forehead.

And the animals we care for the four heroes behave brutally, beat them in the absence neezitand owners. Moreover heroes move in a small universe full of contradictions, their limited horizon is a combination of religion and paganism, tradition and technical innovation, the popular wisdom and ignorance.

Writer`s style is marked by orality and musicality of language. The Italian version of the presentation Sez Ner in Bellinzona, in Ticino, Arno Camenisch said in an interview that not interested in narrative conventions. No quotation marks, em dash, question mark or exclamation. Commas are used sparingly. Dialogues are marked graph, there is a game directly with the indirect discourse, raised in this context only verbs or lexical dicendi or by alternating time and verbal modes: „Aries has gained since no gypsum. You make a big meal, says Baciul with white shorts without looking up and browse on Blick magazine that peasants have left it last Sunday. I take the ram, after passing the summer, says the shepherd aid. He can take the goat and how it looks, and chickens, but the ram, no. Browse Baciul magazine to the end and put on the window near the broken radio antenna. To hell with that damn goat.”

By means of simple but carefully chosen, the young writer as a polished stone text or removing mud and looking like gems of beauty and magic are found everywhere, even in a harsh reality. To emphasize local color, the writer appeals to many regionalisms, some neconsemnate in current dictionaries, and the habit, create new words himself. Sisyphus`s work with the text, the author says in an interview, it resembles the action of dismantling and rebuilding stone man`s undertaken the swineherd: „Forgive me, says Porcari, and begin to dismantle the stone man. Take the hand stone after stone, and looked back on all sides, as would have wanted to see consistency, put the stones away, a large pile, then the medium and small, until the man stone is removed. So, he says, take a slab of stone, hand passes over it and put in grass, where stood a man of stone. Then take a sharp stone and engraves a mark on tile. Porcari put stones on the slab pile, one by one, carefully, that man can withstand stone bad weather, until it is rebuilt.”