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Rodica Draghincescu: Tangouri pe trambulina. (Yeseuri). Editura Paralela 45, Bucharest, 2001.
ISBN 973-593-383-7
'The book combines
the academic discourse with the confession of the creator-reader,
being organized in three sections dedicated to Romanian poets, prose
writers and critics of the last two decades. The author tackles issues
regarding the relation between narrator and the ontology of the text,
or between theory and praxis in creation. Tangos on the Springboard is
an original, sincere and challenging book.' (Paralela 45 Publishing
House)
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Rodica Draghincescu: Craun. Novel. Paralela 45, Bucharest,
1999.
ISBN 973-593-098-6
'The book is a radiography of the Romanian realities, especially of the
cultural and literary circles, presented in a burlesque manner. What
strikes the reader is the meditation on the single woman's condition,
who keeps a diary by presenting her own self in the third person. All
these rhetoric images prove that there is a blurring limit between
epic and diary; they transform the book in an experiment which defies
the old novel form.' (Paralela 45 Publishing House)
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Rodica Draghincescu: Distanta dintre un barbat imbracat si o femeie asa cum
E. (The Distance bewtween a Clothed Man and a Woman the Way She Is). Novel. Marineasa, Timisoara, 1996.
ISBN 973-91-85-44-4
'Distance is a puzzling novel, difficult to
pin down. Overcrowded with references ranging from Plato to Bergson
and Kierkegaard (with French literary figures very well represented),
it makes them all part of everyday life, very much like the Romanian
realities, contemporary cultural and literary circles, or the author’s
friends. Perhaps one of its most interesting aspects is the way
Draghincescu defies the traditional novel form, blurring the limits
between epic and diary by breaking down the boundaries between the
outside reality and her interior reality. She makes the reader not
just a witness to the process of writing the novel, but a participant
in that process every step of the way, sharing in all her
insecurities, difficulties, and failed attempts, up to the final
stages when she sends the typescript to her editor.' (Maria Orban,
'World Literature Today', 2000)
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