The current work is presented as an original effort translated into the English by ten translators and a team who perhaps learned English from people that had never spoke the language.
Unfortunately, most of the contributions to are difficult to get through. Permeating many of the texts, an overwhelming inferiority complex actually impedes Romanian literature from being seen as a thriving, compelling world literature.
Here, strange, uncomfortable, improbable, evasive, forbidden, or open spaces are never given.
Instead, they are constructed or, better still, continuously reconstructed, quintessentially shape-changing, and what happens to them—how space is made and remade under the auspices of exile, migration, and the like—illuminates and largely parallels the situation and resituation of selfhood in the world.
Sunt şi sibian şi român şi american, dar în cea mai mare parte sunt american. Îmi place sensul spaţiului, îmi place libertatea care este reală în America.
Când călătoresc în Europa, în România sau chiar în Franţa, după vreo două-trei săptămâni, încep să simt graniţele invizibile ale unei istorii şi tot felul de lucruri care mă apasă, fără să ştiu de ce.
Strangely, the most important literary critics and historians of present-day Romanian literature did not contribute to this anthology.
Imre József Balázs specializes in the avant-garde in Transylvanian Hungarian literature, tendencies in contemporary literature, the interculturality phenomenon in Transylvania, and international networks of Surrealism.
Mihaela Ursa teaches and writes as a comparatist in the fields of critical theory, fictionality, and gender studies.
Reading Romanian literature as it does through the lenses of radical theoretical trends in the field of comparative literature, this book doesn’t do any service to Romanian literature.