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Lucian Dan Teodorovici


Excerpt from

Critics about

Novel, "Ego Prose" series, Polirom, 2007 (2nd revised edition), 216 pages

Copyright: Polirom

Translation rights sold to: Dalkey Archive Press (USA), Sphinx Publishing (Egypt), L’Harmattan Kiado (Hungary), Aisara (Italy)

Critics about

“Outlying districts dominated by aggressive gypsies ; filthy trams full of motley and dubious people ; strange, elderly pensioners, the suspicious and malevolent neighbours in insalubrious blocks of flats ; homeless glue‑sniffers – this is the everyday circus that unfolds in the background of the novel.”

(Marius Chivu, Lettre internationale)

“The core of the story is the escapade of a pair of melodramatic faux suicides, who existentially glide through the periphery of all unimaginable worlds in search of the miraculous ‘nothing’. Two hundred pages of one‑hundred‑per‑cent Romanian circus flow before your eyes in this successful spectacle, not recommended for faint‑hearted pensioners, but recommended to all those who want to taste a serving of life prepared slightly differently, according to an original recipe, with ninety‑nine extremely piquant flavours.”

(Alin Ionescu, Academia Caţavencu)

“The publication of Our Circus Presents : constitutes, without any exaggeration, an event. The novel is an anthology of memorable scenes, whose tipping point can be anticipated in every sequence.”

(Şerban Axinte, Contrafort, Republic of Moldova)

“There is much laughter in Teodorovici’s novel, the uproarious laughter of characters faced with a ridiculous world, the healthy laughter of the reader, black humour, the absurd, self‑irony, linguistic humour, and situational comedy. But behind the scenes there is also enormous sadness. The sadness of the clown (the reader‑clown, the character‑clown), who is all the sadder the more acutely he understands his condition as a man who, after having failed at life, cannot but fail at death.”

(Sanda Tivadar, Familia)

“Besides the verisimilitude of the language and the surprising naturalness of events that are by no means natural, Lucian Dan Teodorovici’s book has the merit of localising its action in the strictest present. This anchoring in the present is not one that is in ‘major events’ ; there is no trace of ‘mythic figures’ in the pages of Lucian Dan Teodorovici. The spectacular is extracted from the most innocent of places, and if this has piqued your curiosity, then read the novel.”

(Cristina Ionica, Romania literara)

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