Ștefan Aurel Baciu Esteban Baciu Estêvão Baciu | |
|---|---|
 Baciuca. 1940 | |
| Born | (1918-10-29)October 29, 1918 Brașov,Austria-Hungary |
| Died | January 6, 1993(1993-01-06) (aged 74) Honolulu,Hawaii, United States |
| Pen name | Grigore Cumpănașu |
| Occupation | poet, journalist, diplomat, civil servant |
| Nationality | Romanian |
| Period | 1930–1993 |
| Genre | lyric poetry,autofiction,biography,memoir,essay,reportage,pastiche,parody |
| Literary movement | Surrealism,Impressionism,Expressionism,Gândirea |
| Signature | |
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Ștefan Aurel Baciu (Portuguese:Estêvão Baciu,Spanish:Esteban Baciu; October 29, 1918 – January 6, 1993) was a Romanian and Brazilian poet, novelist, publicist and academic who lived his later life inHawaii. A precocious, award-winning, young author in interwar Romania, he was involved in editing several literary magazines. Attracted into left-wing democratic politics and theSocial Democratic Party (PSDR), he camouflaged his views while working for thefascist press under dictatorial regimes, but returned in 1944 to manage the PSDR'sLibertatea newspaper. Witnessing first-hand the gradualcommunist takeover, Baciu managed to have himself assigned to a diplomatic posting inSwitzerland, and ultimately defected in 1948. A resident and then citizen of Brazil, and a traveler throughoutLatin America, he wrote works in Portuguese, Spanish, English and German, as well as in his native Romanian.
Involved with theCongress for Cultural Freedom and a friend of independent socialists such asJuan Bosch, Baciu spoke out against South American communism and criticizedFidel Castro. He eventually moved to the United States, as a professor at theUniversity of Washington, and, from 1964, theUniversity of Hawaii. He put out the international magazineMele, which, although rudimentarily printed and little circulated, remains a noted source of information about avant-garde writers of theRomanian diaspora, fromAndrei Codrescu toDolfi Trost andSesto Pals. Baciu was also a preeminent historian and anthologist of South and Central Americansurrealism, as well as a translator ofLatin American literature into Romanian and German.
Ștefan Baciu was born inBrașov, some months before the city became part ofGreater Romania. His was a multicultural intellectual family. His father was the ethnic Romanian Ioan Baciu, a product ofAustro-Hungarian schooling, was at the time a teacher of German at theȘaguna National College.[1] He is remembered at the co-author of a pioneering introductory Romanian textbook for the benefit ofSaxons andHungarians.[2] In 1930, he built for his family the "Yellow House" in Lunca Plăieșului residential property, which had recently been opened for settlement.[2] The poet's mother, Elisabeta, was the daughter of the forestry engineer Arthur Sager;[2] his maternal aunt, Lenuța König, was acorsetmaker forQueen Marie.[3] Baciu's sister, Ioana Veronica, had a successful career in the theater.[2] Through the Sagers, Ștefan and Ioana were ofJewish descent.[4][5] RaisedRomanian Orthodox, and still a practicing believer in the 1960s,[6] Baciu considered himself a "cosmopolitan" one.[7]
Baciu was a precocious child. Bookish from an early age, despite being heavily myopic,[8] he discovered Romanian and German poetic anthologies, includingKurt Pinthus'expressionistic chrestomathy,Menscheitsdämerung.[9] In addition to German, he taught himself French, English, Spanish and Portuguese.[4] A student of his father's Șaguna National College, where he earned top grades,[10] he made friends with two of his teachers, writersOctav Șuluțiu andEmil Cioran.[9] Șuluțiu would later refer to Baciu as one of the most characteristic poets ofTransylvania region.[11]
Baciu made his editorial debut as a teenager, with German- and Romanian-language poems published in the local reviewsKlingsor andRăboj.[9][12][13] In September 1933, having been denied sponsorship of a literary magazine by Șaguna College,[14] he set up his own, avant-garde sheet calledStart. It was indebted tosurrealist automatism and byAndré Gide's rebellious philosophy.[14]Start functioned as a local satellite ofI. Valerian'sViața Literară, which had appointed Baciu its official correspondent and publicity agent for the whole of Transylvania.[10] Struggling with financial difficulties,[10]Start did not survive beyond its second issue.[14] Baciu moved on to publish other magazines, alongsideVintilă Horia,Mihai Beniuc, and Ovid Caledoniu:Stilet ("Stiletto"), thenMeșterul Manole (named after thefolk legend hero).[13] Additionally, he was a contributor to literary magazines and newspapers across Romania, includingGând Românesc,Glasul Bucovinei,Rampa, andGeorge Ivașcu'sManifest.[13]
At age seventeen, Baciu had hisPoemele poetului tânăr ("Poems of the Young Poet") picked up in a "young poets' anthology", and put out by the official publishing company,Editura Fundațiilor Regale.[15] He was presented with the company's own Young Writers Award and received theRomanian Writers' Society Poetry Prize.[2][9][12] He followed up in 1936 withPoeme de dragoste ("Love Poems"), published byFamilia ofOradea, and in 1937 withMicul dor ("A Tiny Longing").[9][12][16][17] Also that year, he was included in the anthology13 poeți, with Horia, Caledoniu,Constantin Virgil Gheorghiu,Simion Stolnicu,Dumitru Gherghinescu-Vania and various others.[17]
Young Baciu was soon received into the cultural elite ofBucharest, befriending the likes ofPăstorel Teodoreanu andIon Minulescu.[8] Alongside Caledoniu,George Petcu,Maria Banuș,Laurențiu Fulga and some others, Baciu was also drawn into the "White Nights Manifesto" circle, which sought to promote young literature. Also faced with financial troubles, and unsuccessful in its bid to receive state funding, the circle closed shop in 1938.[18]
Baciu had since enlisted at theUniversity of Bucharest Faculty of Law, whence he graduated in 1941.[13] His college years overlapped with the demise of Romanian democracy and several authoritarian experiments, the first of which was aNational Renaissance Front dictatorship. By late 1938,[19] Baciu had begun collaborating in the semi-official newspaper,Sfarmă-Piatră, published by the fascist sympathizerNichifor Crainic. He had a literary history column,Cronici germane ("German Chronicles"), with which he aimed to popularize "that superbGerman Romanticism".[20] He was in correspondence with a more senior poet,Emil Giurgiuca, offering to popularize Giurgiuca's work "inSfarmă-Piatră or wherever".[19] Also in 1938, Baciu collected his translations fromGeorg Trakl, which came out at Editura Frize inIași.[21]
Having openly supported theIron Guard as a radical fascist alternative to the establishment,Sfarmă-Piatră was also falling into disfavor with the National Renaissance Front regime. Early in 1939, following bloody clashes between the Front and the Guardists,Sfarmă-Piatră was outlawed. Baciu moved to the more mainstreamUniversul, becoming its editor[13] and resumingCronici germane in its literary supplement.[20] He also held the literary criticism column, taking over fromȘtefan Augustin Doinaș.[12][22]
During the early stages of World War II, Crainic gave Baciu the office of editorial secretary atGândirea magazine, but sacked him upon finding out about his Social Democratic loyalties.[23] According to communist sources, Baciu was himself an affiliate or sympathizer of the Iron Guard—a claim that has since been disputed; Baciu's PSDR membership and his mother's Jewishness disqualified him for such an enterprise.[4][24] By his own account, Baciu was amalagambist, meaning that he followed thezoot-clad jazzmanSergiu Malagamba and had cosmopolitan, Americophile tastes.[25] He did however befried the Guard's poet laureate,Radu Gyr, helping him publish inGândirea even after the Guard'sviolent fall from grace in early 1941.[26]
Upon his graduation, Baciu became translator for the Institute of Statistics (underSabin Manuilă),[6] cultural adviser for theGeneral Council ofBucharest, and publisher for the companies Gorjanul and Publicom.[13] His poetic work was collected in the volumesDrumeț în anotimpuri ("A Traveler through Seasons", 1939),Căutătorul de comori ("The Treasure Hunter", 1939),Cetatea lui Bucur ("Bucur's Citadel", 1940), andMuzica sferelor ("Music of the Spheres", 1943).[9][12][17] Attracted by the prospects of a good pay in the only thriving literary industry of the war years, he began contributing to the humorous press. He debuted in Virgil Slăvescu'sPăcală, as "Grigore Cumpănașu", and later held columns inVeselia andIon Anestin'sGluma.[27]
While at university, Baciu had met and fallen in love with Mira Simian (born 1920). The daughter of Dinu Simian, aNational Peasants' Party politician fromVâlcea County, heir to a tanning and footwear-making empire,[28] and hisPolish wife, Mira attended the Bucharest Faculty of Letters, then worked as a pharmacist inRâmnicu Vâlcea. She married Baciu upon the war's end.[29]
TheAugust 23, 1944 Coup unsealed Romania's alliance withNazi Germany, and brought back democracy, but also signified the onset ofSoviet occupation. Shortly after the legalization of political parties, Baciu became editor of the Social Democratic press organLibertatea ("Liberty").[9][30] From October 1944 to December 1945,[13] he edited his own illustrated satirical review,Humorul ("Humor"). Meanwhile, he also put out new selections from his poetry:Cântecul mulțimii ("Song of the Crowd"), with a preface byIon Pas, came out at the PSDR party press in 1944;Caiet de vacanță ("Notebook for the Holidays") at Unirea of Râmnicu Vâlcea in 1945.[9][12][17] His circle of acquaintances grew to include some members of the Bucharest surrealist circle, in particularSesto Pals (who was Baciu's lifelong friend)[31] andDolfi Trost.[32]
With his party falling under the influence ofRomanian Communists, Baciu remained close to the independent pro-Western wing, underConstantin Titel Petrescu.[4][9][33] As he would note in 1992, Baciu had always been "an adept ofdemocratic socialism".[34] He referred to Petrescu as "the tocsin-sounder of the great perils that were knocking on our door, perils not just for the existence of social democracy, but also of Romania's very existence as a free democratic state".[35]
Baciu described with alarm the rapid communization of his writer friends, recording Beniuc's enthusiasm at seeing liberal demonstrators being repressed with machine guns.[36] He also witnessed the desperation of his friend Gyr, who attempted suicide in Râmnicu Vâlcea.[26] However, according to literary historian Mircea Popa, Baciu'sLibertatea editorials were of that kind "that would later shame him": young Baciu ridiculed the prewar regime as an era of conformity and "nothingness", and even praisedsocialist realism.[37] At the time, Communist Party politicians tempted him with offers to becomePrefect or theater manager.[38] Baciu was present at the PSDR Congress of March 10, 1946, which resulted in the party's electoral alliance with the Communists. His testimony describes Petrescu's anti-fusion speech as the point of view of a "good and courageous Romanian". Baciu further recalls: "I walked [Petrescu] back to his home alongside some hundreds of partisans".[39]
In October 1946, owing to his Social Democratic credentials,[9][13] Baciu was appointed press officer of the Romanian Embassy inBern. The ambassador wasȘerban Voinea, a PSDR theoretician. Baciu conceived of this assignment as a safe haven from communism, but was still troubled about leaving Romania and his relatives. He brought up the issue in conversations with Petrescu, who advised him: "Forget [Mira's] pharmacy, choose freedom."[8] His appointment became the object of disputes between Communist-controlled agencies andForeign Affairs, which was still controlled by an ally,Gheorghe Tătărescu. As Baciu recalls, Tătărescu gave him and his wife tacit backing, without signing any papers, and discreetly handed them their diplomatic passports.[9]
On November 5, the Bacius crossed intoHungary semi-clandestinely, knowing that they risked being returned at the border.[9] ThePetru Groza government was only informed later of their arrival in Bern. Like Voinea, Baciu had open disagreements with his Bucharest superiors, complaining that his efforts to publicizeRomanian literature in the Swiss "workers' press" were not being supported by the Romanian state.[23] He wrote for the editorial section ofTribune de Genève, to dissuade Swiss fears about the stabilization of theRomanian leu. The communist authorities later accused him of purposefully withholding information, "thus giving reactionaries reason to minimize this important reform".[4] In late 1947, just before the proclamation of aRomanian communist republic, Voinea resigned his posting. Baciu, who was recalled and assigned to a new post inSofia, opted to discontinue his work in diplomacy and demandpolitical asylum in Switzerland. He was advised to do so by a friend, Victor Popescu (son ofUniversul editorStelian Popescu).[23]
The Bacius registered their case with theInternational Refugee Organization (IRO), who processed them to determine if they were or had been undercover agents of a secret service.[40] During the interval, Baciu was publishing essays and inLiterarische Tat,[17] and Mira was working for theZytglogge pharmacy.[40] The Bacius simultaneously applied for asylum in Brazil,Peru andVenezuela (meanwhile, Mira's uncles had managed to escape toArgentina).[23]
Cleared by the IRO in early 1949, the Bacius were given asylum rights in Brazil, and arrived atRio de Janeiro in March.[40] They had a rough start in the new country, and struggled to make ends meet.[2] Ștefan Baciu resumed his work in poetry, translating Latin American novellas into German and Raúl Otero Reiche'sAmérica into Romanian, and publishing his own surrealist works, includingAnaliza cuvântului dor (Valle Hermoso, 1951).[41] In late 1952, alongsideFaust Brădescu, he was editingÎnșir-te Mărgărite, a magazine for the Romanian Brazilian community, which also reached Romanian communities from Argentina toFrancoist Spain.[9] Its stated purpose was the preservation and publicizing of Romanian poetry and prose.[34] Romania'sSecuritate secret police, which was following his movements, noted Brădescu's Iron Guard affiliation as a sign of Baciu's own fascism.[4][42]
Also in 1953, Baciu was made editor of the foreign politics page atCarlos Lacerda'sTribuna da Imprensa.[4][43] According to the Securitate, this was a "newspaper of the fascist kind".[4] He published occasional contributions toRevista da Semana,Diário Carioca, andMaquis, and, in 1957, two volumes of hisPortuguese-language poetry:Aula de solidão ("Lesson in Solitude"),Dois Guatemaltecos ("Two Guatemalans").[44] Meanwhile, Mira Baciu worked as a translator for theDeputies' Chamber.[40]
WithTribuna da Imprensa credentials, Baciu traveled across Latin America. In Mexico, he interviewedNatalia Sedova, widow ofLeon Trotsky.[9] In 1956, he was atLima, where he met the Romanian writer-violinistGrigore Cugler. The two began a correspondence, with Baciu persuading Cugler to republish his 1930s avant-garde stories.[45] He prepared for publishing Cugler'sAfară de unul singur, but the manuscript was lost in the process (although an earlier print was eventually recovered in 1998).[46] Baciu also embarked on a mission to popularize Romanian avant-garde writers, publishing Spanish and Portuguese essays aboutUrmuz andConstant Tonegaru.[12][34]
By then, Baciu was also involved with the anti-authoritarian left-wing movement on the South American continent. As he saw it, thecaudillo regimes ofAlfredo Stroessner,Juan Perón orAnastasio Somoza were generally equivalent to Eastern EuropeanStalinism.[47] Together withSalvadorean diplomat Rafael Barraza Monterrosa, the Bacius managed aPanhispanist association, calledRuy Barbosa Circle, building personal contacts withJuan Bosch, the exiledDominican socialist,[48] andCarlos Mérida, theGuatemalan painter.[49] In 1956, he had an encounter with Cuban revolutionaryFidel Castro, and became a sympathizer of his26th of July Movement.[2]
The Bacius were eventually grantedBrazilian citizenship,[40] and became fully integrated in Brazil's cultural life. The couple counted among their writer friendsCarlos Drummond de Andrade,Manuel Bandeira andCecília Meireles.[40] In April 1958, Baciu, Meireles and Bandeira were among the 42 intellectuals who set up a Brazilian chapter of the anticommunistCongress for Cultural Freedom (CCF), which, from 1959, put out the Portuguese-language reviewCadernos Brasileiros.[50] The organization was in part funded by theCentral Intelligence Agency, through its Paris agent, John Hunt (with whom Baciu corresponded), and answered directly to the SpaniardJulián Gorkin.[51] Baciu joined the staff ofCadernos as editor in chief (withAfrânio Coutinho as editorial manager) and was General Secretary of the CCF until August 1962;[52] Mira was the Executive Secretary.[2][40]
Baciu was with Bosch in Venezuela, celebratingRómulo Betancourt's victory in theelection of December 1958.[53] Together with Bosch, he organized a negative campaign against theRepublic of Cuba, but Bosch refused any explicit endorsement of Castro's guerrilla.[54] In January 1959, following the success of theCuban Revolution, Baciu was invited by the new government inHavana, to report on the work of the revolutionary tribunals.[42] He declined the invitation but, later that year, he made his way there to interview Castro. He recorded in particular Castro's disdain for theCuban Communists.[42] In March, he happened to meet Castro's communist inspiration,Che Guevara, but they only discussed literature.[2]
Also in 1959, Baciu published in Rio the essayUm continente em busca de uma doutrina ("A Continent Searching for a Doctrine").[9][55] In 1960, he was awarded honorary citizenship of Rio.[2][4][12][25] He was working on the book of memoirs in Portuguese,Bucareste-Estação Norte ("Bucharest-Northern Station"), which came out at Edições o Cruzeiro in 1961.[56] Meanwhile, Baciu's Romanian relatives were suffering under communist persecution. Dinu Simian was mistreated and tortured inSighet prison, where he eventually died; Dinu's wife, Constanța, was also detained, and, upon her 1962 release, had to struggle to make ends meet.[40] In 1962, through the intercession ofBrazilian PresidentJuscelino Kubitschek, Mira Baciu persuaded the Romanian authorities to grant her mother safe passage to Brazil.[40]
With his 1961 reportageCortina de hierro sobre Cuba ("TheIron Curtain over Cuba"), prefaced bySalvador de Madariaga,[9] Baciu made public his criticism ofCastroist communism, and condemned its spread to other Latin American nations.[57] He rendered it even more explicit in the poemEu nu îl cînt pe Che ("I Do Not Sing for Che"), known in Spanish asYo no canto al Ché.[4][58] This change of attitudes was radical, as Baciu moved to confront the communists directly, and, in his letters to Gorkin, stated his desire to purge the CCF itself of "camouflaged"Brazilian Communists.[59] Such ideas alarmed the CIA, since they risked alienating the anticommunist left. John Hunt andKeith Botsford repeatedly asked Baciu to focus on anti-Casto, rather than "right-wing", propaganda (Hunt referred to Baciu as "a right-wing democratic socialist", a Betancourt associate, and a "maniac").[60] By then, the Brazilian CCF was vulnerable, its CIA connections brought up for public debate by communist intellectuals likeJorge Amado andEgídio Squeff.[61] Although he did not formally adhere to any Romanian anticommunist organization,[8] Baciu was in correspondence withConstantin Vișoianu and theRomanian National Committee, publishing anticommunist essays in the latter'sRomânia gazette.[6]
Allegedly, Baciu found himself threatened by theCuban Intelligence Directorate.[62] However, it was Baciu's extremeanticommunism that prompted Hunt to demand his resignation and appointVicente de Paulo Barretto as the new CCF General Secretary.[63] Baciu later commented that the CCF had committed "suicide" by moderating its tone, noting that its "constructive dialogue with proven communists" was a moral victory for "Eurocommunism".[64]
Baciu's Rio colleagues backed him in his bid for theBrazilian literature chair at theUniversity of Washington. He obtained it, and moved toSeattle, where Mira began her own career as a Spanish-language teacher.[65] However, Mira detested theOceanic climate, and the couple was often taking trips back to Latin America.[62] In 1963, Baciu and his wife were inSanto Domingo, celebrating Bosch's victory in theDominican presidential suffrage.[6][66] Afterwards, they also visited neighboringHaiti,[25] where Baciu was trying to recover for publishing the obscure surrealist works ofClément Magloire-Saint-Aude.[67] The same year, Baciu published inMexico City his poetic cyclePoemele poetului pribeag ("Poems of the Outcast Poet").[9][17]
In 1964, Baciu obtained a professorship inLatin American literature at the newly foundedUniversity of Hawaii.[62] He enjoyed his work there, but felt bad about the smaller attendance his classes inevitably received.[34] In 1965, the Bacius set up their own magazine,International Poetry Letter – Mele (from theHawaiian for "song"),[62] which sought to establish connections between Latino,French,American and Romanian literature. Although noted for the quality of its illustrations,[25]Mele had a very minor circulation, with at most 300 copies per issue,[34] all of themxerographed by Baciu's students.[9]
Mele sought to popularize Romanian authors, and, doubling as a publishing house, put out periodic selections from Baciu's own poems in Romanian and Spanish.[17] Baciu helped discover and popularizeAndrei Codrescu, the neo-avant-garde Romanian exile writer.[68][69] In 1967, the Bacius' home inHonolulu hostedValeriu Anania, the writer and abbot of theRomanian Orthodox Church in America. A former Iron Guard man and prisoner of the communists, released with the spell of liberalization in 1964, Anania was treating his depression in Hawaii.[70][71] He was putting to paper a novel and poetry that he had "written inside his brain" while in jail, and doing research intoHawaiian folklore.[70] Anania later recalled that Mira Baciu had fallen in love with him, and that he had to fend off her advances while remaining friends with her and her husband.[71]
Baciu returned to Romanian-language publishing with the 1967Ukulele, put out by George Uscătescu's Editura Destin in Spain.[9] He also made a comeback to Portuguese letters with the 1966 essayManuel Bandeira de corpo inteiro ("The Complete Manuel Bandeira").[9][55] He followed up with a 1967 essay on the politics of Juan Bosch and Spanish-language poetry volumes,Semblanza y explicación de Latinoamérica ("A Profile and Explanation of Latin America") of 1968 and the 1973Nasserismo ("Nasserism").[17] In 1972, he published in Madrid'sColecția Start a complete collection of his Romanian poems. They featured a preface byLucian Boz and a portrait byMarcel Janco.[9][12] Baciu also translated Romanian poetry into Spanish, and published several anthologies, beginning with the 1969Poetas rumanos.[72] He was under contract with publishing houses inWest Germany, such as Peter Hammer and Neues Leben, translating for them five volumes of poetry byErnesto Cardenal.[21]
Inspired by an encounter with French surrealistBenjamin Péret,[4][73] Baciu had begun a vast work of research into the history of Latin American avant-garde literature, and spent some time in Peru andBolivia. By his own account, he interviewed "my great friend"Tristán Marof,Luis Alberto Sánchez,Javier Sologuren andEmilio Adolfo Westphalen, and helped rediscover the anticommunist surrealistRafael Méndez Dorich.[74] As noted by Sologuren, Baciu's studies also helped revive interest in the poetry ofCésar Moro.[75] In Argentina, Baciu befriendedAldo Pellegrini, who let him discover early avant-garde texts byJorge Luis Borges and "the extraordinary"Antonio Porchia.[76] Pellegrini also introduced him toEnrique Gómez Correa and the Chilean surrealist scene. Introduced toJean Charlot by Mérida, Baciu researched the history ofMexican muralism, and discovered the proto-surrealism ofJosé Guadalupe Posada.[49]
He was still following with interest the work of writers in Romania, and published his translations of neomodernist Romanian literature in a special issue of Peru'sHaraui review.[4] Baciu also followed the work of Romanians who translated Latino literature into Romanian. He found these attempts inauthentic and superficial, and criticized them in the 1970 essayBrazilia masacrata. To the irritation ofEditura Dacia publishers, he mailed them copies of this critique.[77] Baciu later exposedcommunist censorship, noting for instance the cuts that had been made into the published diaries of Șuluțiu, and the exclusion ofconcrete poetry from the Brazilian anthologies ofDarie Novăceanu.[78] As he put it, "I believe it a duty of the exile writer to defend the Romanian language from the 'party-minded' invasion of the mediocrities, the boot-lickers, the savvy ones and the profiteers, be they talented or talentless."[25]
Baciu's inclusion in a poetry anthology, put out in Bucharest byNicolae Manolescu, scandalized the communist apparatus; the work was soon withdrawn from bookstores by the censors.[79] Nevertheless, the new communist regime ofNicolae Ceaușescu made some efforts to appease Baciu and enlist him to write "propaganda for Romanian art and culture during the years of socialist consolidation",[4] and even allowed Romanian journalists to contact him on the phone. Baciu claimed to have cut short such attempts, identifying them as a Securitate diversion.[9] His rejection did not prevent Iron Guard loyalists such asHoria Stamatu from labeling Baciu a spy and avoiding all contact with him.[80]
In 1974, Baciu ultimately put out atSUNY Press an overall anthology of Latin American poetry (Antología de la poesía latinoamericana), and at Editorial Joaquín Mortiz, in Mexico City, a critical anthology of Latin American surrealism,Antología de la poesía surrealista latinoamericana.[81] The latter book was enthusiastically reviewed inPlural magazine by the writerOctavio Paz, who noted that it was "indispensable" to the study of local surrealism and that it marked the "end of gossip" about the phenomenon.[82] It is seen by literary historians as "orthodox" in comparison with Pellegrini's earlier chrestomathy.[83] In 1975, he edited in Madrid posthumous reissue of Cugler'sVi-l prezint pe Țeavă.[46] The following year, atSan José, Baciu put out a volume of his own essays onCosta Rica.[9]
Meanwhile, Mira Baciu, who discovered her artistic talents and becameMele illustrator, had completed her specialization at theUniversity of Strasbourg underJacques Borel, she lectured in Spanish language, then became a professor of French.[62] She befriended artistJacques Hérold, who illustrated her poetry volume of 1973,Houla, Macumba, Hora.[62] She died of cancer, on July 2, 1978, bequeathing her estate to fund a Romanian literature scholarship at the University of Hawaii.[84]
Mira's death left Baciu in near-complete isolation from the Romanian-speaking public. As he later noted: "I literally have no one to whom I would read the things I write. There are at most ten Romanian speakers living in Honolulu and none of them, absolutely none, has ever been to a bookstore or a library to peek into, or to ask for, or to purchase a single book of poetry."[8] He honored her memory with a 1979 semi-autobiographical novel, eponymously titledMira.[9][85] A new volume of his memoirs saw print in Honolulu in 1980, asPraful de pe tobă ("The Dust on the Drum").[9][86] It was taped byVirgil Ierunca and serialized byRadio Free Europe (RFE), which broadcast clandestinely into Romania.[4]
In 1979,Antología de la poesía surrealista latinoamericana was reissued by theUniversity of Valparaíso. Baciu also issued a new chrestomathy of Romanian-to-Spanish translations:11+11 poetas rumanos contemporáneos, published by theNational Autonomous University of Nicaragua (UNAN).[87] In addition to putting outMele and his own works therein, Baciu published the Spanish-language collection of his poetry,El que pierde gana ("He Who Loses Wins", UNAN, 1978) andPasaporte y pãnuelo ("Passport and Handkerchief", Revista Conservadora del Pensamiento Centroamericano, 1982).[88] He returned to Portuguese-language writing in 1982, withCarioca honorário ("An HonoraryCarioca"), which came out in 1982 atPernambuco's Edições Pirata, andLavradio 98, a memoir of his work under Lacerda, at Editora Nova Fronteira of Rio.[9][21] These were followed in 1984 byUn rumano en el Istmo ("A Romanian in the Isthmus"), atUniversidad Veracruzana; and in 1985 by translations fromLucian Blaga (co-written withEugenio Montejo),[12] at Fundarte ofCaracas,[89] and aHeredia University biography ofFrancisco Amighetti.[9] Among Baciu's later contributions include several essays such asCentroamericanos (San José, 1986) and a biography ofTristán Marof (La Paz, 1987).[9]
Throughout the late 1970s and early '80s, despite Baciu's isolation,Mele managed to obtain collaborations from many other Romanian writers, acquiring a relevant role in Romanian literary history. It hosted selections from the poetry ofGeorge Ciorănescu, who was at the time a chronicler for RFE. Ciorănescu returned the favor by popularizing Baciu's work in one of his broadcasts.[25]Mele was especially noted for its reissue of works by the 1940s Romanian avant-garde. Baciu repeatedly tried to persuade Sesto Pals, who had returned to his regular job as an engineer, to publish a selection of his lifetime works.[31] The May 1985 issue ofMele was entirely dedicated to Pals' poetry.[90] Baciu also tracked down and interviewed poet-draftsmanPaul Păun, who, like Pals, moved from Romania to Israel.[91] However, his friendship withLucian Boz had deteriorated from 1978, whenMele hosted a piece byCésar Tiempo, seen by Boz as "ferociously antisemitic".[3]
Baciu maintained a close relationship with dissidents and avant-garde writers in his native Romania—over 100 people, according to concerned Securitate operatives.[9] Such figures includeNicolae Carandino,Alexandru Paleologu,Radu Tudoran,Corneliu Coposu,Ion Dezideriu Sîrbu,Constantin Noica,Dan Culcer andDaniela Crăsnaru.[4][81] He also corresponded with Constantin Mateescu, who provided him with references for the history of Mira's native city, Râmnicu Vâlcea. As Mateescu recalls, Vâlcea was still Baciu's "charming land".[28] Baciu wrote a complete list of his own works, addressing it to literary criticNicolae Steinhardt; like his other letters home, it was intercepted by the Securitate.[92]
As remarked by Mateescu, in 1984 the correspondence was abruptly interrupted, "even though [Baciu], well informed about our country's realities, was prudent and restrained in his statements".[28] Baciu's file shows that the Securitate also made note of this prudence, and was undecided about how to interpret it:
Albeit he misses his country, [Baciu] does not wish to return for a visit, his refusal backed up by confused explanations, by 'poetic' statements according to which 'he carries his country inside him'. Although [Baciu] is adamant about his refusal of our country's current socio-political system, one may conclude that his literary activity, his propagation of Romanian literature, art and traditions, is positive in nature.[34]
The secret police repeatedly tried but failed to recruit Baciu's Romanian relatives as informants, and resorted to harassing them at their workplaces.[4]
With some of his late works ofautofiction, Baciu saluted theanticommunist revolt in his native Brașov.[4] He was enthusiastic about the success of Romania's1989 Revolution. According to his diaspora friend Constantin Eretescu, he hoped to see a rapid transition to a Western-style democracy, but was soon disappointed by theNational Salvation Front regime.[8] Interviewed byMarta Petreu forApostrof, he noted that "one has a hard time adjusting after forty-six years in exile".[34] His contribution was honored abroad: retired from Hawaii University as aprofessor emeritus, he was also Bolivia's honorary consul in Honolulu.[2][4] In 1991, he became Commander of the Bolivian Order of Merit.[2][4]
Baciu died in Honolulu on January 6, 1993, allegedly while talking to his sister Ioana over the phone.[9][25] His corpus of works, beginning withPoemele poetului tânăr, was being republished in Romania, following efforts by his sister and his brother-in-law, Ovidiu Mărgineanu.[93] A new edition ofPraful de pe tobă saw print atEditura Eminescu in 1995.[36]Mira was also republished, byEditura Albatros, in 1998.[94] In 2006, when hisCetatea lui Bucur was reissued to critical acclaim,[68][95] the "Yellow House" in Brașov was opened for the public as a Ștefan Baciu Memorial House, presently maintained by Brașov City Hall.[93]
CriticVladimir Streinu saw Ștefan Baciu's early poetry as "boastful", but lacking "a timber of its own", and ultimately "neutral".[16] His first surrealist episode was withStart,[96] ridiculed at the time by the mainstream reviewViața Românească for its "jolly good" metaphors: "It tells us that hounds feed on warm meat and that legs will sing when they walk."[97] InPoeme de dragoste, Streinu suggests, "the tone is youthful", but the subject matter is excessivelylyrical and self-absorbed.[16]
The poet soon moved into a more traditionalist format, with echoes fromIon Pillat andParnassianism.[12] The result is visualized by criticDaniel Cristea-Enache as a "lace ofimpressionism" with a "thin but strong"expressionistic thread.[95] According toRomânia Literară reviewerCosmin Ciotloș, this is an "exact and painstaking", but also "stunning", species of poetry.[68] InCetatea lui Bucur, Baciu outlined his vision of a decadent-but-fascinatingBucharest, with its many paradoxes: "How much I hate thee, my beloved city"; "Your bitter joy has done me in".[95] As noted by Ciotloș, in Baciu's Bucharest "everything is alive, everything is artificial".[68] The poetic cycle shows Baciu as a social critic, repulsed by the luxurious churches surrounded by slums, but also fascinated with the morbid aspects of Bucharest society, from the "grave-blackened women" ofBellu cemetery to the pleasure-seekers onCalea Victoriei—as noted by Cristea-Enache, the latter is merely an anti-capitalist "cliché of that era".[95]
Political inspiration also fueled some of Baciu's other juvenile works, including poems attacking the Nazis and honoring theAugust 23 Coup—written with a Social Democratic bias but owing ultimate inspiration toVladimir Mayakovsky, the Soviet poet laureate.[37] His more conventional humorous poetry, which came out around 1945, owed inspiration to the jocular verse ofPăstorel Teodoreanu andGeorge Topîrceanu.[98]
Returning to the avant-garde withMuzica sferelor, with its homages to unconventional heroes such asUrmuz andGeorge Ciprian,[12] Baciu crafted his own poetic style. In large part, such lyrical work is explicitly self-referential, and inevitably linked to his diaspora experience. His nostalgia for Râmnicu Vâlcea and Brașov slowly replaced his memory of Bucharest. As noted by philologist Andrei Bodiu, he was not Brașov's first poetic chronicler, but the only such poet to be "urban and cosmopolitan" rather than elegiac and traditionalist.[99] Baciu wrote poems dedicated in part to each Latin American country he visited, and made unexpected connections between them and his native country.[9][25] One such piece, honoring theCuban dissident movement, reads:
Scriu Cuba și gândesc la tine, Românie: | I write Cuba, but think of thee, Romania: |
Baciu's other poems include a set ofpastiches andparody pieces, fromEmil Botta,Lucian Blaga,Ion Barbu andIon Vinea.[9] They stand alongside satirical pieces targeting poets who had made compromises with the political system. In one such work, Baciu scoldsTudor Arghezi:
Când punea tocul | When he applied his pen |
| International | |
|---|---|
| National | |
| Academics | |
| People | |
| Other | |
