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| In its published form, ''Literatură și națiune'' still featured occasional answers from the liberal side, including one provided by [[Nicolae Manolescu]]. The latter was allowed to describe his own version of patriotism (implicitly defending himself against national-communist labels on his work), and also insisted that Protochronism, as a variant of patriotism, was flawed: "Our pride should not consist in being first but in being great."<ref>Verdery, pp. 181, 203, 347</ref> As Verdery notes, Manolescu hinted that the best way of dealing with his adversaries was to "refuse them a dialogue".<ref>Verdery, p. 173</ref> Unwittingly, the Manolescu–Purcaru encounter also showed a number of similarities between the two opposing camps, since they were both frustrated by the state of cultural management by the Communist Party: "They reflect real and understandable frustration at the reduced number of publications and the stiff competition to get one's works into print, a process in which it was insinuated that 'certain critics' or writers had undue influence (even though the real cause lay in the Party's cultural policy)."<ref>Verdery, p. 191</ref> | In its published form, ''Literatură și națiune'' still featured occasional answers from the liberal side, including one provided by [[Nicolae Manolescu]]. The latter was allowed to describe his own version of patriotism (implicitly defending himself against national-communist labels on his work), and also insisted that Protochronism, as a variant of patriotism, was flawed: "Our pride should not consist in being first but in being great."<ref>Verdery, pp. 181, 203, 347</ref> As Verdery notes, Manolescu hinted that the best way of dealing with his adversaries was to "refuse them a dialogue".<ref>Verdery, p. 173</ref> Unwittingly, the Manolescu–Purcaru encounter also showed a number of similarities between the two opposing camps, since they were both frustrated by the state of cultural management by the Communist Party: "They reflect real and understandable frustration at the reduced number of publications and the stiff competition to get one's works into print, a process in which it was insinuated that 'certain critics' or writers had undue influence (even though the real cause lay in the Party's cultural policy)."<ref>Verdery, p. 191</ref> |
| Interviewing Purcaru shortly before the [[Romanian Revolution]] toppled communism, Verdery noted that he still produced some of "the most extreme protochronist statements"—on par with those by Anghel, Barbu, Lăncrănjan and Tudor, and much more radical than those aired by Păunescu or [[Constantin Noica]].<ref>Verdery, p. 342</ref> He continued to work in the post-revolutionary press, as editor-in-chief of several short-lived publications: ''Fapta'' magazine (1990), ''Națiunea'' daily newspaper (1990–1991), ''România Internațională'' magazine (1992), ''România Magazin'' (1993), and ''Regăsirea'' (1997).<ref name="sasu"/> His final contributions to poetry were grouped as ''Mauzoleul Bunicii Beps'', appearing in 1999.<ref name="m482"/><ref name="sasu"/> Also that year, [[George Arion]] published a book of interviews, which included one with Purcaru.<ref name="irtoma"/> The former reporter also made return trips to his native city, where, in 2006, he reissued and completed some of his Vietnam-era writings, as ''Coșmar în junglă''.<ref>Barbu, pp. 3, 6</ref> He died in May 2008, at the age of 74.<ref>Barbu, p. 3</ref> | Interviewing Purcaru shortly before the [[Romanian Revolution]] toppled communism, Verdery noted that he still produced some of "the most extreme protochronist statements"—on par with those by Anghel, Barbu, Lăncrănjan and Tudor, and much more radical than those aired by Păunescu or [[Constantin Noica]].<ref>Verdery, p. 342</ref> She also claimed that the regime allowed him to engage in acts of corruption: "the protochronists were generally rescued from above in the numerous scrapes they "*****" themselves into. [...] Paul Anghel and Ilie Purcaru were involved in a scandal concerning misappropriation of foreign currency from a journal they edited; yet although they were fired, their careers proceeded apace."<ref>Verdery, p. 348</ref> He continued to work in the post-revolutionary press, as editor-in-chief of several short-lived publications: ''Fapta'' magazine (1990), ''Națiunea'' daily newspaper (1990–1991), ''România Internațională'' magazine (1992), ''România Magazin'' (1993), and ''Regăsirea'' (1997).<ref name="sasu"/> His final contributions to poetry were grouped as ''Mauzoleul Bunicii Beps'', appearing in 1999.<ref name="m482"/><ref name="sasu"/> Also that year, [[George Arion]] published a book of interviews, which included one with Purcaru.<ref name="irtoma"/> The former reporter also made return trips to his native city, where, in 2006, he reissued and completed some of his Vietnam-era writings, as ''Coșmar în junglă''.<ref>Barbu, pp. 3, 6</ref> He died in May 2008, at the age of 74.<ref>Barbu, p. 3</ref> |
| ==Notes== | ==Notes== |
Okumaya devam et...