Laura Pavel

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It wasn't until after Dumitru Tsepeneag fled Romania for France in 1971 that he was able to speak frankly about the literary movement that he had helped create. "Oneirism" wasn't just a new, homegrown form of surrealism, but implicitly a rebuke to the officially mandated socialist and nationalist realism imposed by Ceausescu on all Romanian authors: here was writing devoted to the logic of dreams, not the grim reality policed by the communist regime. As such, Dumitru Tsepeneag and the Canon of Alternative Literature is not just the study of one man's work, but of an entire nation’s literary history over the latter half of the twentieth century. The first monograph to appear in English on perhaps the most idiosyncratic and influential Romanian writer working today, Dumitru Tsepeneag and the Canon of Alternative Literature places Tsepeneag among the ranks of the great literary innovators— and pranksters—of the twentieth century.

 

Oneiricism—Affiliations, Movements and Poetics

The explanation for the emergence of the oneiric group in the Romania of the 1970s certainly resides in the more than abundant literary-theoretical vocation of Dumitru Tsepeneag, one of the most important prose writers of recent decades and the principal "ideologue" of Oneiricism. A contextual analysis of oneiric poetry and prose, as well as of the theory of structural or aesthetic Oneiricism, highlights a primarily aesthetic motivation and aim, but these are also, subsidiarily, political. A late-modernist movement, with an aesthetic program which, as I shall argue, went against not only the Romanian but also the western literary and socio-political grain, Oneiricism also arose from the pressing need for a subversive

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