Pe 11 martie, la Librăria Humanitas Cişmigiu, am iniţiat o dezbatere "Femeile în spaţiul public", sub egida organizaţiei PEN România. Au participat: Magda Cârneci, preşedinte PEN România, Ioana Bâldea-Constantinescu (jurnalistă radio, scriitoare), Svetlana Cârstean (scriitoare, traducătoare) şi Bogdan Ghiu (eseist, traducător). Aici afişul:
În dimineaţa dinaintea dezbaterii propriu-zise, am participat - alături de Svetlana Cârstean - la o discuţie la temă în cadrul emisiunii realizate de Corina Sabău la Radio România Internaţional. Am preluat mai jos, de pe site-ul RRI, rezumatul în limba engleză al discuţiei noastre. Traducere de Corina Cristea
Women in the Public
Sphere - PEN Club Romania
PEN Club Romania staged a debate themed “Women in the Public
Sphere”. The event was hosted by the Humanitas Cismigiu Bookshop in
Romania’s capital city Bucharest. Among the guests were president of the
PEN Club Romania, writer Magda Carneci, writers, journalist and
translators Svetlana Cârstean, Adina Diniţoiu, Ioana Bâldea
Constantinescu and writer, translator and columnist Bogdan Ghiu.
Starting from the debate launched by PEN Club, we invited Svetlana
Cârstean and Adina Diniţoiu to dwell upon the condition and
opportunities of women writers in the Romanian public space. Svetlana
Cârstean is an award-winning poet, since her volumes Vise Flower,
brought out by the Cartea Romaneasca Publishers in 2008 and “Gravity”,
issued by the Trei Publishers in 2015, were nominated for awards offered
by Radio Romania’s Culture Channel and the Cultural Observer magazine.
Adina Dinitoiu is a literary critic, cultural journalist and
translator from French. She is also an editor with the Cultural Observer
magazine and a regular contributor to Romania Literara, Dilema Veche,
Dilemateca, as well as to Radio Romanian’s Culture Channel. Adina
Dinitoiu is the author of a book on the late novelist Mircea Nedelciu,
entitled “Mircea Nedelciu’s fiction. The Powers of literature against
politics and death”, published by Tracus Arte Publishers in Bucharest,
in 2011.
We started by asking the two guests about their take on their status as women writers.
Svetlana Carstean: ”I have in mind an article published in Scottish
PEN that I’ve read recently, and which still obsesses me, as there I
found some relevant data. In short, using data and quotations, the woman
author of the article reached the conclusion that the course of action a
man usually takes is representative for humankind, while a woman’s
actions are representative only for women. In other words, everything
men write is representative for the entire humankind, while what we,
women, write remains representative only for women. The article’s author
also brought up a specific case - that of a writer who sent a hundred
email messages to various editors, sending the same manuscript to all of
them. Fifty messages were emailed using her own name, while for fifty
others she used a man’s name. As a woman author, she received seven
replies, while in the latter case she got seventeen replies. It’s up to
you to judge if such a case is relevant or not.”
And here is what our second guest Adina Dinitoiu told us on the same topic:
Adina Dinitoiu: ”As a rule, literary criticism is an area of power in
the sphere of literature as literary critics, through the discourse
they have on literature, by means of which they validate or invalidate a
text, perform an act of cultural power, securing for themselves a place
in literary hierarchy. I made my debut with the innocence of someone
who writes about literature, who does criticism, without having her
gender identity in mind. At that time I tried to ignore the gender
issue, I thought it was normal to do that, it was a step closer to
having a normal literary and critical discourse. I really want us to be
able to speak normally, as women and men, without us women having to
fight for a cause, without us feeling marginalized in a public
discourse, without us feeling marginalized.“
Adina Dinitoiu also spoke about the loss of innocence right after her debut:
Adina Dinitoiu: ”After the debut, I realized it was not that simple.
And I had no choice other than to become aware of my gender identity. I
realized I am a woman, not only a literary critic, and that this is
something more difficult that I would have imagined. And what I felt
then was not that I was necessarily being marginalized, I also became
aware I was a literary critic, also having a woman’s identity, which
complicated things in the public sphere of ideas, especially in Romania,
which is a rather traditional country. The other day I read that in
2015, according to a European gender equality index, Romania was bottom
of the table. And this is a study conducted at European level. The
conclusions pointed to the fact that the European Union in its entirety
was only halfway through that struggle for gender affirmation, for a
balanced representation of men and women in the public sphere. So at the
moment I need to fight more like a woman, so that my discourse may be
heard.”
With more on the gender affirmation issue, here is Svetlana Carstean once again:
Svetlana Carstean: ”I think we don’t have to be marginalized.
Labeling somebody is just enough, since it is a very subtle way, even an
insidious one, I daresay, to avoid being marginalized overtly, against
which it is much more simple to fight or point your finger at. It’s all
about labeling and about preconception, concepts you operate with,
oftentimes stemming from the sphere of literary criticism, which is an
area of power.”
As it is still in its infancy, the discussion remains open. In her
book, “The Lady Writer’s Divan”, Mihaela Ursa says, quote: “It is
important to see whether, from the viewpoint of self-projection, women
writers from Romania see themselves in an harmonious or antagonistic
manner and especially if they think it is necessary to further explore
the relationship between their public and private life, between the
artistic creation and domestic life – these, as we shall see, are
relationships with endless complications and nuances.”
Dezbaterea de la Librăria Humanitas Cişmigiu în fotografii:
