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The Censor's Notebook
A fascinating narrative of life in communist Romania, and a thought-provoking meditation on the nature of literature and censorship.
A Censor’s Notebook is a window into the intimate workings of censorship under communism, steeped in mystery and secrets and lies, confirming the power of literature to capture personal and political truths.
The novel begins with a seemingly non-fiction frame story—an exchange of letters between the author and Emilia Codrescu, the female chief of the Secret Documents Office in Romania’s feared State Directorate of Media and Printing, the government branch responsible for censorship. Codrescu had been responsible for the burning and shredding of the censors� notebooks and the state secrets in them, but prior to fleeing the country in 1974 she had stolen one of these notebooks.
Now, forty years later, she makes the notebook available to Liliana, the character of the author, for the newly instituted Museum of Communism. The work of a censor—a job about which it is forbidden to talk—is revealed in this notebook, which discloses the structures of this mysterious institution and describes how these professional readers and ideological error hunters are burdened with hundreds of manuscripts, strict deadlines, and threatening penalties. The censors lose their identity, and are often frazzled by neuroses and other illnesses.
A Censor’s Notebook is a window into the intimate workings of censorship under communism, steeped in mystery and secrets and lies, confirming the power of literature to capture personal and political truths.
The novel begins with a seemingly non-fiction frame story—an exchange of letters between the author and Emilia Codrescu, the female chief of the Secret Documents Office in Romania’s feared State Directorate of Media and Printing, the government branch responsible for censorship. Codrescu had been responsible for the burning and shredding of the censors� notebooks and the state secrets in them, but prior to fleeing the country in 1974 she had stolen one of these notebooks.
Now, forty years later, she makes the notebook available to Liliana, the character of the author, for the newly instituted Museum of Communism. The work of a censor—a job about which it is forbidden to talk—is revealed in this notebook, which discloses the structures of this mysterious institution and describes how these professional readers and ideological error hunters are burdened with hundreds of manuscripts, strict deadlines, and threatening penalties. The censors lose their identity, and are often frazzled by neuroses and other illnesses.
496 pages, Paperback
First published March 1, 2014
15 people are currently reading
366 people want to read
About the author
Liliana Corobca
18Ìýbooks42ÌýfollowersLiliana Corobca s-a nascut la 10 octombrie 1975, in satul Saseni, judetul Orhei, Republica Moldova. A absolvit Facultatea de Litere a Universitatii de Stat din Moldova, sectia romana-latina. Este doctor in filologie (conducator stiintific: prof. Nicolae Manolescu) la Universitatea din Bucuresti, cu teza Personajul in romanul romanesc interbelic, Editura Universitatii Bucuresti, 2003. A debutat cu romanul Negrissimo, Editura Arc, Chisinau, 2003 (Premiul „Prometheusâ€� pentru debut al revistei Romania literara, Premiul de debut al Uniunii Scriitorilor din Republica Moldova). A editat corespondenta din exil a lui Al. Busuioceanu, Un roman epistolar al exilului romanesc, vol. I si II, Editura Jurnalul literar, Bucuresti, 2003, 2004), Poezia romaneasca din exil (antologie, prefata si note, Editura Institutului Cultural Roman, Bucuresti, 2006), Dictionarul General al Literaturii Romane (coautor, Editura Univers Enciclopedic, Bucuresti, 2004-2008).
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Displaying 1 - 17 of 17 reviews
June 20, 2022
Premisa a fost interesantă, dar conţinutul romanului uşor neverosimil. În primul rând, nu am auzit să fi existat caiete de cenzor în realitate. Dar, dacă ar fi existat sunt sigur că nu ar fi avut structură de jurnal, ci mai degrabă ar fi cuprins notiţe strict legate de sarcinile zilnice. Mi se pare greu de crezut că cineva de la Cenzură s-ar fi expus scriind lucruri personale într-un caiet care nu-i aparţinea în totalitate. Şi totuşi, chiar dacă ar fi existat şi chiar dacă ar fi luat formă de jurnal, gândurile şi percepţiile protagonistei nu par a fi în totalitate ale ei. Îţi dai seama că ce e scris nu vine de la personaj, ci de la autoarea care încearcă să se pună în locul personajului. Caietul/romanul (unul, presupus salvat din multe altele, aleatoriu) cică redă impresii strânse timp de şase luni, dar într-un asemenea interval de timp nu cred că-şi structurează cineva gândurile astfel încât un cititor improbabil să înţeleagă, din mai multe perspective, fenomenul cenzurii.
January 13, 2023
Who am I kidding, I'm not going to finish this. It's an interesting premise but a slog fest that I'm just not that interested in. Perhaps I'd grind my way through a couple of hundred pages but at over 400 I'll find another way to entertain myself because this is not entertaining. Interesting point of view? Perhaps. The premise of the book also allows for poor writing as it's just a notebook, making it even more tedious.
March 12, 2023
A journey through the full arc of censorship under Romania's Communist rule.
This is an extremely fascinating work. What's most interesting and cool about it is coming away with a vision of what feels like a real woman, and with an understanding of the surprising cultural advantages of censorship - surprising to a Western reader, anyway.
This is an extremely fascinating work. What's most interesting and cool about it is coming away with a vision of what feels like a real woman, and with an understanding of the surprising cultural advantages of censorship - surprising to a Western reader, anyway.
July 5, 2024
It isn’t until nearly the end of Liliana Corobca’s semi-experimental novel, The Censor’s Notebook, that we find out what lead to Filofteia Moldovean becoming (as she calls herself) the best and most perfect censor in Romania. Before Filofteia reveals her past to anyone who might be reading her notebook, we are taken on an extended tour inside the mind of a woman who has trained herself to see every phrase, every allusion, every word, as a potential attack against the Socialist Republic of Romania. It’s curious (but perhaps not surprising) that Filofteia is either unwilling or unable to turn that fierce eye on her own shortcomings. The Censor’s Notebook is painstakingly translated by Monica Cure, even down to Filofteia’s invented words...
Read the rest of my review at . I received a free copy of this book from the publisher via Edelweiss, for review consideration.
Read the rest of my review at . I received a free copy of this book from the publisher via Edelweiss, for review consideration.
December 11, 2022
Surprinzător roman, credeam că e chiar jurnal ,-)
September 6, 2024
The novel has a fascinating premise and a promising structure, with a multilayered narrative that blurs the lines between reality and fiction. Although some may find it frustrating, I appreciated the decision to leave certain questions unanswered—like the document detailing the cancellation of travel approval for notebook smuggler Emilia Codrescu followed by her (too?) vehement denial of such an event. In real life, especially under the control of a dictatorship, loose ends rarely, if ever, are neatly tied. Codrescu’s character, an ominous, faceless deus ex machina who sets events in motion and watches them unfold, brilliantly symbolizes a controlling state. Salvatore Zaharescu-Zu(c)kerman had the potential to evoke a similar impression but was, unfortunately, underutilized and seemingly abandoned midway through the novel.
Something indeed shifted about halfway through the book. Whether it was lost in translation, fell victim to editing (clearly, the publishing house lacked masterful censors haha), or if I missed the author’s intentions entirely, the narrative took an unexpected turn. What started as notes that felt eerily like an authentic journal of a trained communist, suddenly turned into a bizarre hallucination about a secret lodge controlling global censorship and later into a memoir. The latter felt like an unnecessary addition; there were ample opportunities to give Filofteia the Censor a backstory without undermining the meticulously constructed authenticity. This could have worked had she experienced some kind of breaking point—if she had begun questioning the state, the system, or the people around her, or if she had shown a sudden desire to provoke or rebel. However, she remained the same pragmatic, loyal, and logical representative of the system. Was the reason for the shift her disappointment at not being the director’s (the aforementioned Zuckerman’s) favorite? It was all too subtle and unclear, leading to confusion rather than clarity.
Character development is another area of disappointment. One review mentioned that Zaharescu was a Securitate agent, with the discovery coming too late to matter. Maybe he was—probably—but did it have any real impact? Aside from a brief stint in an undesirable role, Filofteia never faced any serious consequences for anything; on the contrary, she was promoted. Signals and threats regarding her potentially regaining custody of her son occur off-screen and in the foreword, stripping them of any real impact. Filofteia herself feels like a caricature, from her absurd name to her depiction as unattractive, unlovable, and dull. Judging by the notes, the intention might have been to contrast her unimpressive exterior with nuanced thoughts on paper, but the deprecation went too far, reducing her to a one-dimensional and predictable figure.
Despite these shortcomings, I find Liliana Corobca to be an intriguing writer, and I plan to explore her other works.
Something indeed shifted about halfway through the book. Whether it was lost in translation, fell victim to editing (clearly, the publishing house lacked masterful censors haha), or if I missed the author’s intentions entirely, the narrative took an unexpected turn. What started as notes that felt eerily like an authentic journal of a trained communist, suddenly turned into a bizarre hallucination about a secret lodge controlling global censorship and later into a memoir. The latter felt like an unnecessary addition; there were ample opportunities to give Filofteia the Censor a backstory without undermining the meticulously constructed authenticity. This could have worked had she experienced some kind of breaking point—if she had begun questioning the state, the system, or the people around her, or if she had shown a sudden desire to provoke or rebel. However, she remained the same pragmatic, loyal, and logical representative of the system. Was the reason for the shift her disappointment at not being the director’s (the aforementioned Zuckerman’s) favorite? It was all too subtle and unclear, leading to confusion rather than clarity.
Character development is another area of disappointment. One review mentioned that Zaharescu was a Securitate agent, with the discovery coming too late to matter. Maybe he was—probably—but did it have any real impact? Aside from a brief stint in an undesirable role, Filofteia never faced any serious consequences for anything; on the contrary, she was promoted. Signals and threats regarding her potentially regaining custody of her son occur off-screen and in the foreword, stripping them of any real impact. Filofteia herself feels like a caricature, from her absurd name to her depiction as unattractive, unlovable, and dull. Judging by the notes, the intention might have been to contrast her unimpressive exterior with nuanced thoughts on paper, but the deprecation went too far, reducing her to a one-dimensional and predictable figure.
Despite these shortcomings, I find Liliana Corobca to be an intriguing writer, and I plan to explore her other works.
September 29, 2022
Censor’s Notebook
Like World War II, the Eastern European Communist regimes continue to offer fascinating glimpses into secretive practices it would be hard to make up. In “The Censor’s Notebook� Liliana Corobca puts a character named after herself in the center of the discovery of a notebook belonging to one of Romania’s powerful literary censors.
This was a thing in Romania under Nicolae Ceaușescu. All books had to be vetted by censors, who painstakingly altered anything that might not reflect Romanian Communist ideology. The censors—mostly women—were highly educated and loved literature. They were a also in the enviable position of being able to read foreign literature before they censored it to pieces and attributed it to a select group of Romanian writers. The painstaking notebooks kept by the censors were immediately destroyed when the Ceausescu regime fell.
Except for one.
In 1974, Emilia Codrescu, the head of the censorship office, managed to arrange a visit to her German husband and never returned to Romania. As the person responsible for destroying every single censor’s notebook once they were filled, she managed to slip one into her bag and take it with her. Now, a Museum of Communism is being built and Liliana is following up on the possibility that Emilia has the only existing censor’s notebook. Through what still seem to be undercover methods, the notebook lands on Liliana’s desk in Bucharest.
What it reveals is an inhuman system of labor, with hundreds of manuscripts to be read and censored, threatening penalties and inside knowledge of how the national conscience is formed. Censors read foreign literature so have a more developed sensibility about the rest of the world and their role in smothering the truth. The mental health strain, especially on the censor whose notebook Emilia stole, is enormous.
This is a lot to unpack, and like so much that happened in that secret world, hard to imagine. The paranoia, stress, guilt, and fear makes for tense reading. “The Censor’s Notebook� is a hard book to get through. We can talk about the esthetic reason for Liliana Corobca to make herself the recipient of the notebook, but as a device it’s weak. I’m not always a fan of authors putting themselves in the center of their fictional works� action, and here I wish Corobca has created a completely fictional curator of the Communist Museum.
It’s great that publishers such as Seven Stories Press are bringing literature from countries like Romania to the English-speaking market. Thanks to them and Edelweiss for digital access to this title!
Like World War II, the Eastern European Communist regimes continue to offer fascinating glimpses into secretive practices it would be hard to make up. In “The Censor’s Notebook� Liliana Corobca puts a character named after herself in the center of the discovery of a notebook belonging to one of Romania’s powerful literary censors.
This was a thing in Romania under Nicolae Ceaușescu. All books had to be vetted by censors, who painstakingly altered anything that might not reflect Romanian Communist ideology. The censors—mostly women—were highly educated and loved literature. They were a also in the enviable position of being able to read foreign literature before they censored it to pieces and attributed it to a select group of Romanian writers. The painstaking notebooks kept by the censors were immediately destroyed when the Ceausescu regime fell.
Except for one.
In 1974, Emilia Codrescu, the head of the censorship office, managed to arrange a visit to her German husband and never returned to Romania. As the person responsible for destroying every single censor’s notebook once they were filled, she managed to slip one into her bag and take it with her. Now, a Museum of Communism is being built and Liliana is following up on the possibility that Emilia has the only existing censor’s notebook. Through what still seem to be undercover methods, the notebook lands on Liliana’s desk in Bucharest.
What it reveals is an inhuman system of labor, with hundreds of manuscripts to be read and censored, threatening penalties and inside knowledge of how the national conscience is formed. Censors read foreign literature so have a more developed sensibility about the rest of the world and their role in smothering the truth. The mental health strain, especially on the censor whose notebook Emilia stole, is enormous.
This is a lot to unpack, and like so much that happened in that secret world, hard to imagine. The paranoia, stress, guilt, and fear makes for tense reading. “The Censor’s Notebook� is a hard book to get through. We can talk about the esthetic reason for Liliana Corobca to make herself the recipient of the notebook, but as a device it’s weak. I’m not always a fan of authors putting themselves in the center of their fictional works� action, and here I wish Corobca has created a completely fictional curator of the Communist Museum.
It’s great that publishers such as Seven Stories Press are bringing literature from countries like Romania to the English-speaking market. Thanks to them and Edelweiss for digital access to this title!
June 2, 2024
A Romanian, accountable for burning censors' notebooks, opts to steal one before fleeing the country in the 1970s. Decades later, she presents the notebook to Liliana Corobca, who uses it as inspiration to craft a compelling reflection on the challenges faced by writers under communist regimes across the Eastern Bloc, including Romania. The reflection is made through the lenses of those whose job was to censor books. This captivating exploration of the interplay between literature and censorship left me longing for further discussion. I couldn't be prouder, Liliana Corobca and Monica Cure - what a beautiful piece of art your fascinating tandem has given birth to!
December 31, 2022
This is a fictional diary of a censor of the State Directorate of Media and Printing in the communist (Ceaușescu) Romania. In the time of sensitivity readers and cancel culture the book on censorship reads as a warning as well as a historical fiction novel. Unfortunately, someone forgot to censor it for length, about 100 pages too long :)
February 13, 2023
Difficult to characterize, fascinating....a bit on the long side.
The main character is a goverment censor in Romania; her reflections can inform our thinking about government censorship and societal censorship that is going on in the U.S. currently.
The main character is a goverment censor in Romania; her reflections can inform our thinking about government censorship and societal censorship that is going on in the U.S. currently.
Read
September 20, 2024DNF / J'ai dû faire le choix difficile de laisser tomber cette lecture à la vénérable page 202. C'est une livre intéressant qui m'a beaucoup appris sur le rôle, en coulisse, des "censors" de la Roumanie des années 70. Rendue où j'étais, c'était assez!
December 3, 2023
I tried. Twice. DNF page 90/476.
February 27, 2024
2,5/5*
Pe la mijlocul anilor 2000 a apărut un film de acțiune în care juca Samuel L. Jackson, cu un titlu foarte high-concept și foarte sugestiv: Snakes on a Plane. Evident și foarte simplu de dedus, era despre niște „motherfucking snakes on a motherfucking plane!�, în vorbele legendare ale aceluiași Sam Jackson.
Cam așa și cu acest „Caiet de cenzor� al Lilianei Corobca, un roman despre un document fictiv aparținând unui lucrător al cenzurii comuniste. Și cam aici se opresc detaliile. Asta e descrierea cărții, what you see is what you get. Cartea se deschide cu un schimb (fictiv, dar foarte antrenant) de mailuri între autoare și o fostă lucrătoare (fictivă și ea) a cenzurii, presupusa autoare a caietului de cenzor care face obiectul romanului. Și de acolo lucrurile o iau direct în jos.
Pentru că până și existența caietelor de cenzori este un fapt neverificat, și pentru că dacă chiar au existat, niciunul nu s-a păstrat, efortul Lilianei Corobca e unul admirabil, dar în același timp lipsit de veridicitate, sau hai să zicem neverificabil. Ce a pus ea în cele 300+ pagini ale acestui caiet poate fi 100% adevărat sau 100% fals. Ce vă pot spune cu certitudine e că lectura e una foarte, foarte plictisitoare (cum era și de așteptat), informațiile sunt adesea fragmentare pentru că acest caiet e scos din contextul unui lung șir de caiete de cenzor aparținând autoarei fictive. Mostly e o dovadă a multelor frustrări pe care un cenzor le-ar fi putut acumula în ani de zile de procesat sute de mii de pagini de literatură pseudo-subversivă în folosul unui sistem care nu-i aprecia prea evident munca titanică.
Pasaje semnificative ca număr și lungime sunt dedicate colegelor de departament (descrieri ale formelor voluptoase, afinităților literare, vestimentare, sexuale ale acestora), detalii trunchiate legate de mișcări de personal interdepartamentale, interacțiunile ideologice cu șefii, salarii, volume de muncă, amantlâcuri inconsecvențiale, lista nimicurilor poate continua la nesfârșit... tot felul de nimicuri și balast prin care uneori am mai găsit zvâcniri de rebeliune aproape amuzante. Întrebarea e: dacă te înhami la un asemenea concept atrăgător, chiar cu așa ceva vrei să-i populezi conținutul? Simt că era loc de mai bine.
În rest, foarte multă atenție la detalii de formă, și prea puțină la detalii de conținut. Volumul mi s-a părut tern și arid, în ciuda faptului că înțeleg motivul pentru care există.
Pe la mijlocul anilor 2000 a apărut un film de acțiune în care juca Samuel L. Jackson, cu un titlu foarte high-concept și foarte sugestiv: Snakes on a Plane. Evident și foarte simplu de dedus, era despre niște „motherfucking snakes on a motherfucking plane!�, în vorbele legendare ale aceluiași Sam Jackson.
Cam așa și cu acest „Caiet de cenzor� al Lilianei Corobca, un roman despre un document fictiv aparținând unui lucrător al cenzurii comuniste. Și cam aici se opresc detaliile. Asta e descrierea cărții, what you see is what you get. Cartea se deschide cu un schimb (fictiv, dar foarte antrenant) de mailuri între autoare și o fostă lucrătoare (fictivă și ea) a cenzurii, presupusa autoare a caietului de cenzor care face obiectul romanului. Și de acolo lucrurile o iau direct în jos.
Pentru că până și existența caietelor de cenzori este un fapt neverificat, și pentru că dacă chiar au existat, niciunul nu s-a păstrat, efortul Lilianei Corobca e unul admirabil, dar în același timp lipsit de veridicitate, sau hai să zicem neverificabil. Ce a pus ea în cele 300+ pagini ale acestui caiet poate fi 100% adevărat sau 100% fals. Ce vă pot spune cu certitudine e că lectura e una foarte, foarte plictisitoare (cum era și de așteptat), informațiile sunt adesea fragmentare pentru că acest caiet e scos din contextul unui lung șir de caiete de cenzor aparținând autoarei fictive. Mostly e o dovadă a multelor frustrări pe care un cenzor le-ar fi putut acumula în ani de zile de procesat sute de mii de pagini de literatură pseudo-subversivă în folosul unui sistem care nu-i aprecia prea evident munca titanică.
Pasaje semnificative ca număr și lungime sunt dedicate colegelor de departament (descrieri ale formelor voluptoase, afinităților literare, vestimentare, sexuale ale acestora), detalii trunchiate legate de mișcări de personal interdepartamentale, interacțiunile ideologice cu șefii, salarii, volume de muncă, amantlâcuri inconsecvențiale, lista nimicurilor poate continua la nesfârșit... tot felul de nimicuri și balast prin care uneori am mai găsit zvâcniri de rebeliune aproape amuzante. Întrebarea e: dacă te înhami la un asemenea concept atrăgător, chiar cu așa ceva vrei să-i populezi conținutul? Simt că era loc de mai bine.
În rest, foarte multă atenție la detalii de formă, și prea puțină la detalii de conținut. Volumul mi s-a părut tern și arid, în ciuda faptului că înțeleg motivul pentru care există.
March 28, 2020
"Cu niste bice la fund v-as invata eu sa scrieti, condimente arheologice ce sunteti! Parca nu stiu eu ca poetii sunt oameni ca toti oamenii! Numai dintr-o ingamfare excesiva, ca sa demonstreze ca nimeni nu-i ca ei, sunt mai presus de toti si de toate pe lumea asta, scriu asa de intortochet si antiinteligibil! De parca isi propun cu orice pret sa nu-i inteleaga nimeni, facand din asta un act de eroism. Viermi decadenti! "
Nu sunt o cititoare avida a literaturii romane din prezent, si nici nu m-am infundat in prea multe carti din perioada comunismului in tara noastra, dar a fost incredibil de satisfacator pentru mine sa termin aceasta care- si nu doar pentru ca mi-a luat 4 luni.
Romanul o urmareste pe cenzorita Filofteia Moldovean, un personaj cu o poveste mai interesanta decat crezi, insa nu parea ca fusese creata mai mult decat pentru a fi o unealta prin care sa se zica povestea cenzurii romanesti. Mai sunt prezentate cateva alte personaje, dar care e imbina cu fundalul majoritatea timpului.
Se vede ca autoarea a facut extrem de multe studii pe topicul cenzurii si s-a priceput imens de bine de a prezenta o fatada adevarata si concreta a acestui fenomen in comunism, si mi-a placut foarte mult acest aspect al cartii, necunoscand foarte mult despre aceasta institutie misterioasa. Desi nu exista o poveste lineara, concreta, o urmarim pe cenzorita prin diverse ipostaze ale sale, explorand societatea politica si statutul literaturii in anii de atunci. Singura parte a povestii propriu-zise a fost in capitolul "Loja" (sper sa nu gresesc), cand, destul de random, naratoarea ajunge cumva intr-un 'cult' format din alti adepti pasionati ai mesajului si scopul cenzurii in intreaga lumea- a fost o partea putin dubioasa, fortata, nu prea inteleageam cum mai exact a ajuns ea acolo si ce mai exact i se intampla. Finalul, insa, a fost satisfacator si a fost interesant sa vad personajul pe care il urmaream de atata timp intr-un moment mult mai disperat si emotionat psihic.
Overall, recomand cartea asta- topicul este incredibil de interesant, si autoarea este o experta in a il introduce in acest roman. Desi cam greoaie si densa pe alocuri, iti capteaza atentia destul de consistent si povestea Filofteiei te lasa destul de afectat. Sunt curioasa sa citesc si celelalte romane ale autoarei :)
Nu sunt o cititoare avida a literaturii romane din prezent, si nici nu m-am infundat in prea multe carti din perioada comunismului in tara noastra, dar a fost incredibil de satisfacator pentru mine sa termin aceasta care- si nu doar pentru ca mi-a luat 4 luni.
Romanul o urmareste pe cenzorita Filofteia Moldovean, un personaj cu o poveste mai interesanta decat crezi, insa nu parea ca fusese creata mai mult decat pentru a fi o unealta prin care sa se zica povestea cenzurii romanesti. Mai sunt prezentate cateva alte personaje, dar care e imbina cu fundalul majoritatea timpului.
Se vede ca autoarea a facut extrem de multe studii pe topicul cenzurii si s-a priceput imens de bine de a prezenta o fatada adevarata si concreta a acestui fenomen in comunism, si mi-a placut foarte mult acest aspect al cartii, necunoscand foarte mult despre aceasta institutie misterioasa. Desi nu exista o poveste lineara, concreta, o urmarim pe cenzorita prin diverse ipostaze ale sale, explorand societatea politica si statutul literaturii in anii de atunci. Singura parte a povestii propriu-zise a fost in capitolul "Loja" (sper sa nu gresesc), cand, destul de random, naratoarea ajunge cumva intr-un 'cult' format din alti adepti pasionati ai mesajului si scopul cenzurii in intreaga lumea- a fost o partea putin dubioasa, fortata, nu prea inteleageam cum mai exact a ajuns ea acolo si ce mai exact i se intampla. Finalul, insa, a fost satisfacator si a fost interesant sa vad personajul pe care il urmaream de atata timp intr-un moment mult mai disperat si emotionat psihic.
Overall, recomand cartea asta- topicul este incredibil de interesant, si autoarea este o experta in a il introduce in acest roman. Desi cam greoaie si densa pe alocuri, iti capteaza atentia destul de consistent si povestea Filofteiei te lasa destul de afectat. Sunt curioasa sa citesc si celelalte romane ale autoarei :)
September 10, 2023
Cartea pornește de la o premisă foarte bună (un caiet al unui cenzor comunist) și reușește să te fascineze prin felul in care Filofteia Moldovean, personajul principal, își dezvăluie necenzurat gândurile cele mai intime și toate întrebările sale existențiale și ideologice. Aflăm detalii destul de interesante despre viața unui cenzor în acele vremuri în România. Cu toate acestea, in a doua parte a cărții, se rupe ritmul poveștii și există un capitol pe care îl consider total nenecesar și care te face să termini mai greu de citit ultimele pagini. De aceea, îi dau doar 4☀�.
November 21, 2023
"In ziua de azi realitatea e un text bine cenzurat."
Un roman despre comunism, dar dintr-o perspectiva complet noua, a unui functionar al sistemului, cenzor in DGPT la Directia Literatura. Si ce atmosfera orweliana se desprinde din insemnarile tovarasei cenzor. Citind "caietul" ei mi-am amintit de Winston Smith care noteaza despre colegul lui de la Ministerul Adevarului, ce era implicat in scrierea unui nou dictionar al novlimbii engleze: "He is too inteligent. He sees to clearly and speaks too plainly".
Un roman despre comunism, dar dintr-o perspectiva complet noua, a unui functionar al sistemului, cenzor in DGPT la Directia Literatura. Si ce atmosfera orweliana se desprinde din insemnarile tovarasei cenzor. Citind "caietul" ei mi-am amintit de Winston Smith care noteaza despre colegul lui de la Ministerul Adevarului, ce era implicat in scrierea unui nou dictionar al novlimbii engleze: "He is too inteligent. He sees to clearly and speaks too plainly".
March 22, 2025
Mi-a plăcut mult abordarea poveștii în ramă, prin care am descoperit rezultatele cercetărilor autoarei cu privire la activitatea de cenzură. Am putut să mă pun în locul unei astfel de persoane și să înțeleg că uneori nu e vorba doar despre a fi extrem de ideologizat, dar uneori este vorba tocmai despre asta pentru a putea supraviețui. O perspectivă utilă asupra acestei lumi, transpunere credibilă și plină de viață.
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