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Andrei Codrescu: the Multi-Identity Man

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Andrei Codrescu: the Multi-Identity Man Bulletin of the Transilvania University of Bra şov Series IV: Philology and Cultural Studies • Vol. 4 (53) No.1 - 2011 ANDREI CODRESCU: THE MULTI-IDENTITY MAN Mihai ION 1 Abstract: The main goal of the present study is to sketch the multi-faceted personality of the Romanian-American writer Andrei Codrescu. Significant aspects derived from both his biographical background and interviews to various literary magazines will help in determining the author’s profile: a person released from the obsession of a unique cultural and linguistic identity and fully integrated into the new context of a global culture. Keywords: exile, cultural and linguistic identity, heteronyms, lyric masks. 1. Biographical Guidelines and musicians active in the 50’s and 60’s, who drew inspiration from Surrealism and Andrei Codrescu (b. Perlmutter), a the contemporary avant-garde art Romanian-American poet, novelist, essayist movements. As part of this artistic circle, and translator of Jewish origin, was born on he starts publishing in one of the School’s December 20, 1946 in Sibiu, Romania. mimeographed magazines ( The World ), in After having graduated from “Gheorghe parallel with his literary contributions to Laz ăr” High School in his native town Work , a ‘mainstream’ magazine. This early (1965), he leaves the country along with his experience as an American writer is mother, as part of a ransom program charmingly evoked by Codrescu in an initiated by the Israeli government. interview given to Constantin Pricop: Following very brief relocations to Rome “The World was the monthly magazine and Paris, the writer eventually settles in the published by St. Marks Poetry Workshop United States, where he starts learning in New York, the main publication of New English. For a couple of years he will live in York School movement. It was edited by New York City, where he meets the most Anne Waldman and Lewis Warsh, with the prominent figures of contemporary help of my friend and mentor, Ted American poetry: Ted Berrigan, Robert Berrigan. Work was a ‘serious’, quarterly Creeley, Joel Oppenheimer, Paul magazine, promoting ‘academic’ poets, Blackburn, Anne Waldman, Lewis Warsh, which made “Tristan Tzara’s” unpublished etc. After having grasped the basics of the poems to be taken seriously. At The World adopted language, Codrescu becomes we used to have a ludicrous attitude and acquainted with the artistic entourage seized any opportunity to defy the around the New York School , an informal mainstream culture, represented by Work.“ group of American poets, painters, dancers (Pricop, Sensul diferen ţei... ) 1 Dept. of Foreign Languages, Transilvania University of Bra şov. 130 Bulletin of the Transilvania University of Bra şov. Series IV • Vol. 4 (53) No.1 - 2011 In 1970 Codrescu moves to San Francisco Romanian Revolution and the miners’ “where the psychedelic revolution, the invasion into the Capital, as well as Pacific Ocean and Zen meditation rendered touching episodes depicting his encounter the contemporary experiences more with the native places, the last surviving mystical” (Pricop, Sensul diferen ţei... ). Here, relatives, or few of his former schoolmates. he becomes a regular participant in poetry In the Preface to the Romanian edition, reading sessions at Coffee Gallery, together Vladimir Tism ăneanu notices: “this book with Tom Veitch, Terry Patten, Michael captures the gloomy political intrigues of Palmer, Aram Saroyan, Pat Nolan, etc. those who have unfairly derived benefits In 1974, the writer changes residence to from the Revolution, as well as that Monte Rio, in northern California. Yet— mixture of heroism, innocence and interestingly enough—he fails once again to desperation that made possible the miracle settle down, as if predestined to perpetual of December 1989.” exile in the grand scheme of Life. There follows a stay in Baltimore over a 2. “I’m an amalgam, a crossbreed…” span of seven years, from 1977 to 1984. During this period, he contributes with an Andrei Codrescu started publishing opinion column to The Baltimore Sun , and poetry under the pen-name Andrei Steiu, teaches literature at Johns Hopkins first in his native town (Tribuna Sibiului ), University. Since 1983, Codrescu has been and then in Bucharest ( Luceaf ărul , Gazeta a regular commentator on National Public literar ă). It is only in 1967—during his stay Radio’s news program “All Things in Italy—that he first signs with his current Considered”. pseudonym a poem published in Revista In 1984, the author moves to Baton Scriitorilor Români . It will not be long until Rouge, where he becomes a McCurdy the poet will create fictitious biographical Distinguished Professor of English and ‘masks’ in the manner of Pessoa: Comparative Literature at Louisiana State “I conceived a feminist and traditionalist University. Apart from this, he works as poet, Maria Parfenie, who was published the editor of the online magazine Exquisite both in exile—in magazines such as Corpse: A Journal of Letters & Life . Revista Funda ţiilor Regale, Limite, Destin According to his own confession, “the —and in the country, in M. R. South was, in a way, for me a return to the Paraschivescu’s Luceaf ărul . Even Andrei roots, as here I have found the Balkans’ Codrescu, who was somehow more love of life and southern indolence, ‘vanguard’ than Maria Parfenie, published associated with a particular attachment for in these magazines. The poems were very the vernacular language, exhausted in most ‘beautiful’, written in a classical, crystal- other regions by television and urban like language, with nothing colloquial or discomfort.” (Manolescu, 178) informal. […] They were dark, regretful, The writer revisits his native country on sad poems, in memoriam for my two dramatic occasions — in December adolescence, country, and Romanian 1989 and June 1990, respectively — as a language.” (Pricop, Sensul diferen ţei... ) reporter for National Public Radio and Yet “regrets” will shortly come to an end ABC News. These journeys back home with the first lyric productions in the will result in a much acclaimed adopted language — as the author confesses autobiographical book, The Hole in the with a touch of humor: “my first poems in Flag (1991), which includes a vivid English were written straight on the arms of coverage of the tensions during the these girls that I met at Wayne State M. ION: Andrei Codrescu: The Multi-identity Man 131 Cafeteria back in Detroit”. The writer’s linguistic and cultural environment, and “ludicrous attitude” of his early American confronted with the necessity to recreate experience is still visible in the bookish play himself. This process of identity mutation of projecting the self in the biography of is actually deep-rooted in the author’s own some imaginary poets, under whose names biography — whose Jewish origin had to Codrescu publishes several poem cycles: be concealed in the public space of “Julio Hernandez ‘is a Puerto Rican poet in communist Romania. The carnival-like detention, born in the East Side of New play of lyric masks was intended to York in 1967’ […]; Peter Boone is ‘an ex- undermine the obsession of a unique beatnik who, in Vietnam or somewhere else, identity and, equally important, to became a sort of mystic fascist’ […]; Alice legitimate a ‘multi-identity’ ego: Henderson-Codrescu, ‘whose name I “When I conceived Maria Parfenie, I was shamelessly borrowed from my wife, is the already in favor of self-invention. I was born man turned into a woman—maybe the most Andrei Perlmutter, I became Andrei Steiu unknown woman there has ever existed’; (with the aid of a ‘natural’ anti-Semitic state and Calvin Boone is ‘a Dominican monk, of mind at home, which would have frowned Peter’s relative’.” (Manolescu, 179) upon a printed ‘Perlmutter’), and after that, By means of these heteronyms , Andrei in Italy, I became Codrescu. […] My other Codrescu “charts a vast existential and inventions (not only Maria Parfenie, the cultural territory, located at the junction Romanian poetess, but also the American between Europe and America, between the poets Julio Hernandez, Peter Boone, Alice liberalism of the 60’s and the recession of Henderson-Codrescu, ‘Tristan Tzara’) were, the next decade”. (Corni ş-Pop, Incursiuni on the one hand, the expression of a skilful în noi limbaje... ) schizophrenia, and on the other hand the Interesting and symptomatic of the school where I’ve learned how to imagine manner in which the exiled writer relates the ‘others’: A kind of dramaturgy, if you to his own identity is the fact that Andrei like, — characters of my auto-pedagogical Codrescu pushes this game of theater. As for my intention to remain a psychological doubling to the ‘fraudulent’ Romanian author in America — it doesn’t limit of substituting himself with the exist! My only intention was to be a poet — founder of Dada movement, by attributing how and of what expression, I didn’t know. I Tzara the paternity of several would-be think I wanted to be both a Romanian and an ‘unpublished’ poems: American poet.” (Pricop, Sensul diferen ţei... ) “I also published in Work a poem cycle ‘by This sort of nonchalance in front of Tristan Tzara’, which had been written by ‘otherness’—equally favored by the me in English and then translated into destination of his exile (i.e. hippie America Romanian. Tristan Tzara’s ‘unpublished’ of the 60’s) and the subsequent evolution poems were much debated by the critics. of society toward an age of plurilingualism The aim, I guess, behind this ‘translations’ and multiculturalism — facilitated the was to bridge the gap between the writer’s access to, and ascension within, languages, to find a way of justifying my the American cultural environment: lay knowledge of English.” (Pricop, Sensul “For me, my only fortune was that I wasn’t diferen ţei... ) American, that I embodied differences, Beyond the ludicrous aspect of this oddity, and exoticism.
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