Dan Lungu

Quick Facts

Full Name	Dan Lungu
Occupation	Poet
Date Of Birth	Sep 15, 1969(1969-09-15)
Age	55
Birthplace	Botoșani
Country	Romania
Birth City	Botoșani County
Horoscope	Virgo

Dan Lungu Biography

Dan Lungu is one of the most popular and richest Poet who was born on September 15, 1969 in Botoșani, Botoșani County, Romania. With its extensive first-person narrative Sint O baba Communista! Lungu examines the subject of nostalgia and its dangers. Through flashbacks and introspection The novel reveals the anxiety and confusion in Emilia (Mica) Apostoae an elderly woman whose desire to remember her youth and childhood she experienced under the communist regime makes her forget negative memories of the time. As per Mihaela Ursa The novel is based upon the two “extremely productive” sources, “literature about childhood (fed by the tremor of retrospection) and the literature of ‘the innocent’ (of picaresque extraction).” According to Soviany’s perspective the novel is a recollection of the work from Moldovan writer Vasile Ernu, as well as elements from classic works of Romanian writing (from the work of Ion Creanga’s Childhood Memories to Marin Preda’s Morometii) While Axinte sees it as is a synthesis of Lungu’s storytelling techniques, which are infused with “a kind of discourse objectification that has rarely been frequented in recent times.” Ciotlos insists on the novel’s attempt to rewrite communist stereotypes. He claims that Emilia’s early biography, and in particular her transition from rural to urban centers, incorporates the theme of socialist realist literature (“the prose work was produced but were discarded in those years”) and the elements of narrative language include the various forms of speech that are subject to ideological pressure such as to the “parental and always costly discussions” that confront politically appointed supervisors and their nonconformist staff to subversive versions of Romanian humor as well as that of the “wooden tongue” of official speeches. In between these fragments of real speech are Lungu’s personal observations that prompt Ciotlos to claim that “[…] This is the place where the novel’s originality is evident, in those rare instances where the author is able to make an intervention. If he blocks the stream of speech to make humorous remarks, or when it is a joke that spans multiple chapters, or in which instead of diacritics it is able to place on the front cover a grand as well as a Soviet 5-cornered star.”

In the same way Dan Lungu’s writings incorporate a variety of characteristics that are deemed postmodern. This includes Lungu’s humorous way of tackling cliches and popular ideas, a method that according to Ursa the author, leads to “cultural short-circuits”. The prose of Lungu is also put in relation to the controversy over what is considered to be the Postmodern characteristics of Optzecisti, authors who came out a decade prior to Lungu’s, yet whose work is considered to be influential on the emerging literary scene. Lungu is the follower of the Neorealist group of the Optzecisti and is viewed in the eyes of Moldovan theorist Iulian Ciocan as not being than “the Postmodern paradigm”. In the year 2000 Ciocan stated: “Dan Lungu’s debut is remarkable because the young writer does not frantically embrace the Postmodern technique and ontology, but uses them only to the measure where they lend more authenticity to his prose.” The same argument is presented by Cristian Teodorescu, who is among the Optzecisti who compares Lungu’s storytelling strategies with those devised prior to 1989 and by Mircea Nedelciu. The commentator on the relationship between Lungu and an overall stylistic and historical setting, Burta-Cernat said: “the prose writers of the newer category, the ‘social anthropologists’, do not aim to reinvent the world by capturing it within fabulous scenarios, but merely to describe it. They operate with a lens, a microscope […], avid for describing its textures and the most anodyne of its details.” The “minimalist” tendency, she pointed out, is within the 1980 writers–Nedelciu, Teodorescu, Sorin Preda, Ioan Grosan– as well as Lungu’s coworkers Stoica, Teodorovici, Radu Aldulescu Andrei Bodiu and Calin Torsan. An alternative view is offered by Cristea Enache, who regards Dan Lungu as one of those authors who rejected the two “the endless ironical games” of the 1980s generation as well as that “harshness of 1990s naturalism” and trying to avoid “aesthetic compromise”.

In 2003, Lungu published three books of essays on literary theory and microsociology, titled respectively Povestirile vieții. Teorie și documente (“Life Stories. Theories and Documents”), Construcția identității într-o societate totalitară. O cercetare sociologică asupra scriitorilor (“The Construction of Identity in a Totalitarian Society. A Sociological Study on Writers”) and Cartografii în tranziție. Eseuri de sociologia artei și literaturii (“Transitional Cartographies. Essays of Art and Literary Sociology”). Also that year came a second work in drama, Nuntă la parter (“Wedding on the Ground Floor”), and a reprint of Cheta la flegmă under the title of Proză cu amănuntul (“Retail Prose”), which also featured a dossier of critical commentary from all sides of the literary scene and an account of his visit to Transnistria, a breakaway region of Romania’s neighbor Moldova, governed as an unrecognized state. They were followed in 2004 by the novel Raiul găinilor. A second volume of short stories, titled Băieți de gașcă (Romanian for both “Boys in a Gang” and “Good Fellows”), saw print in 2005. After joining fellow Club 8 member Gheo in authoring a study of social history and microsociology, investigating impact of communist rule on Romanian women, published in 2008 as Tovarășe de drum. Experiența feminină în comunism (“Female Fellow Travelers. Female Experience under Communism”), Lungu returned to fiction with the 2009 novel Cum să uiți o femeie (“How to Forget a Woman”).

Writing in 2005, French reviewer Alexandre Fillon argued that Raiul găinilor proved a “hilarious” read, whose plot “says a lot about the Romania of yesterday and of the present.” However, he also wrote that the work “did not receive critical unanimity”. In contrast, Terian defines the reaction of Romanian reviews as “virtually unanimous adhesion”.

The first book bearing Lungu’s signature was printed by Editura Junimea in 1996: an e-book of poetry. It was titled Muchii (“Edges”). His short stories, such as Buldozeristul (“The”The Bulldozer Operator”) which was the recipient of the Editura Nemira prize for 1997 was printed in a variety of places in the last decade of the 1990s. Lungu also began his career as a dramatic actor, his work was included within two collections of the young Romanian theater. One of these works is the 1995 play Lectie. There’s a lot of things to like about it (“A Lectie. or something like A Lesson. Or Something Like”) which was originally performed in Bucharest’s Green Hours fringe theater under the title of Cu cutitul the os (“A Knife Cut to the Bone”) The second of these texts, released at the end of 1996 was titled Vinovatul, sa faci un pas înainte (“Will the Guilty Man Make One Step forward”). After making his debut as an editor in short stories in 1999 with the book Cheta la flegma, he often published new works of literary fiction and analysis throughout the following years. In 2001, and between 2002, he was appointed as the editor in chief of Timpul.

Dan Lungu Net Worth

Dan Lungu is one of the richest Poet from Romania. According to our analysis, Wikipedia, Forbes & Business Insider, Dan Lungu 's net worth $5 Million. (Last Update: December 11, 2023)

Dan Lungu (Romanian pronunciation: [dan ‘luNGgu]; born on September 15th 1969) is a Romanian novelist short story author, poet and dramatist. He is also well-known as sociologist and literary theorist. Awarded praise from critics for his short story collection Cheta la flegma (“Quest for Phlegm”) as well as the novels Raiul gainilor (“Chicken Paradise”) and Sint o baba comunista! (“I’m an Communist Biddy! “), he is also among the most successful writers to emerge in post-1990 Romanian literature. The literary universe of Lungu that consists of “microsocial” images of life under communist rule and later during the transitional period, bridges a kind that combines Neorealism and Postmodernism. A lot of times, he is included in writers who signed their first major contracts with the Polirom publisher, he’s also considered to be a distinct voice from the province he grew up in, the town of Iasi.

Lungu had a love of writing as a child however, he began his literary career only in the 1990s. He was in 1996 when he joined others from Iasi founded the Literary Society Club 8, and he was later regarded as the main theorist. Some of those who attended the group in the subsequent period were writers from various schools, including Constantin Acosmei, Serban Alexandru, Radu Andriescu, Michael Astner, Emil Brumaru, Mariana Codrut, Gabriel Horatiu Decuble, Radu Pavel Gheo, Florin Lazarescu, Ovidiu Nimigean Antonio Patras, Dan Sociu and Lucian Dan Teodorovici.

Povestirile vieții, Lungu’s scientific study of 2003, also marks his preoccupation with oral history as a path to investigating Romania’s communist past, in particular the 1965-1989 regime of Nicolae Ceaușescu. Paul Cernat commends the work for breaking with the pattern of similar post-1989 recoveries, which mainly focus on interviews with political personalities. In contrast, Lungu’s book centers on three study cases from working class environments—Florentina Ichim, Vasile Ariton and Petre Jurescu—whom the regime took pride in claiming were its support base. Their retrospective images of the era vary significantly, fluctuating between nostalgia and virulent anti- communism. However, all three witnesses recall having themselves resorted to alternative and illicit mechanisms of survival or self-promotion, in particular theft and political corruption. In his commentary on the interviews, Lungu concluded that, in some cases, the image of workers’ lifestyles as offered by the propaganda apparatus was real, “contrary to our expectations”. He added, to Cernat’s agreement: “Overturning that which was officially stated during the epoch is not indicative of the real state of things and only drags us down into another ideology […]. That is why we have said: back to the facts!” In his review of the book, literary critic Dan C. Mihăilescu resonated with such observations, noting their revelatory aspect: “once confronted with the accounts […], I convinced myself once and for all that the things which, under Ceaușism, I could still believe united us into a solidarity of suffering, are as false as can be. That is, even though we waited in grueling queues, in the same cold, for the same food rations, an ocean existed between the proletariat […] and the intellectuals, between ‘base and superstructure’. We were simply put two worlds, not just figuratively, but also effectively. There was nothing for us to sell and steal, whereas they had access to the circuits of theft, to the web of programmed lawlessness.”

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Among the diverse accounts in Tovarășe de drum, Burța-Cernat singles out those of Babeți, who recalls the importance tote bags had for her family during two decades of communism, and Bittel, who speaks about the ideal female cook, as “the queen of sarmale”. She is however critical of the fact that such a contribution was initiated by men, arguing that this impinges on its merits: “given the way in which they write here, the ladies invited to partake in this collective project leave the impression that they are striving to fall in line with the rules of a game, […] to confirm […] the already consolidated idea about them: the idea of difference—much too essentialist (and it is biological essentialism that is involved here)—, the idea that […] they see the world, politics included, different from humanity’s masculine majority.” As part of this comment, she also argues that the book is excessively indebted to concrete economic aspects which women found especially challenging, whereas the “generically human” intellectual needs are “placed in brackets”. Chivu, who saw the work as fluctuating between the seriousness of Ruști’s account and Babeți’s humorous recollection, believed Simona Popescu’s contribution, which describes communist experience as “laughing out of pity”, to be “the most balanced”. In reference to the entire text, and in particular accounts of the ban on abortion, he argues: “all [its] female authors fundamentally speak about the same thing: the torment of being a woman, between the frustration of having one’s intimacy forbidden and the efforts of illicit femininity.” Babeți’s account was also viewed with interest by journalist Florentina Ciuverca, who also drew attention to Ruști’s story about how, despite the official campaign against abortion, a doctor preemptively subjected her to curettage over a case of vaginal bleeding.

Facts & Trivia

Dan Ranked on the list of most popular Poet. Also ranked in the elit list of famous people born in Romania. Dan Lungu celebrates birthday on September 15 of every year.

Some of Lungu’s earliest published works were poetry pieces which, according to writer Șerban Axinte, do not reach the same standard as his other contributions: “Few still recall that Dan Lungu has debuted as a poet. The Muchii volume […] no longer communicates much to us, even if [it] does not lack certain several good, intelligent texts, albeit lacking the force and consistency to impose an author.” His debut work in short prose, grouped as Cheta la flegmă, is, in Iulian Ciocan’s definition, a book about “the prisoners of everyday”: a bulldozer operator, an asylum custodian, a thief, a group of soldiers, a child and an unhappy couple. According to critic and journalist Costi Rogozanu: “Under a ‘strong’ title, Dan Lungu collects the most diverse of prose pieces, some written in the most direct argotic language, others including the most meticulous of traditional lines. […] The Iași-based writer sets to clearly delimit his area of interest—daily life in the post-Revolution period—, varying with irony the types of writing he uses.” The shock value of the title was also noted by Cernat, who concluded that its apparent connection to the “miserabilist” tone of more radical Romanian literature was “rather inadequate”. An argument of similar substance was provided by Cristea-Enache. In his view, the stories are “finely written” portraits of people caught in the “post-communist transition”, to the “stark setting of ‘tower block life’ which nevertheless almost completely lacks—bizarrely—the ‘consumerist’ and pop ingredients of post-communist kitsch.”