30 May 2018

Romania in Bulgaria


During a recent trip to Sofia, Bulgaria, I looked out for references to Romania.  I saw hardly any, which surprised me as Bulgaria and Romania are neighbours, but I got the impression there is little love lost between the two.  I was certainly surprised by a comment made during a day trip to Rila Monastery.  The painted external walls reminded me of pictures I had seen of the painted churches of Bucovina.  When I asked the guide about the prevalence of such churches in the Balkans he was dismissive of the comparison with Romania, which I think he saw as demeaning to Bulgaria.  He then claimed, apropos of nothing, that Romania was a Catholic country.  As over 80% of the Romanian population identify as Eastern Orthodox, compared to only about 5% as Catholic (fewer than Protestants of various denominations) his statement was either supremely ignorant or intentionally misleading.  Either way it was irrelevant to my question.

I did find references to Romania, though I had to look hard.  One was in Krystal Garden Park, opposite the giant head of Stefan Stambolov.  Here, surprisingly, was a series of information boards on Bulgarian studies in various countries, one devoted to Romania and Moldova (shown above).  Fortunately the text on all the boards was in English as well as Bulgarian albeit the former was abbreviated.  The Romania and Moldova one notes the establishment of the first Department of Slavic Studies at the University of Bucharest in 1891, and most of the panel is devoted to a list of those Romanians and Moldovans who have worked on Bulgarian culture.  The Institute of Ethnic Studies in Chișinău is highlighted as another centre for research, and the Society of Bulgarian Studies is included as an important institution in the field.

There were more references to Romania in Sofia’s splendid National Gallery, which has a few works by Romanian artists among its collection, if fewer than I expected.  I recorded those I saw, though I cannot guarantee this is a complete list.  The titles are taken from the caption cards.  Of the 12 pieces, ten were paintings and two were sculptures.  Half of the 12 were by Corneliu Baba (two of which are on loan), two were by Ion Gheorghiu, two by Ion Pacea, and one each by Zoe Băicoianu and Ada Geo Medrea:

Corneliu Baba (1906-97)
1907, 1951 (triptych)
The 1907 Uprising, 1951
Harlequin, 1970
The Mad King, 1977
Maternity, 1979
Self-portrait, 1981

Zoe Băicoianu (1910-87)
Woman Bathing, 1940s (sculpture)

Ion Gheorghiu (1929-2001)
Hanging Gardens, 1973
Hanging Gardens IV, 1978

Ada Geo Medrea (1917-92)
Nestinarka, 1950s (sculpture)

Ion Pacea (1924-99)
The Red Cupboard, 1976
The Painter’s Tools, no date

The standout is Baba’s large-scale triptych 1907, on loan from a private collection.  Its title alludes to the peasants’ revolt of that year which was brutally crushed.  The three elements are combined pictorially with a common horizon, and a brooding sky conveys menace and a sense of doom.  The larger central panel shows a procession of determined-looking peasants wielding agricultural tools as weapons.  On the left-hand panel a couple are working in a field; the man is rising to his feet and looks as if he might be about to join the demonstrators.  In the distance a man on a horse surveys the scene.  On the right-hand panel two women are surrounded by dead men.  One is standing, imploring heaven, the other crouches over a corpse, her hand covering her mouth in horror.  It is a powerful work encapsulating the heroism and tragedy in a single scene.  The 1907 Uprising from the same year is a smaller work with a similar composition to the tryptich’s central panel, and may be a preliminary study.  It too is on loan from a private collection.

28 May 2018

The ‘Haunted’ Hoia-Baciu forest, Transylvania


Looking into what Romania has to offer in the way of paranormal phenomena, I quickly came across Hoia-Baciu forest.  Close to Cluj-Napoca, it has acquired a reputation over the years which has led to it being dubbed ‘the Bermuda Triangle of Transylvania’.  A website devoted to its mysteries describes it as ‘the world’s most haunted forest’, though how one makes such comparisons is a mystery in itself.  There is a generally uncanny atmosphere, and some of the trees grow in unusual shapes with no obvious reason found to explain it.

The phenomena claimed to have occurred there are many and varied, suggesting it is a ‘window area’, or paranormal hotspot.  There is a supposedly old legend of a shepherd who went missing, which wouldn’t be particularly noteworthy except his 200 sheep went with him.  He is said to have given his name to the forest.  One may be slightly sceptical of the thought of a shepherd in charge of 200 sheep inside a forest.

Its spooky reputation can certainly be traced to the early 1960s when a researcher, biologist Alexandru Sift, said he saw peculiar shadows among the trees and disc-shaped objects above them; unfortunately much of his evidence was lost after his death in 1993.  That reputation really took off in the 1970s, with a number of UFO sightings reported down the years after the publication of a photograph featuring a blob-like, or one could say water-droplet-like, shape by Emil Barnea in 1968 (shown above).

More recently reports have expanded in scope to include apparitions, faces appearing in photographs that were not visible when the image was taken, electromagnetic anomalies, batteries discharging (commonly reported in poltergeist cases), electronic devices malfunctioning, and lights, often orange or red and with no apparent source, being seen.  EVP samples have been captured.

Individuals have suffered unexplained scratches, rashes and burns, nausea, migraines, a feeling of oppression and anxiety, and the sensation of being watched by a ‘presence’.  Many phenomena are thought to centre on a clearing, the poiana rotundă (round glade), where nothing grows – except grass.  This is where Barnea took his UFO photograph in 1968.  Photographs later found to contain human-like shapes are claimed to have been taken at the site.

As the Bermuda Triangle tag suggests, there are said to have been many disappearances – one source puts the figure at over 1,000.  A few people have allegedly disappeared and later been found dead, the cause determined to be suicide.  A popular story is of an unnamed five-year old girl.  No trace of her could be found, yet she reappeared five years later, wearing the same clothes which were in good condition, with no memory of what had happened in the intervening period.  If one wonders about a now-ten-year old child dressed in the clothes of a five-year old, she had not aged so was the same size she had been when she vanished.  There are cases of missing time, visitors not realising how long they have been inside the forest.

A theory has it that the area is haunted by murder victims who are angry at being trapped there, or it is some kind of portal to a malign dimension.  A parallel dimension is a theory held by Dr Adrian Patruţ, a chemist at Babeş-Bolyai University in Cluj, president of the Romanian Society of Parapsychology and an associate member of the Parapsychological Association.  He has written extensively on the paranormal, including the forest, and collaborated on a documentary.

Alan Murdie in his Ghostwatch column in the November 2006 issue of Fortean Times summarises a paper about Hoia-Baciu Patruţ had given to a conference held at Sinaia, Romania, in May that year (although Murdie does not name the event, it was the symposium of the Transylvanian Society of Dracula, at which he also presented a paper).  Patruţ’s paper, ‘The phenomena of the Hoia-Baciu wood, in Transylvania’, described phenomena that, in Murdie’s words, ‘suggest a cross between a UFO window area and a giant natural séance.’  These included ‘strange lights, flying objects with regular geometry and fast-moving apparitions at ground level.’  Of greater concern, Patruţ said that microwave bursts and gamma and beta radiation had been detected, though Murdie adds some of the radiation claims were dismissed by another delegate, Professor Sorin Comorosan (not a Nobel physics laureate as Murdie states).

Patruţ was a prime mover in establishing the forest’s reputation with extreme but unsubstantiated assertions.  In an interview reported by Antena 3 in 2013 he tells of a student in a group with him who, sometime after 1989 (such vagueness does not encourage confidence), had a weird experience.  According to his account they were standing at the edge of the trees, looking at the city.  Suddenly the student went into a trance for an hour and when she woke up she said she had been walking through Cluj as it appeared before and during the war.

Some in the party were naturally sceptical but when she went to pay her bus fare she found in her pocket a silver 100 lei coin bearing the head of King Michael (the last king of Romania), indicating something more going on than retrocognition.  Patruţ does not seem to have been concerned at someone being in a trance for an hour.  One yearns to know more about this incident, and the research the professor undoubtedly did to follow up the student’s time-travelling perambulations by interviewing her and comparing her descriptions with the historical records.  He stated he had not told anyone this before, which is remarkable, nor would it seem had the student said anything.

Patruţ has been most fortunate in the range of his experiences.  In 1975 he had taken a large number of photographs at ruins in the middle of the forest in the company of a group of friends.  Returning a fortnight later, the ruins were nowhere to be found and were never seen again.  Moreover, after some years the images of the ruins dematerialised from the photographs!

Hoia-Baciu’s reputation is making it a popular area with tourists and investigators (none of whom has been reported missing, thank goodness).  Its champions suggest it is starting to compete with the Dracula legend as a lure for enthusiasts to visit Transylvania, though that has to be wishful thinking.  There are organised paranormally-themed tours, and like any ghost walk the wilder stories do business no harm.  Its reputation in that regard was further burnished by its appearance on a Hallowe’en special edition of Ghost Adventures which aired in 2013.  Not all visitors are there in the hope of experiencing a frisson of fear: it is allegedly popular with Wiccans, and some individuals believe there is an energy which can be harnessed to positive ends.

What to make of all this?  As this is Transylvania, with all its cultural associations, one might be forgiven for thinking the forest is a vast, remote place.  In fact it is small, only about a square mile in size, and very close to Cluj, no more than a 20-minute drive.  People from the city picnic and go walking or cycling in it.  This is not the wild Carpathians by any stretch.  In fact ‘Hoia-Baciu wood’ would be a more appropriate name, as Murdie indicates in the heading of his Ghostwatch coverage, though it doesn’t have quite the same ring to it.

Some of the reported incidents can be put down to the usual misperception, coincidence and expectation.  Missing time could be people losing track of how long they have been there.  Woods can often generate the creepy feeling that walkers are being watched, an effect that would be enhanced by the peculiar shapes of some of the trees.  Other aspects are doubtless made up – what are the names of the thousand people said to have disappeared?  A small child reappearing unchanged after a gap of five years suggests kidnap by fairy folk, but spinning a yarn sounds more likely.  The name of this youngster is never provided, even though she would surely have become an instant celebrity.

Lights could reasonably be people with torches glimpsed through the trees, either inside or outside the wooded area, vehicles on nearby roads or aeroplanes landing at Cluj airport (you can fly direct from Luton).  EVP can be captured in all sorts of places, and they possess the same degree of evidentiality wherever they are made.  Photographs of flying geometric shapes could be insects.  Patruţ’s various anecdotes are just that – unsupported anecdotes – so need to be treated with caution, and not taken at face value.  Having said which, the Romanian Society of Parapsychology’s files still sound worth a look as according to Patruţ they contain a number of poltergeist cases unknown outside Romania.

As for the poiana rotundă, forest clearings are not particularly rare and are explainable in environmental terms; anywhere else and it would not be thought odd at all.  Patruţ himself has said that ‘The Hoia-Baciu forest is known for its very, very dry vegetation’ (‘Pădurea Hoia-Baciu e cunoscută pentru vegetaţia ei foarte, foarte uscată...’); he mentioned this in connection with an experience which occurred around Easter 2000 (again maddening vagueness) when with another (unnamed) researcher he witnessed large amounts of sap flowing copiously from ‘thousands of trees’ (‘mii de copaci’) and pooling around their roots.  The following day there was no evidence of this liquid.

Promoters of the mystery say the poiana rotundă is a perfect circle, suggesting an unnatural origin, but a glance at an aerial photograph shows it is not.  This kind of relaxed approach to the evidence is typical of accounts dealing with Hoia-Baciu.  In sum, the contention that it is the world’s most haunted forest (or wood) evaporates on closer inspection, in much the same way Patruţ’s sap did.


Update 23 July 2019: ‘Hoia Baciu: Romania’s Haunted Forest’

The cover story in the August 2019 issue of Fortean Times is an entry in the magazine’s regular Fortean Traveller section by Chris Hill, devoted to the three-hour visit he made to Hoia Baciu.  It has, he writes, ‘become Romania’s Roswell,’ a startling epithet the article does little to justify, but he does demonstrate why the place is still worth seeing if the chance arises: specifics were less important than the opportunity to soak up the atmosphere.

Following a quick run-down of the region’s complex political history, Hill recounts his experience in the forest.  His guide was Alex Surducan who, with his business partner Marius Lazin, makes part of his living escorting tourists to Hoia-Baciu.  Naturally they have an interest in pressing the case for its paranormal aspects, despite Surducan’s declaration ‘that as a physicist he approached the forest with a scientific eye, allowing speculation in only when all material reasoning had been exhausted.’

Unsurprisingly Surducan knows Patruţ, but these days Patruţ is reluctant to discuss the forest and required some persuasion to talk to Surducan.  Patruţ has moved away from his geophysical ideas, as expounded at the 2006 conference, to a more ‘mystical’ approach involving ‘supernatural accountancy’, with the forest a ‘psychic battery’ fulfilling visitors’ desires.

Surducan pointed out to Hill that conditions in the poiana rotundă were accounted for by the poor soil, despite which he had witnessed both white and black magicians and Christian exorcists engaging in rituals there (perhaps they cancelled each other out).  There has not been much in the way of UFO activity in the forest (contrary to Patruţ’s claim that there was in 2006, according to Murdie’s Fortean Times report) and, drunk teenagers aside, reports in general come from visitors rather than locals, suggesting the role of expectation.

The forest’s use as a general leisure destination is prosaically indicated by the beer tins and vodka bottles Hill saw.  About the only oddities he experienced were a localised breeze rustling in the trees and what he considered undue draining of his camera battery, but he still had a nice time.  As the existence of his article proves, he did not disappear.


Update 5 September 2021:

‘Hoia Baciu: Inside the creepiest forest in Transylvania: Forget Count Dracula’s castle; Transylvania’s really frightful place is ‘haunted’ forest Hoia Baciu. Sophie Buchan goes for a night-time stroll.’

Sophie Buchan produced an article for the Independent travel section on 3 September 2021.  She joined a group led by Alex Surducan on a nocturnal tour of the forest and he was full of his usual stories, starting with ‘“Once when I came here,” says Alex, our guide, “I found 60 people from Bucharest trying to open a gate into another dimension.”’  One wonders how they got on.

Buchan does not challenge the image of the forest as a creepy place where unexplained events happen.  She recounts the usual phenomena hyped-up visitors report, while Alex tells her that ‘ectoplasms’ are ‘routinely’ seen by joggers, though no further details are provided.  Of the photos of ‘shadowy figures’ Alex shows the group, one is a man wearing traditional Romanian dress, so not too shadowy perhaps.

Alex, she decides, while distancing himself from the more ridiculous claims is not immune from the stories.  When she suggests they camp overnight, he makes an excuse about the cold weather.  He tells her he had camped out there, but he and his friends kept hearing the noise of a hoof, which stopped every time they put their heads outside the tent.  Perhaps he wanted to maintain the forest’s mystique, and it might have been dispelled by locals engaged in more mundane activities.

Referring to Emil Barnea, Buchan notes he had nothing to gain by publicising his UFO photograph and much to lose as he was sacked from his job, which would have made his life difficult.  We also learn Alex and Marius are big in Japan as the result of a 2015 documentary about Hoia Baciu shown there.

The article concludes with travel advice and the information that Alex Surducan’s night-time tours cost £25.  Alex says when he and Marius decided to start their business in 2013 their friends told them they were mad, because they thought tourists wouldn’t want to go into the spooky forest.  With prices like that, the friends must be annoyed they didn’t think of the idea first.


Further reading

Website devoted to paranormal aspects of the forest: https://hoiabaciuforest.com/

Adrian Patruţ, De la Normal la Paranormal [From Normal to Paranormal], Vol. 1, Cluj-Napoca: Dacia, 1991.

Adrian Patruţ, De la Normal la Paranormal [From Normal to Paranormal], Vol. 2, 2nd ed., Cluj-Napoca: Dacia, 1993.

Adrian Patruţ, Fenomenele de la Padurea Hoia-Baciu [The Phenomena of the Hoia-Baciu Forest], Cluj-Napoca: Divia, 1995.

Jason Nolan, ‘The Symposium of the Transylvanian Society of Dracula’, 28 March 2006: http://www.lemmingworks.org/weblog/?p=108

Alan Murdie, ‘The Hoia-Bacu [sic] Wood, Romania’, Fortean Times, issue 216, November 2006, p. 24.


Brian Dunning, ‘Solving the Haunted Hoia-Baciu Forest’, 24 May 2016: https://skeptoid.com/episodes/4520

Chris Hill, ‘Fortean Traveller 116 – Hoia Baciu: Romania’s Haunted Forest’, Fortean Times, issue 382, August 2019, pp. 32-36.

Sophie Buchan, ‘Hoia Baciu: Inside the creepiest forest in Transylvania’, The Independent, 3 September 2021.

15 May 2018

Wild Carpathia


Wild Carpathia, written by Charlie Ottley and presented by him on the Travel Channel, is a (currently) three-part documentary series in which he travels extensively around this amazing region of Romania, meeting its inhabitants and exploring the richness of the ecosystem and the culture it supports.  This is a vast area, at 209,000 sq. km almost as big as the United Kingdom.  It is heavily forested, and Ottley emphasises repeatedly that this is the last great wilderness in Europe, home to bears, wolves, lynx, chamois, and even reintroduced bison.

The history of human occupation here is a rich one, and Ottley spends time exploring architectural gems.  Dracula does get the odd mention of course, and the interviewees’ conclusion is that if Stoker’s book encourages tourism, it’s fine.  Ottley’s overriding theme is the interaction of the inhabitants with the landscape, and how they can preserve it while incorporating the best of modernity.  Underneath the travelogue is a campaign to show the dangers the mountains face from unscrupulous exploiters.

He journeys in a meandering arc through Transylvania, Maramureș, Bucovina and Moldavia to the Danube delta.  On the way he interviews a wide range of locals, gaining insights into how they live – those who are pursuing a way of life unchanged for centuries, those fighting to preserve the environment, and those finding new ways to make a living which respect it.  He attends a wedding, spends time with musicians, shares food, and enjoys a drink or two.  Wherever he goes he finds hospitable people possessing a deep love of this beautiful place.

But it is not a rural idyll.  There is hardship and isolation too, people leaving for the cities and to go abroad.  Conditions can be primitive, and isolation make life difficult, especially for the elderly.  Logging is a huge threat, caused partly as a by-product of restitution after the fall of the communist regime, owners taking advantage of their assets, partly the result of local corruption.  Mostly illegal, it is occurring on a vast scale, and it is a theme to which the films constantly return.  Ottley makes clear this is short-term gain bearing devastating long-term consequences.

New roads and unsympathetic buildings are highlighted as issues.  Roads bring in visitors and help to improve the infrastructure, but excessive traffic can have a detrimental effect, and reduces the freedom of movement animals, especially the large carnivores, need to thrive.  The trick is to find a balance between conservation and improvement, and avoid the all-too-common excesses of shoddy building construction, relying on concrete, that is out of keeping with traditional styles.  An effort is being made to educate local schoolchildren, by means of ‘battle buses’, in order to raise awareness of environmental degradation.

Ottley has a relaxed approach and is at ease talking to people from all walks of life, managing to interview HRH Princess Margarita, and Prince Charles twice, the latter claiming to be able to trace an ancestral link to Vlad Țepeș, and therefore arguing he has a ‘stake’ in the country (a joke one suspects he has used before).  One group Ottley does not really address though is the gypsy community, apart from noting they are moving into abandoned Saxon houses, the original inhabitants having left for a new life in Germany.

His enthusiasm is infectious, and this is a great promotional film – at one point he exhorts the viewer to visit and help to preserve the area.  Sustainability is the key, and he stresses the benefits of ecotourism, disincentivising logging and maintaining the integrity of the environment while still generating an income, in the process retaining people and skills for the benefit of all – the visitors, who will value the experience, and the community, which will enjoy a decent standard of living.

While much is at risk of being lost, he argues that this is our common heritage and deserves to be protected.  The biodiversity is staggering, and can be perpetuated by sympathetic management.  Much is being done to encourage visitors, in a way that they will not harm what it is they have come to see, but a lot more is required.  However, the first part of the series was made in 2011, the second and third in 2013, so the dangers Ottley flags up are even more pressing today.

This is a marvellous set of films and it is good to learn there is a fourth instalment in the works, ‘Seasons of Change’.  Ottley is currently attempting to raise the funding for the project, but he began his efforts in 2015, suggesting progress is slow.  One can only hope he achieves his goal, as his aim is again to raise awareness of the ongoing spoliation, and by so doing help to combat it, while advocating alternatives for the prosperity of the inhabitants and the enrichment of us all.

 

Update: 23 November 2021:

Wild Carpathia 4

Part four of Wild Carpathia, ‘Seasons of Change’, has finally arrived.  It was posted on YouTube on 7 October 2021, and was certainly worth the wait.  The photography is stunning as ever, complete with judicious drone use, and presenter Charlie Ottley is his ebullient self, picking up the themes of the previous episodes and managing to find excellent locations to visit and locals to interview (no Prince Charles this time though).

He sets the scene by noting the extent of the Carpathians, more than half of which are in Romania, and the region having been occupied since the Neolithic period.  Naturally he extols Romania’s vast forests, and their value as a habitat for many of Europe’s remaining large carnivores.  The series’ ecological theme, this precious habitat under threat from neglect and exploitation, is again to the fore.

Rather than a linear geographical structure, Ottley goes season by season.  He begins with autumn, and preparations for winter: the trees changing from green to red, the harvest being gathered, animals brought down from the mountain, the communal slaughter of a pig.  Bears storing up for winter occasionally stray into villages, sometimes having unfortunate consequences.

Winter brings extremely low temperatures.  An Ice hotel in the Făgăraș mountains is an intriguingly eco-friendly tourist option.  It is only standing for a few months and is one for the younger visitors by the look of the crowd.  Other parts of the Carpathians are less accessible at this time of year, but offer opportunities for the adventurous and well-prepared.

During the hard months, feasting takes on a ritual significance as a communal activity.  Ottley points out the people’s intimate connection to the food they eat and where it comes from, in a way that has been lost in many other countries.  The strong sense of community and need for relief means Christmas is celebrated with gusto.

Spring, and nature bursts forth, while communities cut off during the winter months can re-establish contact.  Sheep are driven back up to the alpine meadows and bears awaken.  They are still under threat, both from hunting and habitat loss, but offer tourism opportunities, along with other wildlife, including bison.

While some parts of the Carpathians are disappearing under concrete, unsympathetic developments which hamper communities’ opportunities for cultural tourism, there is increasing awareness of the value in preserving the integrity of the environment.  More projects are being developed that seek to maintain a harmonious relationship with it. 

The tourist industry is growing, stimulating such efforts.  Yet a tree house complex blending seamlessly into its surroundings had more trouble obtaining planning permission than a concrete block hotel would have, so a more sympathetic attitude by the authorities will be required if developments in keeping with their context are to be the way forward.

But sustainable tourism should concentrate on preservation and restoration rather than new developments, and income from tourism helps to maintain the architectural heritage.  Ottley visits an estate which has been beautifully restored since its restitution in 1998, containing accommodation for tourists within an extensive wooded animal sanctuary.  The owner’s vision is for a tourist destination on a par with Tuscany or Provence, a reasonable aspiration one feels.

Cund is a Saxon village where a German, going against the flow of many ethnic Germans who have left the country, has set up a successful guest house, thereby encouraging other inhabitants to follow suit.  The result of increased prosperity and employment opportunities is that not only has depopulation, a problem elsewhere, been halted, it has reversed, young families moving in and houses being renovated.  Visitors are not solely foreigners – about 50% are Romanians exploring their own country.

William Blacker, author of Along the Enchanted Way and champion of preservation, notes the loss of many of the old houses since he first came to the country, and thinks how sad it would be if such buildings vanished completely.  By far the preferred option is to repurpose them for modern living and for tourists.  A kiln producing traditional roof tiles provides local employment, and retains skills, and the tiles are no more expensive than poorer-quality ones made elsewhere.

These are promising signs, but it is not all rosy.  Illegal logging is increasing, and Ottley is shown a mountainside which has been entirely denuded.  It can be done very quickly, authorities turn a blind eye, and multinational corporations are complicit.  Inadequate legislation is exacerbated by small fines, so preservation needs stronger legislation and better enforcement.

As such tracts of virgin forest gone from the rest of Europe, preserving this beautiful but fragile ecosystem is more than a Romanian concern, it is an international one.  An interviewee says there needs to be greater recognition that the forest is not timber and the wildlife is not game; another puts it: ‘Romania is the custodian of a priceless treasure’.

Opportunities unfortunately are being missed.  Abundant wildflowers indicate a high degree of biodiversity, and unpolluted pesticide-free meadows could be a boon for farmers who should be able to charge a premium for their organic produce, especially if tied to traditional cuisine.  But this is not happening, while inferior food is being imported from other countries.  Clearly there is still much to do.

Ottley and his team have made other films promoting Romania, but the Wild Carpathia series is their finest achievement, a lyrical hymn to this beautiful region that makes one want to follow in his footsteps.  Ottley neatly presents a holistic overview of the problems and opportunities, and indicates ways prosperity can be pursued without degrading the environment.

It was a long wait for this instalment, but it was worth it.  Despite saying number four is the last, it would be wonderful if he could make further films exploring the Carpathians.  The Romanian tourist board should take note, and seriously consider providing funding for this champion of the country’s natural capital, while the government would do well to ponder the lessons of the series and stand up to those who seek a quick profit at the expense of everyone else.

 

https://thomasruffles.blogspot.co.uk/2018/05/along-enchanted-way-romanian-story-by.html

 


8 May 2018

What Can or Cannot Be Said About Romanian Literature? Plenty, by Saskia Vogel, 2013

Saskia Vogel’s article, dated 3 October 2013, noted that Romanian literature was on a roll, with Mircea Cărtărescu and Norman Manea achieving a significant profile at the Gothenburg Book Fair that year, but she saw a split between how Romanian literature was perceived at home and abroad.  The following astonishing exchange suggests an attitudinal problem on the part of those who should be putting their weight behind the promotion of their authors (though the constant references to Manea and Müller in articles dealing with Romanian literature is to my mind problematic as both have lived abroad for many years):

‘In one feature that tried to give an overview using Herta Müller and Cartarescu as touchstones, Gothenburg Post journalist Sinziana Ravini had a curious encounter with the head of the Romanian Cultural Institute in Paris. He described a boycott by Romanian authors as a ‘fart in Romania’s history.*’ He dismissed the supposed greatness of Cartarescu with the statement that writers don’t want to represent their countries, only themselves. After she asks him to name a few authors worthy of the epithet ‘great’ he recommends three books that she can’t then find at the cultural institute’s library.’

A panel at Gothenburg on what was unique about Romanian literature produced waffle, with Cărtărescu stating it is unique because “Being a marginal language is unique,” which is meaningless in any language, and the panellists were reduced to quoting poetry.  To be fair, it is not a question a writer should be expected to answer.  Vogel considered ‘they conveyed a sense of a simmering avant-garde’.  It certainly appears the writers had more faith in the idea of Romanian literature than the supposed guardian of the national culture in Paris had.

Vogel interviewed Daniela Crăsnaru, who was on the panel.  Crăsnaru suggested that literary productions were now personal expressions of the author’s values rather than the collective values of past generations: the solidarity engendered by the courage required to write under communism no longer exists.  Perhaps this individualism was something the head of the Parisian RCI found distasteful?

This was at a time when there was increasing interest in Romanian literature in other European countries (particularly Sweden), with it being the focus at several book fairs, enhanced by Müller’s Nobel win in 2009 drawing attention to Romanian literature.  Promotions at book fairs and the efforts of the Swedish RCI had been instrumental in increasing numbers of books by Romanian authors being translated in a variety of languages.

The head of the organisation in Stockholm was upbeat about the prospects for Romanian literature:  ‘We believe culture to be Romania’s big chance to conquer the world, with literature playing a major role in the process.’  Full marks for ambition, and a more positive attitude than his counterpart in Paris!

Source: Publishing Perspectives


*Vogel does not say what the boycott was all about but the Sarah in Romania blog of 20-22 March 2013 had a full account of what happened.  The RCI’s president, Andrei Marga had been embroiled in a number of scandals and his autocratic style had not gone down well with those he was supposed to represent.  A reorganisation the previous summer had already provoked an outcry among creative individuals, causing a number to sever ties with the Institute.

Marga, having previously served as foreign minister, was a political appointment, and there was disquiet at the perceived politicisation of culture he represented, and the change in the goal of the ICR to ‘preserve national identity’, rather than support independent artists as it had been doing, caused further protests.  This was a sensitive issue as it was read as a throwback to the communist era, with grumbles of a personality cult developing around Marga.

The result was a decision by a number of high-profile figures, including Cărtărescu, to boycott the 33rd Salon du Livre in Paris in March 2013.   When the Salon opened, a group of Paris-based artists (not only Romanian), under the banner ’ICR OFF!’, held pictures of absent authors over their own faces in order to support them and protest peacefully at the way the ICR was being run.

There were unpleasant scenes as the protesters were roughly removed by overzealous security guards minutes before President Hollande arrived at the Romanian section.  Despite these problems the event was a success, notwithstanding the absence of some of Romania’s best-known writers, and a fine showcase for Romanian literature which proved popular with visitors, featuring interesting talks by those authors who did attend, and long queues forming to purchase books.

As for Marga, a report on the Romania Insider website carries the news that he resigned in June 2013 after only nine months in the job.  He may have jumped before he was pushed.  In the self-serving official release he highlighted positive contributions he felt he had made to the life of the ICR, but referred to attacks made on him from the moment he was appointed, as well as to budgetary constraints and bureaucratic difficulties.

He shrugged off his critics by claiming: ‘I was talking to them about the infinite and they kept reminding me about the length of my trousers’, which sounds odd for an administrator to say about authors.  One would expect it to be the other way round.

7 May 2018

A Cultural Journey, Ministry of Regional Development and Tourism, January 2011

Subtitled ‘Romania: explore the Carpathian Garden’ and published by the Ministry of Regional Development and Tourism in January 2011, this is one of a series of guides promoting Romania to foreign visitors. Accompanied by attractive photographs, it provides a brief overview of the country with the emphasis firmly on tradition.  It begins with basic facts about Romania: size, population, cities, currency, holidays, etc., before moving on to provide snapshots of this unspoiled corner of Europe.

Sections look at castles, fortresses and fortified churches; monasteries; Maramureş; Sarmizegetusa; Roman remains; folk traditions; ethnic minorities and museums.  Basic information on travel, opening hours and local accommodation is included.  There are profiles of a number of distinguished Romanians in the fields of science, technology, literature and music.

Interweaved is the history of the country from prehistoric times which shows how it has been contested over the centuries but how these influences have shaped its unique identity.  It is noteworthy how much is on UNESCO’s heritage lists of both tangible and intangible assets.  There is a lot more to the country than just Bucharest and Transylvania.

There are suggested itineraries for self-directed tours to see various parts of the country, showcasing its cultural gems.  The booklet concludes with a list of Romanian tourist information offices abroad.  There is little detail, merely a quick paragraph on each topic, but enough to stimulate interest to know more.

Source: Issuu


(This was first published on The Joy of Mere Words, 6 May 2018)

‘Romanian literature: Fascism and erotica’, by Maria Bucur, 2016.

Reading had been frowned on in Romania during the communist era.  The celebration of the book there was largely started in the early post-communist period by Mihai Oroveanu, “a remarkable cultural figure and a spectacular photographer of late-socialist urban reality”.  This led to Bookarest, a chaotic but stimulating book fair.

In the early days it was dominated by essayists and philosophers.  These individuals had grouped around Constantin Noica, an ex-fascist, in the 1970s and 80s and they became influential cultural figures themselves post-1989.  Contemporary Romanian literature gained prominence domestically after 2000, prior to which literary interests had turned to what had previously been forbidden, primarily western fiction and erotica.  The best known of the contemporary writers are Herta Müller and Mircea Cărtărescu.

Müller, born in Romania but based in Germany and writing in that language, only became known in Romania after 2000.  She achieved a profile in the country when her books were translated into Romanian, and used it to criticise the old communist regime, including its literary apologists.  Her critics feted Cărtărescu as a counterweight to her, and his reputation grew as his books were translated; his name was frequently mentioned as worthy of the Nobel Prize when Müller won it in 2009.

Book fairs, with Bookarest in spring and now Gaudeamus in the autumn, have grown in importance since the 1990s.  They attract visitors from overseas in large numbers, with both established writers and new names present, and they have retained their relevance despite the growing importance of the internet as a publishing outlet.

Source: TLS, 13 December 2016


(This was first published on The Joy of Mere Words, 9 April 2018)

Contemporary Romanian Writers, Romanian Ministry of Culture, 2014

Contemporary Romanian Writers is a 2014 80-page English-language booklet showcasing some of Romania’s best writers.  It features 25 authors, all of whom are represented by short biographies, a list of their most significant works, and an extract of a few hundred words from one of their books.

The introduction (titled ‘A mature literature’) notes that where in past years there was once a split between traditionalists and younger writers who were experimental and open to outside influences, such distinctions have become blurred as the 1989 revolution recedes in time.  The extracts bear that out: there is a sense of Romania as an independent country more engaged with the world and becoming more confident and creative in its literature, able to contain realism and fantastic elements, in styles ranging from the plain to the lyrical.

This is a snapshot of a small selection of authors.  There are undoubtedly gaps, an obvious one being Dan Lungu.  His 2007 novel Sunt o baba comunista (I'm an Old Communist Hag) was extremely popular and a film version was released in 2013.  But, as an overview, the publication gives a taste of the variety of work being produced by Romanians, for some of whom 1989 can only be a vague memory.  Yet even when the narrative is contemporary there is often a sense that an echo of the communist period is present, and there is generally a sense of the fractured history of Romania, assisted by the strong element of autobiography in many of the works.

Most of the extracts are from novels, but there are essays, an interview, and explicit autobiography.  Little poetry has been included on the grounds that it is a form difficult to translate, though other poets are included with examples of their prose output.  Not all of the authors included are resident in Romania: Norman Manea left in 1986 and lives in New York.  On the other hand Romania-born Herta Müller, recipient of the 2009 Nobel Prize in Literature, has been excluded, presumably not because she emigrated in 1987 and lives in Berlin but because she writes in German.

One curious instance of cross-cultural influence is the cover of Dan Stanca’s 2012 novel Craii și morții (The Rakes and the Dead), of which a fragment is included.  The novel definitely seems to be about Romania, but the cover illustration is a detail of Louis Édouard Fournier’s 1899 painting of the funeral pyre of Percy Bysshe Shelley at Viareggio in Italy in 1822, hanging in the Walker Art Gallery, Liverpool.

The Romanian Ministry of Culture has done a useful job in bringing together this compilation, but it is frustrating that the authors are only represented by brief extracts.  There is a wealth of Romanian literature waiting to be translated into English, but the bulk of the translating to date seems to have been done by Alistair Ian Blyth (who also contributed to this booklet).  As a result a substantial number of books written in Romanian are translated into other European languages but not into English, even though they might expect to reach a wider audience.

The small proportion of books translated into English does not affect Romanian books alone, but applies to literature produced in eastern Europe generally (the proportion of translated books available in the UK is in any case small).  More English-language translators, plus wider distribution, would help to increase the profile in anglophone countries of writing coming out of Romania, and stimulate interest among English-language readers.  Larger print runs would help to bring down costs and enable the books to be more accessible.  On this evidence they certainly deserve a larger readership.

Source: Centrul naţional al cărţii


(This was first published on The Joy of Mere Words, 2 April 2018)

Along The Enchanted Way: A Romanian Story, by William Blacker


Englishman William Blacker was extremely enterprising, driving across Europe as soon as the Berlin Wall came down in 1989 and only stopping when he reached Romania.  Liking the place, he made his home there between 1996 and 2004, firstly in Maramureș, in the far north near the Ukrainian border, and then further south in Transylvania.  Along the Enchanted Way: A Romanian Story, published in 2009, is his account of those years.  It is a tender and affectionate portrait of his adopted home, focusing on the country people in remote areas far from Bucharest.

He found a place where the way of life had been much the same for centuries, despite changes of regime and ideology, and which was hanging on when it had to a large extent disappeared everywhere else.  In Maramureș he became the lodger of Mihai and Maria, who treated him as the son they had never had and whose affection he reciprocated.  Mihai even encouraged him to meet a local girl and settle down, but William wasn’t keen, and his participation in the strict courting rituals was diffident and gauche.

Patterns of living were dictated by the seasons, bucolic summers, harsh winters, self-reliant and using traditional materials, and generally uninfluenced by the outside world.  Cars were almost unknown, instead the horse ruled, with little time for mechanisation (as the Communist regime found out when it tried to replace horses with tractors).  In a society where social bonds were strong the people were hospitable and took him in as one of their own.  He fell in with the local routines, working in the fields and sharing fully the life of the people (which included imbibing considerable quantities of horincă, a plum brandy).

In Maramureș he lived among Romanians and Gypsies, and in Transylvania among Romanians, Hungarians, Gypsies and Saxons (established there since the 12th century, initially as a bulwark by the Hungarian monarchs against Islamic invasion but stranded as the tide of history receded).  However, most of the Saxon community – the older members of which had been deported to the Soviet Union after the war as forced labour – had gone to Germany after 1990 in search of a better life, abandoning their Romanian houses to be stuck in urban flats.  Some of these buildings were occupied by Gypsies, others had been left to decay.  To his credit Blacker began a campaign to help restore the finely-built houses and beautiful historic fortified churches, employing local people.  He felt a great sadness at the mass emigration by Romanian citizens of all types, and notes that moving away from one’s roots entails a loss, even if it brings economic benefits, not guaranteed, to the migrant and the community left behind.

He shows the discrimination the Gypsies endure at the hands of the wider society, and the unfair way they are treated by the local authorities, but also how they often deserve their dubious reputation, and are more devoted to carousing (in which Blacker is happy to join), than horticulture, with little thought for the morrow.  So it is awkward when he starts to live with one and finds his Romanian neighbours are not happy, doing what they can to sabotage the relationship.  When he keeps sheep, which one would consider a respectable occupation, it is oddly a cause of friction with his Romanian neighbours because he is encouraging the Gypsies, who are seen as feckless.  Having corrupt, racist and often nakedly brutal local police only exacerbates the situation, and Blacker draws a portrait of harsh treatment towards the Gypsies, and his exhausting, but largely successful, efforts to use the courts for justice.  Eventually he and his dark-eyed companion split up, but then she has a son, Constantin whom Blacker acknowledges as his, and so finds he has parental responsibilities that draw him back.*

Despite the apparent centuries-old stability of the region he arrived on the cusp of change, but there is little here about the wider political and economic situation.  He was there at the right time, in the interval between the fall of Communism and Romania’s accession into the EU in 2007, to track the changes – not all for the better in his estimation – as modernity began to catch up with this sleepy corner of Europe.  However, this is rather a depiction of the life in which Blacker immersed himself, and the emphasis is very much on personalities, though he does describe how these lands have been contested over the centuries, forming a singular regional character.  He is more interested in tracking the rhythms of the seasons and in local customs, about which he writes with an anthropologist's eye.  There are strong folk and pre-Christian elements mixed with the Orthodox faith, and superstition is still a strong presence.  The effort to see symbolism in acts can occasionally lead to humour: at a funeral Blacker asks Mihai why a candle in a jar is standing in wheat, suspecting some profound significance, to be told it is to stop the candle falling over.

He is reticent about his personal circumstances but you sense his lifestyle was only possible with a private income.  He writes an article for the Telegraph, but such incidental journalistic activities would not support him even in such a poor area.  He is accepted by the people he lives amongst, even if they do consider him a member of an exotic species at times, and he is willing to put his head over the parapet on behalf of the Gypsies even when it costs a great deal, but there is always a sense he can leave any time he wishes.  It’s easy idealising the peasant way of life if you do it on a voluntary basis rather than through necessity.

The existence Blacker depicts may be hard, but the work, the landscape, family and social ties, combine to form a unity the modern world has lost, with negative consequences in his view.  The tone is elegiac, but it is easy to romanticise in such circumstances.  Blacker documents the changes occurring in the area, bemoaning the passing of a simpler age, with the village now reached by a tarmac road rather than the old track, encouraging motorised transport, but why should the people there remain isolated?  When Mihai fell ill Blacker had to obtain drugs from the vet because there was no local doctor, so there are advantages in having improved communications.

On the other hand it is hard not to be sympathetic when Blacker talks about the advent of plastic packaging with no municipal waste removal arrangements (what need when everything is organic and recycled) so the stream clogs up with rubbish.  He shows the villages emptying as young people go westward in search of work, a process which has only accelerated because of the EU’s freedom of movement principle.  It seems ironic that a lifestyle which had survived fascism and communism, the massive upheavals of the twentieth century, should be destroyed by the free market.  The book’s ending is touching, recounting the funeral of Mihai in 2008, with whom Blacker had originally lodged.  His death symbolised, for better or worse, the passing of an era.

*An article in the Telegraph in March 2017 noted that Constantin’s real name is actually Valentin, and that he is held in affectionate regard by Prince Charles, a friend of Blacker’s.  Prince Charles owns property in Romania, where he is a regular visitor.  Along the Enchanted Way is dedicated to ‘Constantin’.

(This was first published on The Joy of Mere Words, 21 February 2018)

 

Update 10 July 2021:

Along the Enchanted Way was selected by Prince Charles in June 2021 as one of his five favourite books to share with followers of the ‘Duchess of Cornwall’s Reading Room’, the Instagram book club run by his wife.  On the one hand, it is good to see Romania getting the extra exposure such a high-profile exercise can bring, and doubtless the Transylvanian tourist board will be pleased.  On the other, as Blacker’s depiction helps to perpetuate the image of Romania as a rural backwater populated largely by gap-toothed peasants, this is probably not the best place for those unfamiliar with Romania to start, especially as for most of the general readers drawn by Prince Charles’s recommendation, this will be the only book on the country they will ever pick up.

World Heritage in Romania, 2017

World Heritage in Romania is a 2017 document, attractively illustrated, outlining ‘a new approach in the implementation of The World Heritage Convention’.  Romania accepted the Convention in 1990 but only implemented the necessary legislation in 2000.  The National Institute of Heritage (NIH) acts as the Focal Point Institution for Romania’s sites enjoying world heritage status. 

There was a shake-up of the national strategy in 2016 and continued the following year, with the creation of a new World Heritage Coordination Unit within the NIH, the members of which monitor the seven world heritage sites within Romania.

Fortunately little space is devoted to the bureaucratic approach to identifying and managing thee sites, instead the bulk of the document describes the sites, with photographs.  A visit to them all would certainly make a fascinating holiday and provide valuable insights into Romania’s history.  The sites listed are:

Danube Delta
Churches of Moldavia
Monastery of Hurezi
Villages with Fortified Churches in Transylvania (numbering seven)
Dacian Fortresses of the Orăștie Mountains
Historic Centre of Sighişoara
Wooden Churches of Maramureş

Source: Issuu


(This was first published on The Joy of Mere Words, 2 January 2018)

PressOne Quarterly #5, 2017

PressOne is a quarterly English-language magazine which bears the strapline ‘Cherishing Romania’ and articles are devoted both to social justice and reporting positive stories about the country.  It is published in Cincinnati, United States.  The major theme of issue 5, the most recent at the time of writing, is the way children are treated in the country, and the cover has a photograph of a young child tied down in a cot with the legend ‘The tragedy of Romanian children’.  Underneath are stark statistics: 63% are victims of domestic violence; 51% live in poverty; 42% of 15 year olds are functionally illiterate; there have been only 769 adoptions while 57,026 children live in state care (or custody as the caption puts it), which by my calculation is a mere 1.3%.

After the 1989 revolution there were many horror stories in the British press about Romanian orphanages, but on this evidence, despite the opening up of the country, the situation for many children has not improved dramatically in the last thirty years.  As the introduction by Don Lothrop points out, the cover photograph is not from 1990, it is from 2017.  Romanian children are still being kept in appalling conditions.  Further statistics presented indicate that Romania is the only country where child poverty has increased since achieving EU membership and it has the highest infant mortality and child abandonment rates in Europe.  Part of the problem, the editorial continues, is the corruption found within the Department of Child Protection, and the prevalence of dehumanising domestic violence.  Romanian practices contravene both international and domestic laws, and Lothrop sees these attitudes as having deep roots in the old communist culture.

The first two articles amplify the bald statistics by examining domestic violence and child neglect in more detail, with case studies which show just how women and children are being failed by the judicial system.  When prosecutions do occur, penalties tend to be light, with abuse considered more of a private domestic matter than one for the courts, and the process of bringing abusers to justice can be protracted and opaque.  The article on the failure to protect vulnerable children within the care system notes that given the history of child institutions, Romania should have the best system in the world, yet the dire situation persists.

The result is not only suffering in the present, but long-term developmental harm for the children.  A policy decision to foster children rather than place them in orphanages has not been implemented, and there still 70 ‘traditional’ institutions in existence.  Such confinement up to the age of 2 can cause lowered IQ, attachment difficulties and lack of control of emotions.  These articles are the heart of the issue, while those following are lighter in tone and while enjoyable, mostly amount to filler.

As a change to a more cheerful subject, the following article is about a rural funeral, that of Dumitru Şomlea.  There was nothing particularly noteworthy about the death of Dumitru, who had died at the age of 103, except that he was a veteran who fought in the Romanian army for six years during the Second World War.  His sacrifice was acknowledged by those around him, but still he was forced to live on a paltry pension despite the sterling service he had given to his country.  The feeling of those left behind, as is universal when such individuals die, is that they don’t make them like that any more.

The next article concerns a Romanian visiting a fellow countryman now permanently resident in Canada.  He left Romania in 1985, aged 30, using salami as a bribe to get to Yugoslavia with his wife, but leaving their young daughter behind.  Now he works as an estate agent and has only been back to the old country once, in 1991.  He has no desire to return, and discourages his son, born in Canada, from making the journey.  During a visit to the local cemetery he shows his visitor a number of gravestones marking the last resting place of Romanians.  ‘This is my village’, he says.  It transpires that there is a significant Romanian presence in the area.  A wake for one is a chance for the expats to gather, though the deceased did not much care for Canada and his body is shipped back to his native land.  Most of the Romanians in the area fall somewhere in between the two poles, happy to live in Canada but keen to maintain links with their roots, even while acknowledging problems in Romania.

The next stop is Cluj and a profile of a man who was wearing himself out in sales switching to cooking and becoming much happier as a result, with a renewed zest for life.  Then an historical article traces the lives of two brothers, Dinu Lipatti, born in 1917, and Valentin, born in 1923.  Dinu was disabled and often ill, but he was a musical prodigy, and Valentin grew up in his shadow.  The family was wealthy and Dinu was able to study the piano in Paris until their return to Romania in 1939, where he established himself as an important concert pianist.  Dinu moved to Switzerland in 1944 but died of Hodgkin’s lymphoma in 1950.  Valentin took an entirely different path, becoming a member of the Romanian Communist Party in 1947 and a successful international diplomat for the country, dying in 1999.

A contrast is a feature about a Romanian long-distance runner, his achievement all the more remarkable as he nearly didn’t reach his first birthday.  He has a fundraising campaign, ‘The arc over the Carpathians’, to raise money for a new children’s hospital.  He ran 1,300km along mountain ridges, beautiful but full of dangerous animals, in 22 days.  Then PressOne co-founderVoicu Bojan, claiming to be a gentleman of mature years though looking well preserved in his photo, attends a large four-day music festival.  This is Electric Castle 2017, at Bánffy Castle in Bonţida, a small town near Cluj where the festival has replaced pig farms as the major revenue generator.  While the piece is titled ‘No castle for old men’, the author finds it an enjoyable if sometimes perplexing experience.  The issue concludes with a photo spread of Poiana Aleu in Western Romania, looking very attractive.

Source: Issuu


(This was first published on The Joy of Mere Words, 14 January 2018)