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<mask> (born 4 March 1990) is an Irish footballer who plays as a striker for National League club Stockport County. Career

Bohemians
Madden signed league forms with Bohemians on 8 July 2008, and scored several times for the Bohemians "A" Team on their path to the Grand Final of the A League in that year. He made his Bohemians first team debut as a substitute in their 2–0 win over Cobh Ramblers on 8 November 2008. Prior to the start of the 2009 season, Madden joined Shelbourne on loan on 10 February 2009. Bohemians manager Pat Fenlon sent the young striker out on loan hoping for Madden to gain first team experience. Madden made an immediate impression for Shelbourne by scoring in his first competitive appearance for Shels in their opening First Division match against Wexford Youths at Tolka Park on 6 March 2009. He also scored against his own employers for Shelbourne during an EA Sports Cup 2nd round tie at Dalymount Park on 4 May 2009.<mask>'s loan spell at Shelbourne concluded on 29 June 2009 and he returned to Bohemians. During his loan spell at Shelbourne, Madden made 16 league and cup appearances and scored 8 goals. On 29 September 2009, <mask> scored his first goal for Bohs in a 1–0 victory over Derry City in the Brandywell which led to Bohs returning to the top of the league. In the 2010 season, <mask> scored 9 goals in 5 matches, and he was voted the Soccer Writers Association of Ireland Player of the Month for June. Carlisle United
Madden signed for English League One side Carlisle United on 31 January 2011, for an undisclosed fee signing a two-and-a-half-year contract with the Cumbrian club. On 4 October 2012, Madden joined League One club Yeovil Town on an initial one-month loan deal with a view to extend to gain some much needed pitch time after not featuring in Carlisle's starting league squad this season. He had scored 1 goal in 3 substitute appearances for the Cumbrians this campaign.On 6 October 2012, he made his debut for Yeovil and scored a two goals in a 3–1 home victory against Colchester United. After going on a run of five goals in five games, he extended his loan until 2013. On 1 January 2013, Madden scored a brace in the final match of his loan spell against Leyton Orient ending with nine goals from sixteen games for Yeovil. Following the game it was announced <mask> had signed permanently for Yeovil Town for an undisclosed fee on a two-and-a-half-year deal. Madden then went on to score 4 goals in his first two games as a permanent Yeovil Town player in the month of January. By mid February he was already League One top scorer, with 18 goals, despite only starting playing in October. In an interview with the BBC after this run of form he was described by his manager Gary Johnson as "the bargain of the season".<mask>'s contribution of 6 goals to Yeovil's perfect January of 3 out of 3 wins didn't go unrecognised as he won the League One Player of the Month award. <mask> scored in the 2013 League One play-off Final as Yeovil beat Brentford 2–1 to earn promotion to the Championship for the first time in the club's history. <mask> ended the season with the League One golden boot with 23 goals (1 for Carlisle), plus his 2013 League One play-off Final goal to make it 24 in all competitions. On 26 November 2013, with <mask> having failed to score since Yeovil's promotion to the Championship, he was placed on the transfer list by the club. Scunthorpe United
On 10 January 2014, <mask> signed for Football League Two side Scunthorpe United for an undisclosed fee, believed to be £300,000, signing a -year contract. <mask>'s first game for Scunthorpe came on 11 January 2014 in a 0–2 away win over Mansfield Town. He scored his first goal for the club in a 5–1 win over Portsmouth on 22 February 2014.Madden helped the club gain promotion to League One at the end of the 2013–14 season, scoring 5 goals in the process. For the following two seasons, Madden was the club's most prolific goalscorer, netting 16 goals in all competitions during 2014–15, and 23 goals in all competitions during 2015–16. Madden suffered a significant downturn of form during Scunthorpe's play-off push in the 2016–17 season, despite featuring in the majority of the Iron's games. This downturn in form continued into the next season, with Madden scoring only 2 league goals during the very early stages of the 2017–18 season. Madden failed to score in any of his last 16 league appearances for the Iron. Despite his downturn in form, Madden scored 60 goals across all competitions during his time with the Iron, placing him as the club's 10th most prolific goalscorer of all time. Fleetwood Town
On 2 January 2018, <mask> signed for fellow League One side Fleetwood Town for an undisclosed fee, believed to be £150,000, signing a -year contract.He scored his 100th goal in English football in Fleetwood Town's FA Cup tie against Guiseley on 3 December 2018. In May 2019 he signed a new three-year contract with the club. During the 2020–21 season, Madden was sidelined for multiple matches after testing positive for COVID-19. At the time of <mask>'s departure from Fleetwood Town in March 2021, he was the club's all-time top scorer in the EFL with 43 goals. In all competitions, Madden scored 53 goals in 149 appearances for Fleetwood after joining the club from Scunthorpe United in January 2018. Stockport County
On 15 March 2021, Madden signed for National League side Stockport County for an undisclosed fee, signing a three year deal. International
<mask> has represented the Republic of Ireland at U18 and U19 level and made his Republic of Ireland under-21 debut against Armenia in November 2009.In August 2013, <mask> was called up for the first time to Republic of Ireland senior team to play Wales in a friendly. <mask> made his debut coming on in the 69th minute. Career statistics

Honours
Bohemians
League of Ireland Premier Division: 2009
Setanta Sports Cup: 2009–10

Carlisle United
Football League Trophy: 2010–11

Yeovil Town
Football League One play-offs: 2012–13

Individual
PFA Team of the Year: 2012–13 League One
Airtricity/SWAI Player of the Month: June 2010
Football League One Player of the Month: January 2013
Football League One Golden Boot: 2012–13

References

External links

Ireland profile at Soccerscene

1990 births
Living people
Association footballers from County Dublin
Republic of Ireland association footballers
League of Ireland players
English Football League players
National League (English football) players
Bohemian F.C. players
Shelbourne F.C. players
Carlisle United F.C. players
Yeovil Town F.C. players
Scunthorpe United F.C.players
Fleetwood Town F.C. players
Stockport County F.C. players
Association football forwards
Republic of Ireland international footballers
Republic of Ireland under-23 international footballers
Republic of Ireland under-21 international footballers
Republic of Ireland youth international footballers
League of Ireland XI players
A Championship players

masks:
Patrick Stephen Madden
Madden
Madden
Madden
Madden
Madden
Madden
Madden
Madden
Madden
Madden
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Madden
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<mask> (born October 30, 1951) is an American actor, author, and entrepreneur. Hamlin is known for his roles as Perseus in the 1981 fantasy film Clash of the Titans and as Michael Kuzak in the legal drama series L.A. Law, for which he received three Golden Globe nominations. For his recurring role on the AMC drama series Mad Men, Hamlin received a Primetime Emmy nomination for Outstanding Guest Actor in a Drama Series. Early life
<mask> was born October 30, 1951, in Pasadena, California, the son of Bernice (née Robinson), a socialite, and <mask>, Jr., an aeronautical engineer. As a teenager, he attended Flintridge Preparatory School, near Pasadena, and The Hill School, a private boarding school in Pottstown, Pennsylvania, where he played soccer and lacrosse and acted in the school's musicals and plays. He also attended classes at the Pacific Conservatory of the Performing Arts. Hamlin attended University of California, Berkeley, and is an alumnus of the Theta Zeta chapter of the national fraternity Delta Kappa Epsilon, of which he was president in 1972.<mask> graduated from Yale University in 1974 with dual Bachelor of Arts degrees in drama and psychology. He then attended the American Conservatory Theater's advanced actor training program, from which he was awarded a Master of Fine Arts degree in acting in 1976. There, Hamlin starred in a production of Equus, attracting the attention of director Stanley Donen. Career

Film and television
<mask> appeared in the 1976 television production of Taming of the Shrew and also had the title role in the 1979 television miniseries Studs Lonigan. He starred in Movie Movie with George C. Scott in 1978, for which he received his first Golden Globe Award nomination. His big-screen break was a starring role in the 1981 Greek mythology fantasy epic Clash of the Titans. Afterwards, his career faltered somewhat with such controversial films as Making Love in 1982 (the first gay themed love story to be produced by a major studio, Twentieth Century Fox) and Blue Skies Again (1983).He returned to television appearing in the miniseries Master of the Game (based on the novel by Sidney Sheldon) in 1984 and Space (based on the novel by James A. Michener) in 1985. Hamlin appeared on the NBC legal drama series L.A. Law, playing attorney Michael Kuzak. He remained on the series from 1986 to 1991 during which time he was voted  People magazine's "Sexiest Man Alive" in 1987. Hamlin left the series at the end of the fifth season having been nominated three times for Best Actor in a television series by the Hollywood Foreign Press Association. In early 1991 Hamlin appeared in the music video and sang in the choir on the song "Voices That Care" which was made in support of U.S. troops who were stationed in the Middle East and involved at that time in Operation Desert Storm. He then appeared in two 1992 episodes of Batman: The Animated Series, in each episode as a separate character. In the episode "Joker's Wild", Hamlin played the role of Cameron Kaiser, a ruthless businessman who sinks all his money into a casino, then counts on the Joker to destroy it in order to collect on the insurance policy from a reputable company, and in the other episode, "Moon of the Wolf", he provided the voice of Anthony Romulus, a greedy athlete who takes a potion to enhance his skills, only to realize too late that it has transformed him into a werewolf.In 1995, he participated in the documentary film, The Celluloid Closet where he discussed his role in the film Making Love. In 2001, he starred in the television comedy Bratty Babies, and in 2002 he reprised the role of Michael Kuzak in an L.A. Law reunion television movie. In 2004, Hamlin began a recurring role on the television series Veronica Mars. He played fading action hero Aaron Echolls, father to central show character Logan Echolls who had a turbulent relationship with him. Hamlin's character states that he (like the real-life Hamlin) was People magazine's 'Sexiest Man Alive' in 1987. Aaron's wife, Lynn, was played by Hamlin's real-life wife, Lisa Rinna. Hamlin appeared beginning in the sixth episode of the first season, "Return of the Kane", and made his last appearance in the second season finale, "Not Pictured".In 2006, Hamlin took part in the third season of Dancing with the Stars with Ashly DelGrosso, but was voted off the show in the third week. In 2009, <mask> starred in the series Harper's Island as Uncle Marty. He was killed abruptly in the first episode by being cut in half while he dangled from a broken wooden bridge. In June 2010, Hamlin guest-starred in an episode of Army Wives and then became a recurring cast member. In June 2010, Hamlin starred in the Hallmark Channel movie You Lucky Dog. On December 4, 2008, TV Guide reported that <mask> and Rinna signed a deal to create a reality television series called Harry Loves Lisa that is based around their family life. The series was developed by TV Land and premiered on October 6, 2010.In 2012, <mask> began playing Lloyd Lishman, an older lover to Ian Gallagher (Cameron Monaghan) on the U.S version of Shameless (7 episodes circa the end of Season 3). Hamlin appeared in an adult diaper commercial with his wife during a primetime television program. Beginning on April 28, 2013, Hamlin appeared in several episodes of season six (1968) of Mad Men as ad executive Jim Cutler after the merger of Sterling Cooper Draper Pryce and Cutler Gleason and Chaough. Hamlin was nominated for a 2013 Primetime Emmy Award for Outstanding Guest Actor in a Drama Series for his appearance in "A Tale of Two Cities". In 2016, Hamlin was cast in the EPIX comedy Graves starring Nick Nolte, and in 2017, Hamlin was cast as Addison Hayes, a mysterious and powerful mastermind whose agenda will collide with Swagger in the new USA Network show Shooter. Stage
<mask> made his Broadway debut in 1982 playing Moe Axelrod opposite Frances McDormand in the Broadway revival of Clifford Odets' Awake and Sing!. An avid Shakespearean actor, Hamlin played the title role in Hamlet at the famed McCarter Theater in Princeton, New Jersey, where he would go on to play Faust in Dr. Faustus the following year.In 1994, <mask> received a Helen Hayes Award Nomination for his portrayal of Henry V, in the play of the same name, at the prestigious Shakespeare Theater Company in Washington, DC. In 1996, <mask> returned to Broadway as Michael Buchanan in Tennessee Williams' Summer and Smoke at the Roundabout Theater. Video games
Hamlin reprised the role of Perseus in the 2007 video game God of War II. In the game, Perseus was trapped in a room while searching for the Sisters of Fate to revive his dead lover, and believes Kratos to be sent by the gods to test him. Books
In 2010, Hamlin authored Full Frontal Nudity: The Making of an Accidental Actor, published by Scribner, wherein he shares stories of his career as an actor. ()

Fusion power
Hamlin is an advocate for fusion power and was an angel investor and co-founder of TAE Technologies, formerly known as Tri Alpha Energy. TAE Technologies states that it is in the final stages of the research and development of a clean, non-radioactive fusion power generator.Hamlin delivered a talk on Fusion at the TEDX LA conference in 2016 entitled, "You Don't Have To Be A Rocket Scientist To Be A Futurist!" Hamlin was also a board member of Advanced Physics Corporation. Hamlin is also on the Board of Governors of the National Space Society. Personal life
Hamlin was in a relationship with Ursula Andress after meeting on the set of Clash of the Titans in 1979. She gave birth to their son in 1980. Although an engagement was announced, the couple never married. In 1983, Hamlin broke up with her.From 1985 to 1989, he was married to actress Laura Johnson and between 1991 and 1992, to actress Nicollette Sheridan. Since 1997 <mask> has been married to Days of Our Lives actress and television host Lisa Rinna. They have two daughters born 1998 and 2001, who both appeared in the reality show Harry Loves Lisa with the couple. The couple also starred in the first season of Veronica Mars as Aaron and Lynn Echolls, a married couple. They also starred as a married couple in the 2001 Lifetime Movie Sex, Lies, and Obsession. Hamlin's wives have each been prominent prime time soap-opera actresses: Rinna starred on Melrose Place, Sheridan was a regular on Knots Landing, Desperate Housewives, and the Dynasty reboot. Johnson was a regular on Falcon Crest (on which Andress later made guest appearances).Filmography

Film

Television films

Television series

Video games

Awards and nominations

References

External links

<mask> on Worldcat (libraries)
Dancing with the Stars page on Hamlin

1951 births
Male actors from Pasadena, California
American male film actors
American male stage actors
American male television actors
American people of English descent
American people of Scottish descent
The Hill School alumni
Living people
Participants in American reality television series
20th-century American male actors
21st-century American male actors
Yale University alumni
American male Shakespearean actors
Fraternity Leadership Association
American Conservatory Theater alumni

masks:
Harry Robinson Hamlin
Hamlin
Chauncey Jerome Hamlin
Hamlin
Hamlin
Hamlin
Hamlin
Hamlin
Hamlin
Hamlin
Hamlin
Hamlin
Harry Hamlin


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<mask> (; November 12, 1950 – July 12, 1999) was a Romanian short-story writer, novelist, essayist and literary critic, one of the leading exponents of the Optzeciști generation in Romanian letters. The author of experimental prose, mixing elements of conventional narratives with autofiction, textuality, intertextuality and, in some cases, fantasy, he placed his work at the meeting point between Postmodernism and a minimalist form of Neorealism. This approach is illustrated by his volumes of stories and his novels Zmeura de cîmpie ("Raspberry of the Field"), Tratament fabulatoriu ("Confambulatory Treatment"), and by Femeia în roșu ("The Woman in Red"), a collaborative fiction piece written together with  and . A follower of trends in avant-garde literature of the 1960s and 1970s, <mask> co-founded the literary circle Noii ("The New Ones") with Gheorghe Crăciun, , , , , Emil Paraschivoiu,  and . His integration as an authoritative voice on the Postmodern scene, inaugurated by his presence in the Desant '83 anthology, was complemented by his free-minded attitude and drifter lifestyle. Although <mask>'s political nonconformism pitted him against the repressive communist system on several occasions, he stood out on the literary scene for adapting to some communist requirements in order to get his message across. This tendency made Nedelciu the target of controversy.The final years of <mask> <mask>'s life witnessed his publicized struggle with Hodgkin's lymphoma, which shaped the themes in his unfinished novel, Zodia Scafandrului ("Sign of the Deep-sea Diver"). Although the rhythm of his activity slowed under the pressures of infirmity and major surgery in French clinics, Nedelciu continued his involvement with the literary scene, as both cultural promoter and polemicist, until shortly before his death. His critical posterity is sharply divided on issues surrounding the importance of his work, between those who primarily view him as an eccentric figure and those who describe him as one Romania's major experimental writers. Biography

Early life
Nedelciu was born in the semi-urban locality of Fundulea, Călărași County, where his parents, Ștefan and Maria, worked in agriculture (Nedelciu's father was also employed by the House of Savings, a state-run bank). The couple's resistance to forced collectivization had engendered political repercussions, and impacted on the family's standing: Nedelciu's older sister was expelled from university for one year. The family was also periodically harassed by the communist authorities after their son-in-law decided to cross the Iron Curtain, settling in the United States. <mask> <mask> attended primary school in his native town and high school in Brănești, and afterward left for the national capital of Bucharest, in order to complete his studies.A student at the University of Bucharest's Faculty of Letters, specializing in English and French, Nedelciu was attracted into bohemian, cosmopolitan and countercultural circles, growing his hair long and informing himself on new developments in Western culture. His time as a student overlapped with an episode of liberalization which coincided with the early rule of Nicolae Ceaușescu, and which, as Nedelciu himself recalled, provided young intellectuals with access to cultural items that were less known or were recovering from official censorship. These included texts Nedelciu read in the University Library: the French journal Tel Quel and the works of Mikhail Bulgakov, William Faulkner, John Dos Passos, and J. D. Salinger. Nonconformism also impacted on his student life: reportedly, he only attended courses which he found interesting, neglecting all others. Nedelciu was especially close to his colleague and campus roommate Gheorghe Crăciun and to painter , and vacationed in Crăciun's native Brașov County. It was also during his time in college that he helped found Noii, which in its original form also comprised Flora and "the three Gheorghes" (Crăciun, Ene, Iova). The club was later joined by Lăcustă, Paraschivoiu, Sorin Preda, and Stan.Noii, which for a while published an eponymous student magazine, survived both its members' graduation and the national communist backlash inaugurated by the July Theses of 1971, but remained marginal on the literary scene, and discreetly reacted against the new restrictive guidelines by cultivating difference. According to Nedelciu's own recollection: "In all these years down to 1980, the club was a literary life completely separated from the official literary life." After completing his studies in 1973 and turning down a post-graduate assignment at a school in the remote Danube Delta, Nedelciu went through several jobs, including that of tour guide for foreigners. According to literary historian , his refusal of initial employment exposed him to the political regime's suspicion for "parasitism". Nedelciu was however able to publish his first literary piece, the short story Un purtător de cuvânt ("A Spokesman"), hosted by a Luceafărul magazine issue of 1977. Rise to prominence
The young author's standing declined further later that year, when he was briefly held under arrest for handling foreign currency (a criminal offense at the time). This time inspired him to write another story, Curtea de aer ("The Air Court"), also printed by Luceafărul in the following period.He ultimately found stable employment soon after his release, when he began working as a librarian on the staff of Cartea Românească publishing house (where his first works in literature were to be printed over the following years). As Cordoș argued, the institution "would become legendary as a meeting place for young writers from Bucharest and out of town—political rather than literary marginals." A similar statement is made by literary historian and reviewer , who sees the writer's activities as responsible for making the library "a sui generis literary club". Also according to Cordoș, <mask> was still being subject to political pressures for his family connections and his refusal to join the Romanian Communist Party. With his 1979 volume of short stories, Aventuri într-o curte interioară ("Adventures in an Interior Courtyard"), Nedelciu became a notorious figure among young authors, and earned the Writers' Union annual prize for debut. He was by then also affiliated with Junimea, a workshop and literary society named after its 19th-century predecessor and hosted by the influential critic Ovid Crohmălniceanu. Nedelciu followed up on his writing with the short story volumes Effectul de ecou controlat ("The Controlled Echo Effect") of 1981 and Amendament la instinctul proprietății ("Amendment to the Proprietary Instinct") of 1983.Owing to Crohmălniceanu's patronage, his prose works were published as part of the critically acclaimed Desant '83 anthology, which set the tone for Optzeciști writings. From this moment on until his death, Nedelciu was at the forefront of debates opposing the Optzeciști to their older colleagues, and stood among those members of his generation who willingly accepted to be called "Postmodernists". A separate and enduring controversy, involving Nedelciu's apparent endorsement of the repressive regime, was sparked in 1982. That year, he signed a lampoon piece targeting anti-communist exiles who broadcast clandestinely into Romania by means of Radio Free Europe, and had it published in Scînteia Tineretului (or SLARS), the mouthpiece of Communist Youth and branch of the main official party newspaper, Scînteia. Zmeura de cîmpie, Tratament fabulatoriu and the new short prose grouping Și ieri va fi o zi ("And Yesterday Will Be Another Day"), published in 1984, 1986, and 1989, respectively, were Nedelciu's last volumes to emerge in print before the 1989 Revolution. The former was published by the Romanian Army's specialized venue, Editura Militară, which commentators have considered slightly unusual, ultimately tying the decision to the text's oblique mentions of World War II. First issued in 1990, Femeia în roșu was co-written with Anglicist  and comparatist .A best seller, it went through a second edition in 1997. A second revised edition of Tratament fabulatoriu came in 1996. The following year, Femeia în roșu was turned into an , directed by <mask> Veroiu. It was also at that stage that Nedelciu began collecting his essays of criticism, grouped in the 1994 anthology Competiția Continuă. Generaţia '80 în texte teoretice ("The Race Goes On: the Eighties Generation in Theoretical Texts"). In 1996, <mask> was involved in the open debate organized by the Writers' Union magazine România Literară and critic Nicolae Manolescu, whose purposes were defining the nature and expectations of Romanian Postmodernism and allowing its representatives a reply to criticism. A section of the debate opposed Nedelciu to the younger writer , the latter of whom had objected to the supposed Optzeciști monopoly on Postmodernist terminology while arguing that a more genuine manifestation of the current was to be found in the emerging forms of electronic literature.Nedelciu also contributed to  and 's 1998 anthology of erotic literature, Povestea poveștilor generației '80 ("The Tale of the Tales of the 80s Generation"). Final years
The final decade of <mask>'s life witnessed his struggle with Hodgkin's disease, a rare type of lymphoma with which he was diagnosed in 1988, and which severely impaired his motor skills. His treatment involved difficult surgery, performed with French assistance; in 1995, he was subject to a bone marrow autograft, carried out in Romania with additional help from Marseille's . Although he was eventually forced to use a wheelchair, <mask> continued to be active on the literary scene, both through his involvement with the Writers' Union and his founding of Euromedia, a Franco-Romanian company specialized in distributing literature. He also briefly served as editor of Contrapunct, a magazine launched by the Optzeciști, and, after accusing the Writers' Union of "Stalinism", joined other disgruntled authors in creating the Association of Professional Writers. Late in his life, he also presided over the initiative to monitor book circulations, setting up the external auditor program Topul naţional de carte ("National Book Rankings"). His output was much reduced and his ability to write altogether threatened, but he was still working on Zodia Scafandrului, his final contribution to literature.After a 1996 treatment session in France, <mask> was informed that his life expectation depended on procedures which cost 70,000 American dollars—a sum described by Nedelciu himself as "huge". Commenting on these developments, he indicated having resolving not to accept either "capitulation" or "the solution of humiliation", and declared himself optimistic about the possibility of collecting funds in dignity. His efforts were supported by the literary community, who organized a series of fundraisers, the collection being supplemented by government authorities. In late 1997, Nedelciu applied for a visa in order to get treatment in France, but it was not granted. This prompted indignation on the Romanian literary scene, and press campaigns criticizing the French Embassy in Bucharest. In November of that year, while participating in the Gaudeamus Book Fair, <mask> was able to collect the endorsement of various local cultural personalities for his own manifesto, which demanded "freedom of movement throughout Europe for those who are in need of it". The French authorities eventually rescinded their decision, and the writer left for Marseille, where he underwent an intervention to improve his mobility.<mask> <mask> died on July 12, 1999, and was buried at Bellu Cemetery two days later. His tombstone bears the title of one of his books, "And Yesterday Will Be Another Day". In a short memoir of the event, his Noii colleague Stan commented on the "subtle irony" of his burial having taken place on Bastille Day, France's national celebration. Work

Cultural positioning
Throughout his career, <mask> was a prominent exponent of experimental literature, metafiction and autofiction. Inside Noii, he reportedly cut the figure of an innovator, a promoter, and the club member most interested in literary theory. This verdict was partly backed by , who remarks: "Like other authors from his generation, <mask> Nedelciu took care to define himself his own manner of writing, before literary critics did". According to critic , the period of "theoretical effervescence", in which Nedelciu assimilated inspiration from diverse sources, was followed by a "growing preoccupation for language."Writing during the second part of his career, Nedelciu reflected back with self-irony: "the writer's childhood diseases are [...] the wish the theorize and the baroque. Which shall the disease of old age be? I do not know. Probably monumentality, classicization!" Owing to their secondary nature, that of literary tests, Nedelciu's works abound in references and compliments to, as well as borrowings from, various authors. Names critics cite in this context include Romanian classics such as Ion Luca Caragiale, Mateiu Caragiale, <mask> Eliade, and Marin Preda. <mask>'s narratives were overall significantly indebted to American fiction, and in particular to J. D. Salinger, in whose Catcher in the Rye he reportedly found the first model for his own autofictional style.He is also known to have reworked and blended into his own texts various themes borrowed from Ernest Hemingway. The English-speaking world became the Romanian author's primary cultural reference, and, according to researcher , <mask> was one of those "fascinated" with the ideas of Canadian essayist Northrop Frye on "the constant degeneration of the character" in Western literature. His inspiration sources also covered French authors associated with the May 1968 movement. Primarily related to his interest in the textuality and intertextuality techniques of Tel Quel theorists, French echoes are ranked by Dinițoiu as secondary in <mask>'s work. The author did however make extensive use of constrained writing techniques popularized by France's avant-garde, stating his admiration for the lipograms of Georges Perec. According to a testimonial by his friend Gheorghe Crăciun, <mask> <mask> also adopted "action writing"-like techniques, "without prior minute elaboration", displaying "that science of controlling one's own text bear-handed." ţoiu also mentions the "passion [...] for exact science" as a distinct trait of Nedelciu's experimentation, accounting for his "stylistic rigor".Nedelciu equaled his integration into the Desant '83 group with an affiliation to Postmodernism, an interpretation of positioning which came to divide the Optzeciști camp. <mask> Cărtărescu, another member of this faction, referred to his colleague as "the uncontested prose leader of the 1980s", while Mihăieș acknowledged in him "the true leader of our generation, whose rule was naturally acknowledged, indisputable and therefore not at all constrictive." In tandem, author Daniel Cristea-Enache retrospectively referred to Nedelciu as a "Pope of Romanian textualism" whose "strongest asset" was literary theory. The main meeting point between Nedelciu's style and Postmodernist tenets is provided by his attachment to reinterpreting literary conventions, often with the introduction of self-referential material or provoking artistic license. Neorealism and personalized techniques
Within the Postmodernist framework, Nedelciu also stood for a minimalist approach to Neorealism, which linked him directly to fellow Optzecişti Ioan Groşan, Cristian Teodorescu and Sorin Preda. For the author himself, Postmodernist-textualist practices and the tradition of literary realism were complementary, in that the former meant "the realism of attitudes toward the real", a conclusion to which he added: "The document, the act, the direct transmission of an event that has actually happened may enter a literary text's economy, where they are no longer 'artistically transfigured' but authenticated [Nedelciu's italics]." According to literary critic Mihai Oprea, who builds his comments on terms introduced by essayist Monica Spiridon, Nedelciu's textualist approach to literature

masks:
Mircea Nedelciu
Nedelciu
Nedelciu
Mircea
Nedelciu
Mircea
Nedelciu
Nedelciu
Mircea
Nedelciu
Nedelciu
Nedelciu
Nedelciu
Nedelciu
Mircea
Nedelciu
Nedelciu
Mircea
Mircea
Nedelciu
Nedelciu
Nedelciu
Mircea
Nedelciu
Mircea


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 as its own reality actually followed a middle course between "referential verisimilitude, preoccupied with retracing reality" and a "cultural verisimilitude", whose characteristic is "a world of objects already interpreted and ideologically formed by a certain culture."Cristea-Enache also discusses the impact that the interwar Romanian Social Realist Camil Petrescu had on Nedelciu's style, where it resurfaced in an adapted form. Essayist Genţiana Moşneanu, who defines Nedelciu's prose as being dominated by the sense of sight and recurring references to optical instruments, argues: "[His] sight digs into the sordidness of everyday banality in order to present us with samples of reality based on minute facts. All that which resides within the author's field of vision is transmitted to us, the readers, giving us that impression of 'real reality', of real life." In addition to this, she identifies a "kaleidoscope" effect, which subverts the order of realistic details between the levels of each narrative, concluding: "The manner in which <mask> Nedelciu has captured everyday banality leaves the impression of a film based on real fact, where the characters and incidents have been introduced for aesthetic reasons." A similar argument was made by Gheorghe Crăciun, who compared the effect with the "hallucinatory something" of a "film clip", translated as "a world continuously in the making". For Sanda Cordoș, his short fiction represents "a propitious moment" and a "resurrection" synonymous with "the creative type of the '80s." One of Nedelciu's cogenerationists and friends, critic Ion Bogdan Lefter, also recalled how Nedelciu's personality reflected in his style and choice of subjects, noting the great pauses his colleague would leave between his works, and how "the details of reality which [Nedelciu] would bring into conversation" were casually integrated in later texts.Lefter argued: "[he] was a writer without writing" who "observed and described, lived and retold." Among the narrative techniques setting Nedelciu apart among his generation colleagues was that of so-called "live transmissions", or stories in which the mixture of coherent record and textualist transcript led to an identification with the subject. Another colleague and friend of Nedelciu, Cristian Teodorescu, recalled: "one of these stories was the transcript of a front line diary by a peasant who fought in World War II. I repeatedly asked Nedelciu what the deal was with the peasant's diary. Eventually, he admitted that he only owned a few pages of the diary, that the rest had been lost. Had he filled out the rest? He would not tell me.He knew how to defend the mysteries of his prose, taking shelter behind textualist explanations on 'text generation'." Items of regular life transposed into his prose notably include the phone number of his fellow writer Radu Cosaşu, recorded in one of Nedelciu's prose fragments. Some commentators attribute <mask> <mask>'s work with other distinct qualities, stemming from a confrontation of identities: his rural and provincial roots over his adoption by the cosmopolitan Bucharest scene. This issue is reflected in a 2006 statement Crăciun: "He is, after all, a cosmopolitan figure, I could even say a frivolous figure. He runs away from the world to which he belongs, in search of the urban world, but he nevertheless can never part with the former." The claim was supported by țoiu, who argued that Nedelciu's frivolity refers to his "southern" roots in the historical region of Wallachia, which contrasted with and "captivated" the Transylvanian-born Crăciun. In the assessment of Sanda Cordoş, "Nedelciu's freedom of spirit was rooted in peasant culture and the literary life of the city, and he preserved it after graduation in 1973."Such aspects of <mask> <mask>'s work and biography are reflected in his choice of subjects and underlying themes, listed by Cordoş as "travel, vagrancy and wandering through everyday reality, immediately experienced." The "need for freedom", țoiu argues, is associated in Nedelciu's fiction with "surprisingly romance" love affairs, whose female protagonists "are often on the verge of ideal projection." The narrative is generally laid out as a ceaseless travel, and the often guide-like protagonists seem to suffer their crises only in rare moments of respite. An allusive background to these fictional biographies is provided by the social context: like the author himself, the characters are often uprooted people who relate to historical events as a seminal but mysterious collective trauma. In addition to this element, Crăciun lists the recurring themes of Nedelciu's fiction as "archeology", "meteorology" and "the mechanisms through which nature and the surrounding life exercise pressure on the individual", adding: "Each of these three elements [...] is liable to provoke the distortion of reality, the emergence of strange phenomenons, abrupt changes of life and destiny, the passage from the immediate space into other spaces, at the very least atypical if not fantastical ones." A similar listing of <mask> <mask>'s main preoccupation was also provided by Lefter. Controversial aspects
Together with Cărtărescu and other figures in the Postmodernist group, Nedelciu was a target for criticism, both individual and collective.A synthesis of these objections was provided by literary historian Eugen Negrici. In Negrici's view, the self-referential and ironic works produced by such writers hindered the development of local literature on a more solid basis, and their embrace by the established critics diverted attention from older, classically Modernist authors. He also argued that the group's identification with Postmodernist theses prevented others from doing the same, and that the approximation implied by this process rendered the Postmodern label meaningless. Another literary historian to issue negative comments on <mask>'s overall contribution is Alex Ștefănescu. In his view, although being "intelligent and inventive", Nedelciu lacked "artistic sense", displayed "intellectual immaturity", and wrote novels that, unlike his short stories, were "needlessly complicated, clumsy, irrelevant from a literary point of view". Ștefănescu objected in particular to Nedelciu's theory about the need to eliminate "mystification" in prose, commenting that the awareness of conventions was accessible to "every reader", and the contrary effort brought to mind "someone who, storming into a cinema hall, [starts] shouting 'My brothers, don't let yourselves be fooled! That which you see is not reality.These are but images projected on a piece of cloth'." He also challenged Nedelciu's view of self-referential prose was a path to interactivity, arguing that, although the writing process was exposed, the readers' passive role could not be modified: "they can only watch upon the authors' demagogic gesticulation and later conclude that the latter have still pursued their narrative as intended." In Cristea-Enache's view, Nedelciu circulated "sophisms" and "sleight of hand", his target reader being someone who, in order not to seem "tasteless, unintelligent and conservative", claims to have enjoyed writings "without substance, structure or form". In 1995, answering to unfavorable comparisons made between the palpable interactivity of electronic literature on one hand and the theoretical interactivity of pre-1989 prose on the other, Nedelciu accused his rival Ion Manolescu of having created, "out a cocktail of confusions, a thesis supported only by [his] inexplicable enthusiasm". For Ştefănescu, the nature of language experiments in <mask> Nedelciu's short fiction is not innovative in its recourse to orality, and its techniques of constrained writing affect the personal message—citing his record of the 1977 prison term, which follows a strict pattern of grammatical conjugation. Like Negrici, the critic also reproaches some of his peers having welcomed Nedelciu as an innovator "out of lassitude or snobbery". Similar points were made by essayist Laszlo Alexandru, who claimed that the lionized mainstream of the 1980s and 90s had artificially promoted a "pyramid structure" dominated by Nedelciu as "The Great Prose Writer", Cărtărescu as "The Great Poet" and Lefter as "The Great Critic".This endorsement clashed with the opinion Laszlo shares, according to which Nedelciu "is far from being even an important prose writer". Although highly critical of Alex Ștefănescu's overall views on literature, Laszlo agreed with his verdicts on Nedelciu. Taking his distance from the negative critical revisions, in particular that contributed by Ştefănescu, Crăciun claimed: "The narratological issues posed by <mask> <mask>'s writing style [...] have been improperly treated—as aspects on their own, isolated from their subjects, situations, characters and contents—[...] because prose experiment in our country is still seen as an extravagant phenomenon, exterior to creation as such, of doubtful value, arousing suspicion when not in fact pejorative labels." Among the most debated aspects of <mask> <mask>'s contribution to literature under communism was his theory that writers could evade the pressures of censorship by appealing to subtext, allusions, irony, and other Postmodern mechanisms, while formally adapting themselves to the exterior ideological aspects. According to literary historian Marcel Cornis-Pope, his approach to testing the "prohibitive boundaries" and "foundations of communist reality" relied on exposing the "dogmatic stagnation" through "bolder experimental fiction", of a kind illustrated by other Eastern European authors: Gabriela Adameşteanu, Péter Esterházy, Danilo Kiš, Sławomir Mrożek, Péter Nádas, Toomas Raudam, Piotr Szewc, Dubravka Ugrešić, and Mati Unt. Nedelciu's stance was retrospectively criticized by as illusory, particularly since, even if it allowed the Optzeciști to penetrate the market, it did not prevent the censorship apparatus from viewing Nedelciu personally with suspicion. The theory also scandalized older authors, in particular the dissidents and the openly anti-communist observers from within the Romanian diaspora: Radio Free Europe contributor Monica Lovinescu referred to Nedelciu as a "socialist textualist".Much debate surrounded the writer's own preface to his Tratament fabulatoriu, which several have read as an endorsement of Nicolae Ceaușescu's regime. Ștefănescu cited its main subject of contention as being the statement that capitalism was inherently hostile toward art, whereas communist states nurtured creativity in order to create a "New Man". According to Laszlo Alexandru, the text enforces the reader's "indignant stupefaction" concerning Nedelciu's promotion by his peers. Such conclusions are contrasted by <mask>'s own account, provided after the Revolution: he recorded having been engaged in a conflict with censors, and argued that the book itself was about escape from the increased pressures of the 1980s. <mask> Mihăieș recalled that, during the writing process for Femeia în roșu, he had confronted his colleague on the issue of his preface being "annoying and false through its leftism, its opportunistic Marxism", and mentioned having received an enraged justification in response. In parallel to such debates, <mask>'s 1982 article, defined by Ștefănescu as "vehement and insulting", brought further suspicion of his motives. Debut works
With his debut writings, Nedelciu elaborated the generic characteristics of his style, and in particular his choice of subjects.The first of his volumes, Aventuri într-o curte interioară, is also his first account of vagrancy as a lifestyle, showing young abandoned orphans escaping into reverie. The characters of Amendament la instinctul proprietății expand on Nedelciu's reflexions about marginality and aggression: a wanderer, Alexandru Daldea, is gripped by despair, while his female counterpart Dilaré is shown to be suicidal. Another character, Bebe Pîrvulescu, stands for political allusion, being the morally ambiguous son of an officer involved in repression and his cheating wife (whose lover was among those branded "enemies"). A critically acclaimed section of the volume is Provocare în stil Moreno ("Moreno-style Provocation"), called by Dinițoiu a "wonderful prose [which nevertheless] entangles itself in its own meta-textual armor, pressing on its vibration-loaded core." It depicts a physically disabled man, who closely follows the outside world using a pair of binoculars. The apparent historical novel Zmeura de cîmpie, carrying the subtitle Roman împotriva memoriei ("A Novel against Memory"), tells the story of Zare Popescu, who is engaged on a mysterious quasi-archeological investigation into history. He and all other characters are presumably orphaned drifters who run into each other chaotically while traveling the country—a narrative setting to which Nedelciu adds long fragments of inquires into abstract topics of etymology or cinemaphilia, reflecting the main characters' obsessions.A secondary element is the erotic tension between Zare and Ana, an ambiguous female character who occasionally and mysteriously expresses herself in an ungrammatical version of Romanian with strong influences from Hungarian. Cornis-Pope sees it as representative for the subtle manner in which Nedelciu, like Stan and Adameșteanu, chose to question "ideological representations" and "official myths" present "at the height of Ceaușescu's 'totalitarian absurd' ". He argues: "Zmeura de cîmpie [...] dramatized the difficulties of extricating the culture's 'soul of facts' from official fictions and the totalistic language of the 'tribe'." For Cornis-Pope, this concern is similar to dissenting reportage authors in Communist Poland and the Socialist Federal Republic of Yugoslavia, such as Ryszard Kapuściński and Miško Kranjec. Taking the book's dedication to veterans of Romania's 1944-1945 campaign as her clue, critic Simona Vasilache discusses the text as a generational epic, stressing that the hidden theme is the fate of anti-fascists entrapped by communism. Daniel Cristea-Enache is highly critical of Zmeura de cîmpie, deeming it "weak and indigestible", and opining that the experimental aspects "no longer enable fiction to breathe, but substitute it." Tratament fabulatoriu, Și ieri va fi o zi, and Femeia în roșu
Tratament fabulatoriu, the preface of which made <mask> Nedelciu the subject of controversy, is Nedelciu's contribution to the fantasy novel, having for its protagonist the meteorologist Luca, whose work assignment in Temelia ("Foundation") village leads him into a world apparently governed by the rules of Utopian socialism.Like in Zmeura de cîmpie, the small community benefiting from these guidelines finds its preoccupation in historical research: its leader Marius asks his comrades to piece together the career of his supposed ancestor, Neculai Fiston-Gulianu. The plot subsequently focuses on Luca's internal struggles, brought upon by clues that this universe is the design of his own imagination, and culminating in resignation to reality. Within the text are references and stylistic homages to Mateiu Caragiale and his celebrated Craii de Curtea-Veche novel, centered on details in Fiston-Gulianu's biography. The work is punctuated by first-person interrogations, where Nedelciu transforms his narrative mode into a third-level story, where he analyzes his own ability to interpret Luca's feelings. Mihai Oprea notes the text's ambiguous fluctuation between an actual "Möbius strip" space with "unknown laws" and the imagination of a character "on the verge of autism". In his updated preface of 1996, where he presented his intentions of subverting the communist guideline, Nedelciu explained that his intent was to create "a counter-utopia", sourced by his clandestine readings from George Orwell's Nineteen Eighty-Four, from Elias Canetti's Crowds and Power, and from Michel Foucault's Discipline and Punish. According to Oprea, the work nevertheless fails in its stated ambition of evading the "obsessive-pressuring" world of the late Ceaușescu years: "We are promised the solution of a bitter fight and we are offered a cardboard scenery and wooden swords.We are informed by the sound of trumpets of

masks: Mircea Mircea Nedelciu Mircea Nedelciu Mircea Nedelciu Nedelciu Mircea Mircea Nedelciu Mircea Nedelciu Nedelciu Mircea Nedelciu Mircea


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 the retreat into the last redoubt we still can defend (although it can't defend us), and, once we arrive there, we realize that the enemy is a controlled marionette, albeit one masterfully handled by that absolute and pitiless master, the Author." Adina Dinițoiu believes that, contrary to its author's reflections, Tratament fabulatoriu is "<mask> Nedelciu's only fantasy and baroque book"; she also highlights its "mannerist", formalist" and "Bovaryist" characteristics. Noted within Și ieri va fi o zi, the story Probleme cu identitatea ("Identity Problems") is believed by Cordoș as the "peak" of Nedelciu's short fiction. Subtitled Variațiuni în căutarea temei ("Variations in Search of a Theme"), it merges biographical details with imagined elements, recounting in three different ways the journey of Mureşan Vasile (or Murivale), who travels to Bucharest in order to stand wake for poet Nichita Stănescu. Murivale is, in turn, a worker who quits his job, a deserting soldier and a bankrupt visual artist from Timișoara—avatars which allow Nedelciu to expand on the issue of art in general and, in particular, on that of Timișoara's literary environment. By highlighting the awkwardness in his protagonist's dealing with grief, Probleme cu identitatea also reflects the contrast between the fragile everyday and the magnificence presumed of art. Cordoş concludes: "Life is made of cunning, betrayals, affection and exasperation, marital strife and unexpected complicity, which Nedelciu constructs not in antithesis but in a complementary way so that art will acquire, even in the eyes of petty people, a radiance inexplicable to them."In addition to this piece, the volume includes Primul exil la cronoscop ("The First Chronoscope Exile"), a science fiction-inspired story introducing the deep-sea diving metaphor which would come to fascinate Nedelciu during his final years. Femeia în roșu, defined by its subtitle as a retro roman ("retro-novel"), is the fictionalized biography of Ana Cumpănaș, a Romanian prostitute who helped capture American gangster John Dillinger. Columbia University academic and literary historian Harold Segel calls it "a curious mixture of docudrama, historical novel, and self-reflective fiction", seeing it as "of particular interest to Americans" among existing pieces of Romanian collaborative fiction. The three authors, who were reportedly following the suggestion of Banat Swabian writer William Totok, based their retrospective account on various sources, including first-hand interviews with people from Comloșu Mare, the village where Cumpănaș originated, resulting in what writer Ana Maria Sandu called "a story that is at the very least as fascinating as that of [...] Dillinger." The subject matter reputedly irritated communist censors, accounting for the fact that Femeia în roșu was published only after the 1989 Revolution. Beyond the conventional aspects of the narrative, the novel introduces various pieces of experimental prose, whose actual protagonist, critic Simona Sora proposes, is the human body. While respecting formal conventions to the point of including a bibliographical section for the sources consulted, the authors stretch the plot to mention real or imagined details of their own process of researching and writing, or divert it to include episodes about real but not directly relevant personages (such as Canetti and psychoanalyst Sigmund Freud).The focal point and recurring element is autopsy, a procedure in which Sora sees a hidden comment on the very nature of novels: "The rules of a professional autopsy thus become the rules of a novel that is self-aware and aware of literature's (often void) demands." Although she argues that the stated goal of overturning "ancient complexes of the Romanian writer" is left open, Simona Sora sees Femeia în roșu and its "virtuosity" as imposing the autofictional model in front of conventional "artifice". Zodia Scafandrului
<mask>'s unfinished novel, Zodia Scafandrului, is marked by the expectation of death, echoing the final part of its author's life (a period described by Nedelciu's colleague Alexandru Mușina as marked by "generosity, the cult of friendship, a sense of honor and, above all, indifference in the face of death"). Days before dying, the author himself recorded how the expectation had impacted on his writing style: "I know, time now seems to have become very short. It's no longer feasible to put down on paper everything that passes through your mind. You have to make selections, samples. You have to know how to do the opposite of what a tailor does: to measure just once and to cut dozens of times, to discard, to suggest rather than to develop in great detail.But these are things that can be learned." He also commented on the "tricks" his literature had developed in its confrontation with both the threat of death and the debilitating character of his disease: "For example, [describing] in detail a healthy foot, the toes that waggle freely up and down, the mobility of a fine ankle, the play of the shins and thighs in dance—all these things place my hideous adversary in a real crisis of uncertainty. It knows already that my legs belong to it, but I am talking about different legs. There are and will be so many!" Nedelciu also recounted masking his fear of the disease by only referring to it with the euphemism gâlci ("quinsy"). According to both Gheorghe Crăciun and Ion Bogdan Lefter, their friend had a superstition according to which completing his book would accelerate death. Despite the timely constraints, <mask>'s original project may have called for Zodia Scafandrului to be the first section of a larger cycle, structured around the yearly cycle of months.Adina Dinițoiu calls attention to the book's "unsettling biographical genre [...] intensely vibrating the chord of a writing style completely lacking in formalism." She ties it to a final development in Nedelciu's literary attitudes, that in which "profundity" was added to his branch of "microrealism", producing "an ethical and even soteriological connotation". In Lefter's view, the book "may be and must be read—I insist: must be read—in various ways." Its nature, he specifies, is that of a "literary and sociocultural project [...] attempting to reach the profound truths in Romania's 20th century universe", but also that of a memoir offering "the sense to a life." The text, having for its protagonist Nedelciu's alter ego Diogene "Dio" Sava, again speaks of its own genesis, notably by referencing a real-life encounter with Scarlat, a diver for the state commercial fleet Navrom and amateur novelist, who reveals to Nedelciu that writing itself may carry the symptoms of disease. Through the themes of diving and disease, the book filtrates satire of communist politics, as <mask>eauesque design, my mind encrypts the adversities (the chill, the frost) of this entire world I'm living in, this symbolic coldness of Romania's communist society in the year 1989, and the body naturally refuses this exile 'up North'." According to Lefter, <mask> was actually reworking his notion of layered meanings into the diving metaphor, adapting an earlier interest in the techniques of art restoration (in turned provoked by his discussions with muralist Viorel Grimalschi). Sava's literary biography reflects his familiarity with interwar society and its upper class, and again portrays Mateiu Caragiale (this time by fictionalizing Caragiale's activities at his property in Fundulea). The impact of communism and collectivization is reflected as a collective tragedy, and the start of an apparent Bildungsroman, depicting the Sava family's encounters with the Securitate secret police, the life of debauchery he leads in order to liberate himself from pressures, and his employment at the Securitate-led Great Institute of History. The latter is a satirical reworking of historiographic practice under communism, the extreme nationalism of the late Ceauşescu years, and the intrusion of pseudoscientific theories such as protochronism into scientific practice. These episodes also mark the return of Zare Popescu, the protagonist of Zmeura de cîmpie, who works with Dio at the Institute and whom again experiences life through digressions into historical symbolism, which this time are explicitly about dictatorship. These include an oblique mention of Ceaușescu being convinced that he was about to be replaced by "a Pisces", and Crăciun declared himself "absolutely convinced" that Zodia Scafandrului was supposed to end with an overview of the 1989 Revolution as "December".The narrative takes Diogene to Communist Poland, on a scientific mission which connects him to the Securitate's international schemes, and fictionalizes events related to the Gdańsk Shipyard strikes. Other late works
<mask> <mask>'s other short prose work include his 1998 contribution to erotic literature, which reworked a similar 19th-century piece by the folk writer Ion Creangă (Povestea poveștilor, "Tale of All Tales"), thus seeking to liberate profane language. <mask>, who deemed Creangă "the ballsiest Romanian-language storyteller", placed his version of the story during the late years of communism, describing sexual encounters between female teachers and party activists. Literary critic Paul Cernat commended the work for its "overflowing relish", and concluded on the posthumous relationship between the two authors and their treatment of Romanian folklore: "the genuine storyteller, bearer of the oral, peasant culture in the written from [versus] the Postmodern prose writer, who has seen everything written culture has to offer, returning to the rudimentary, popular roots of his writing". The text was among those rejected by , who claimed: "Ion Creangă's text is not simply picturesque, it is refined and full of charm, while <mask> <mask>'s, fashioned in a cold manner, lacking the joy of storytelling, is merely vulgar." Several other scattered prose fragments were discovered only after Nedelciu died. Among them is Uriaşa şi ciudata pasăre a viselor noastre ("The Giant and Weird Bird in Our Dreams"), which seems to refer to his countryside escapades with Ion Dumitriu and others.Literary critic Carmen Muşat advances a hypothesis according to which the undated work dates ca. 1990, basing it on various clues in the text. She also describes the "key" of the piece as being provided by its motto, "Now that we are done creating the world, what's left for us other than recreating it?" This, the critic argues, results in a "representative text for <mask> <mask>'s prose", or "a story told with naturalness and well-tempered irony, about the ambiguity of relations between the narrator, the characters and the reader, about their double rooting in reality and textuality, as well as about their adventures in this 'through the looking-glass country' that is literature." The main intertextual reference in this case is Ernest Hemingway: Uriaşa şi ciudata pasăre a viselor noastre transmits images or sections of text borrowed from The Snows of Kilimanjaro, Hills Like White Elephants and The Short Happy Life of Francis Macomber. Legacy
Nedelciu has been voted among Romania's most important novelists in 2001, following a poll by Observator Cultural review: out of 150 novels, Femeia în roşu was voted 23rd-best, with Tratament fabulatoriu at 28 and Zmeura de cîmpie at 139. An edition of Zodia Scafandrului was published in 2000, sparking debates about the appropriateness of circulating unfinished versions of one's work.Nedelciu's posthumous bibliography also includes a 1999 selection of his entire work (under the collective title Aventuri într-o curte interioară) and a 2003 version of Femeia în roşu, as well as the collection Proză scurtă ("Short Prose" or "The Mircea Nedelciu Reader"). They were followed by a reprint of Zmeura... and third editions of Tratament fabulatoriu (2006) and Femeia în roșu (2008). Several other of his stories saw print in stages after his death (including Uriașa și ciudata pasăre a viselor noastre, published by Observator Cultural in July 2008). In addition to <mask> Mihăieș, who recounts having learned the techniques of novelistic writing from his friend, a new generation of authors, most of whom debuted in the 1990s, assimilated influences from the writings of Nedelciu. Among them are Dan Lungu, Sorin Stoica, Lucian Dan Teodorovici, Andrei Bodiu, and Călin Torsan. Nedelciu's reworking of Povestea poveștilor, alongside Creangă's original and similar texts, was transformed into an eponymous fringe theater show, directed by actor Gheorghe Hibovski and premiered in spring 2009. According to critic Cornel Ungureanu, Femeia în roșu has endured as "the manifesto of Optzeciști prose writers, an exemplary work of autochthonous Postmodernism", while its main character, Ana Cumpănaș, has grown into "the actual aunt of autochthonous Postmodernism."However, Daniel Cristea-Enache claimed, Nedelciu has become a victim of lack of interest, or "our lack of critical memory", after 1999, a phenomenon which he contrasts with the "almost always positive old critical references". Cristea-Enache believes the "not to flattering" explanation resides in the critical establishment's acknowledgment that Nedelciu "is not one of the sizable novelists." A different account was offered by Gheorghe Crăciun, who wrote: "Presently, [Nedelciu's] prose is, in the eyes of many (including school textbook authors), a rather precisely charted territory, which may no longer offer surprises, be they thematic or technical." According to Dinițoiu (who bases her conclusions on 2005 inquires among University of Bucharest students), Nedelciu's popularity declined not just because of his difficult stylistic approach, but also because "the referent" of "microrealism" has vanished—whereas Cărtărescu's "imaginative constructs" had maintained "a good quotation on the market of values." In November 2002, during events marking Nedelciu's 52nd birthday, the Fundulea school which the writer had attended as a child was renamed in his honor. Ion Bogdan Lefter, who attended the event, commented: "Fundulea has become a spot on Romania's cultural map, owing to him, to Nedelciu, just like other small communities—albeit not many!—are renowned for being the places which so and so have left in order to become great names in national creativity..." Since 2002, the annual Gaudeamus Book Fair hosts an essay contest on literary subjects, targeting students in their final years of high school and awarding the Mircea Nedelciu National Prize for Reading. Notes

References
 Marcel Cornis-Pope, "1989.From Resistance to Reformulation", in Marcel Cornis-Pope, John Neubauer (eds. ), History of the Literary Cultures of East-Central Europe, John Benjamins, Amsterdam & Philadelphia, 2004, p. 39-51. Florin Mihăilescu, De la proletcultism la postmodernism, Editura Pontica, Constanța, 2002. Harold Segel, The Columbia Literary History of Eastern Europe Since 1945, Columbia University Press, New York & Chichester, 2008. Adina Dinițoiu, Proza lui Mircea Nedelciu. Puterile literaturii în fața politicului și a morții (Editura Tracus Arte, București, 2011) Informații despre carte

External links
 Yesterday Will Be Another Day (excerpt), The Sign Of The Diver (excerpt), Swampward Ho! (selection from Sign of the Deep Sea-Diver), in the Romanian Cultural Institute's Plural Magazine (various issues)
 The Controlled Echo Effect, at Observator Cultural, The Observer Translation Project

Romanian essayists
Romanian literary critics
Romanian male novelists
Romanian male short story writers
Romanian short story writers
Minimalist writers
Romanian historical novelists
Romanian fantasy writers
Romanian erotica writers
Romanian humorists
Romanian memoirists
Romanian science fiction writers
Romanian book publishers (people)
Romanian librarians
Romanian magazine editors
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People from Fundulea
University of Bucharest alumni
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Burials at Bellu Cemetery
1950 births
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20th-century Romanian novelists
Male essayists
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20th-century essayists
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masks: Mircea Nedelciu Nedelciu Nedelciust Nedelciu Mircea Nedelciu Nedelciu Mircea Nedelciu Mircea Nedelciu Mircea


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<mask> ( , 17 June 1919 – 22 December 2006), was a Russian composer of classical music. Early years
Born in Petrograd, Ustvolskaya studied from 1937 to 1939 at the college attached to the Leningrad Conservatory (later renamed the Rimsky-Korsakov Conservatory). From 1947 till 1977 she taught composition at this college. In 1939 she entered Dmitri Shostakovich's composition class at the Conservatory as the only female student in his class. Her composition teacher said of her:

Shostakovich sent some of his own as yet unfinished works to Ustvolskaya, attaching great value to her comments. Some of these pieces even contain quotations from his pupil's compositions; for example, he employed the second theme of the Finale of her clarinet trio throughout the Fifth String Quartet and in the Michelangelo Suite (no. 9).The intimate spiritual and artistic relationship between the two composers has been compared to that of Schoenberg and Webern. Ustvolskaya was a pupil of Shostakovich from 1939 to 1941 and from 1947 to 1948, but her works from the 1950s onwards retain little influence of his style. Until 1961 none of her true works were performed other than patriotic pieces written for official consumption. The middle of the 1960s witnessed greater tolerance for modernist music, and interest in Ustvolskaya began to grow – the Leningrad Union of Composers organized in the 1970s evenings of her music, which invariably received high praise from listeners and critics. Ustvolskaya quickly became a cult figure, even though very few people outside of Leningrad and Moscow knew her. Widespread recognition came only after her music was performed in several concerts of the 1989 Holland Festival. Since then her music has been increasingly often programmed in the West.Style
Ustvolskaya  developed her own very particular style, of  which she said, "There is no link whatsoever between my music and that of any other composer, living or dead." Among its characteristics are: the use of repeated, homophonic blocks of sound, which prompted the Dutch critic Elmer Schönberger to call her "the lady with the hammer"; unusual combinations of instruments (such as eight double basses, piano and percussion in her Composition No. 2); considerable use of extreme dynamics (as in her Piano Sonata No. 6); the employment of groups of instruments to introduce tone clusters; sparse harmonic textures; and the use of piano or percussion to beat out regular unchanging rhythms (all of her acknowledged works use either piano or percussion; many use both). The music of <mask> <mask> is not "avant-garde" in the commonly accepted sense of the term and for this reason was not openly censured in the USSR. However, she was accused of being unwilling to communicate and of "narrowness" and "obstinacy". It is only in the recent past that her critics have begun to realize that these supposed deficiencies are in fact the distinguishing qualities of her music.The composer Boris Tishchenko has aptly compared the "narrowness" of her style to the concentrated light of a laser beam that is capable of piercing metal. <mask> <mask>'s works of the 1940—1970s sometimes sound as if they had been written today. Her specific idealism is informed by an almost fanatical determination; this should be construed not only as a typically Russian trait, but also – in terms of Dostoyevsky – as a "Saint Petersburgian" one. Shostakovich wrote to her:

All of Ustvolskaya's works are large-scaled in intent, no matter how long they are or how many players are involved. Ustvolskaya's music is largely based on tension and density. She proclaimed in the 1990s “The tremendous power and aspiration to God, which are inherent in each composition, do not even allow to formally apply the term chamber to them. Ustvolskaya considers her compositional technique to be completely new, individual and not amenable to theoretical analysis.”

Religion
All the symphonies have parts for solo voices, the latter four having religious texts, while the compositions have religious subtitles.The spiritual aspect of the compositions and symphonies invites a superficial comparison with her contemporary Sofia Gubaidulina, although unlike the latter Ustvolskaya was not a practising believer and these works are far from professions of Christian faith. The texts are either conventional invocations or, in the case of the fifth symphony, the Lord's Prayer. As Frans Lemaire has written, "Most of the time, the words present themselves as a murmured complaint or an insistent supplication, as opposed to the cosmic indifference of the music". In literature
<mask>'s relationship with Shostakovich from her time as a student through the 1950s is characterized in William T. Vollmann's National Book Award-winning historical fiction Europe Central. Legacy and remembrance
Ustvolskaya died in Saint Petersburg. Her estate is managed by her husband of 43 years Konstantin Bagrenin (1941). Her manuscripts are stored in the archive of the Paul Sacher Stiftung since 1994.Works

Ustvolskaya's oeuvre is small, with only 21 pieces in her characteristic style (i.e. excluding the public, Soviet-style works). Concerto for piano, full string orchestra and timpani (1946)
Sonata for cello and piano (1946) (destroyed)
Piano Sonata No. 1 (1947)
The Dream of Stepan Razin (Сон Степана Разина – Son Stepana Razina) Bylina for bass and symphony orchestra (Russian folk text, 1949)
Trio for clarinet, violin and piano (1949)
Piano Sonata No. 2 (1949)
Octet for two oboes, four violins, timpani and piano (1950)
Sinfonietta (1951) (destroyed)
Piano Sonata No. 3 (1952)
Violin Sonata (1952)
Twelve Preludes for piano (1953)
Symphony No. 1, for two boys' voices and orchestra (Text by Gianni Rodari, 1955)
Suite for orchestra (1955)
Piano Sonata No.4 (1957)
Symphonic Poem No. 1 (1959)
Symphonic Poem No. 2 (1957)
Grand Duet for piano and cello (1959)
Duet for piano and violin (1964)
Composition No. 1 Dona Nobis Pacem, for piccolo, tuba and piano (1971)
Composition No. 2 Dies Irae, for eight double basses, piano and wooden cube (1973)
Composition No. 3 Benedictus, Qui Venit, for four flutes, four bassoons and piano (1975)
Symphony No. 2 - True and Eternal Bliss!, for male reciter and small orchestra (1979)
Symphony No.3 - Jesus Messiah, Save Us!, for male reciter and small orchestra (1983)
Symphony No. 4 - Prayer, for contralto, piano, trumpet and tam-tam (1985/7)
 Piano Sonata No. 5 (1986)
 Piano Sonata No. 6 (1988)
Symphony No. 5 - Amen, for male reciter, oboe, trumpet, tuba, violin and wooden cube (1989/90)

Her music is available from Hans Sikorski, Hamburg. Discography
Composition No. 1
– Zoon / Oostendorp / Malov RN (Radio Netherlands)
– Renggli / Le Clair / Schroeder Hat Art CD 6130
– Tokarev / Arbuszov / Malov Megadisc MDC 7867
– Members of the Schönberg Ensemble / de Leeuw* Philips 442 532-2
– Osten/ Hilgers / Hagen Koch 31 170-2 H1

Composition No.2
– Propischin / Kolosov / Goryachev / Vulik / Kovulenko / Peresipkin / Sokolov / Nefedov / Javmertchik / Sandovskaya / Malov Megadisc MDC 7867, Megadisc MDC 7858
– Schönberg Ensemble / de Leeuw* Philips 442 532-2

Composition No. 3
– Amsterdam Wind Ensemble / Friesen  RN (Radio Netherlands) Globe 6903
– Danilina / Osipova / Rodina / Tokarev / Makarov / Shevchuk / Sokolov / Krasnik / Sandovskaya / Malov Megadisc MDC 7867
– Schönberg Ensemble / de Leeuw*  Philips 442 532-2
– Jones / Coffin / Keen / Stevenson / O’Neill / Antcliffe / Newman / McNaughton / Stephenson / Stephenson Conifer 75605 51 194-2

Concerto for Piano, String Orchestra and Timpani
– Lubimov / Deutsche Kammerphilharmonie / Schiff Erato 0630 12 709-2
– Seribryakov / Chamber Orchestra of the Leningrad Philharmonic / Malov. Musica Non Grata Series. Melodiya BMG 74321 49 956-2

Duet for Violin and Piano
– Beths / de Leeuw* Hat Art CD 6115
– Shustin / Malov Megadisc MDC 7863
– Rissin / Rissin-Morenova SST 30211

Grand Duet for Violoncello and Piano
– Stolpner / Malov ... (LP) Melodia C10 23283 007, Musica Non Grata Series. Melodiya BMG 74321 49 956-2
– Vassiliev / Malov Megadisc MDC 7863
– Uitti / Malov  RN (Radio Netherlands)
– Kooistra / Denyer* Etcetera KTC 1170
– de Saram / Schroeder Hat Art CD 6130
– Beiser / Oldfather Koch 37 301-2 H1
– Rostropovich / Lubimov EMI 572016-2 *Ustvolskaya’s preferred recording

Octet for 2 Oboes, 4 Violins, Timpani and Piano
– Kossoyan / Tchinakov / Stang / Liskovich / Dukor / Soakov / Snamenski / Karandashova (LP) Melodia C10 0 715 152 Musica Non Grata Series. Melodiya BMG 74321 49 956-2
– Neretin / Tosenko / Stang / Ritalchenko / Lukin / Tkachenko / Znamenskii / Malov  Megadisc MDC 7865
– Bohling / Tindale / Fletcher / Muszaros / Tombling /Iwabucchi / Cole / Stephenson* Conifer 75605 51 194-2

Piano Sonata
– Malov / Liss / Ural Philharmonic Orchestra (CD) Megadisc MDC 7856 (2000)

Sonata for Piano No. 1
– Malov(LP) Melodia C10 23 283 007, Megadisc MDC 7876
– Denyer*  Conifer 75605 51 262-2
– Schroeder HEK Hat 6170
– Hinterhäuser COL Legno WWE 20019

Sonata for Piano No.2
– Malov Megadisc MDC 7876, Megadisc MDC 7858
– Denyer Conifer 75605 51 262-2
– Vedernikov* Teichiku TECC – 28170
– Schroeder HEK HAT 6170
– Hinterhäuser  COL Legno WWE 20019

Sonata for Piano No. 3
– Malov Melodia C10 0715 152 (LP), Megadisc MDC 7876, Musica Non Grata Series. Melodiya BMG 74321 49 956-2
– Denyer* Conifer 75605 51 262-2
– Karlen ECM 449936-2
– Schroeder HEK Hat 6170
– Hinterhäuser COL Legno WWE 20019

Sonata for Piano No. 4
– Malov (LP) Melodia C10 23283 007, Megadisc MDC 7876
– Denyer* Conifer 75605 51 262-2
– Varsi Mediaphon 72. 158
– Schroeder HEK Hat 6170
– Hinterhäuser  COL Legno WWE 20019

Sonata for Piano No. 5
– de Leeuw* Hat Art CD 6115
– Denyer Etcetera KTC 1170, Conifer 75605 51 262-2
– Malov Megadisc MDC 7876, MEGADISC MDC 7858
– de Leeuw WD 02 (Wittener Tage für neue Kammermusik)
– Karlen ECM 449 936-2
– Schroeder HEK Hat 6170
– Hinterhäuser COL Legno WWE 20019

Sonata for Piano No. 6
– Malov Megadisc MDC 7876 Megadisc MDC 8000
– Denyer* Conifer 75605 51 262-2
– Mukaiyama BVHAAST CD 9406
– Arden Koch 37 301-2 H1, KOCH 37 603-2 H1
– Schroeder HEK Hat 6170
– Hinterhäuser COL Legno WWE 20019

Sonata for Violin and Piano
– Shustin / Malov Megadisc MDC 7865
– Rissin / Rissin-Morenova SST 30211

Symphony No.1
– Malov / Liss / Ural Philharmonic Orchestra (CD) Megadisc MDC 7856 (2000)

Symphony No. 2 – True and Eternal Bliss
– The St. Petersburg Soloists / Malov / Liss  Megadisc MDC 7858

Symphony No. 3 – Jesus Messiah, Save Us! – The St. Petersburg Soloists / Malov / Liss Megadisc MDC 7858
– Symphonieorchester des Bayerische n Rundfunks / Stenz / Sherstanoi Megadisc MDC 7858

Symphony No. 4 – Prayer
– van Vliet / Konink / Denyer / Meeuwsen Etcetera KTC 1170, Megadisc MDC 8000
– Marrs / Keemss / Miller / Sperber Mediaphon MED 72 115
– The St. Petersburg Soloists / Malov / Liss Megadisc MDC 7858

Symphony No. 5 – Anen
– Leiferkus / Fletcher / Bohling / Hultmark / Powell / Cole / Stephenson  CONIFER 75605 51 194-2
– The St. Petersburg Soloists / Malov / Liss MEGADISC MDC 7858

Twelve Preludes for Piano
– Schroeder Hat Art CD 6130
– Malov Megadisc MDC 7867
– Arden* Koch 37 301-2 H1

Trio for Clarinet, Violin and Piano
– Beths / de Boer / de Leeuw* Hat Art CD 6115
– Keser / Anderson / Denyer* Etcetera KTC 1170
– Shustin / Feodorov / Malov Megadisc MDC 7865

References

Viktor Suslin: The music of Spiritual Independence: <mask> Ustvolskaya in «Ex oriente...I» Ten Composers from the former USSR. Viktor Suslin, Dmitri Smirnov, Arvo Pärt, Yury Kasparov, Galina Ustvolskaya, Nikolai Sidelnikov, Elena Firsova Vladimir Martynov, Andrei Eshpai, Boris Chaikovsky.Edited by Valeria Tsenova (studia slavica musicologica, Bd. 25), Verlag Ernst Kuhn – Berlin. pp. 207–266 (in English)
Lemaire, Frans. Notes to Symphonies 2,3,4 and 5. Megadisc MDC 7854. Simon Bokman.Variations on the Theme <mask> Ustvolskaya. Translated by Irina Behrendt. (studia slavica musicologica, Bd.40), Verlag Ernst Kuhn - Berlin,2007. (in English)
Rachel Jeremiah-Foulds: 'An Extraordinary Relationship and Acrimonious Split - <mask> <mask> and Dmitri Shostakovich' in Mitteilungen der Paul Sacher Stiftung, No. 23, April 2010. Rachel Jeremiah-Foulds: 'Spiritual Independence or a Cultural Norm? <mask> <mask> and the Znamenny Raspev' in Church, State and Nation in Orthodox Church Music, Proceedings of the Third International Conference on Orthodox Church Music, University of Joensuu, Finland - 8–14 June 2009.External links
Official site

Music under Soviet Rule:The Lady With The Hammer

1919 births
2006 deaths
20th-century classical composers
Russian women classical composers
Russian classical composers
Soviet classical composers
Soviet composers
Soviet women classical composers
Soviet women composers
20th-century women composers

masks:
Galina Ivanovna Ustvolskaya
Galina
Ustvolskaya
Galina
Ustvolskaya
Ustvolskaya
Galina
Galina
Galina
Ustvolskaya
Galina
Ustvolskaya


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<mask> (; September 15, 1954 – December 2, 2017) was an Israeli author, playwright, screenwriter and translator. Her short story collection Kova Zekhukhit  (Hat of Glass) was the first work of fiction published in Israel to address the topic of the "Second Generation"—children of Holocaust survivors. Early life and education
<mask> was born 1954 in Jaffa, daughter of Yitzhak Artzi, a politician and member of the Knesset, and Mimi (Margalit), a survivor of the Auschwitz concentration camp and Kleineshenau. Her maternal grandmother was the sister of Rabbi Meir Shapiro. She was the younger sister of Israeli rock musician Shlomo Artzi. She had an MA in art history from Tel Aviv University. Career
Semel published 16 books, plays, opera libretti, poetry and screenplays.She also wrote plays and translated for the Hebrew stage. Her acclaimed novel And the Rat Laughed was adapted into an opera libretto in 2005. Critical reception
Her works have been translated into many languages and published in many countries. Recurring themes
Her work focuses on the "second generation" (children of Holocaust survivors) in Israel. Her characters are native born Israelis, who confront their identity issues and deal with the scars of the painful past. Public projects and activism
<mask> was a member of the Board of Directors of Massuah, the Institute for Holocaust Studies at Kibbutz Tel Yitzhak, and for many years was a member of the Board of Governors of Yad Vashem. She was also on the Board of Directors of the "New Foundation for Television and Cinema".Personal life
<mask> <mask> was married to Noam <mask>, the Director General of the Cameri Theatre of Tel Aviv, and mother of three children. She lived in Tel Aviv, Israel. Awards and honors
She received the Prime Minister's Prize for Hebrew Literary Works in 1996, "The Women Writers of the Mediterranean Award" in France 1994, and "Women of the Year in Literature of the City of Tel Aviv" 2006. Works

Fiction

Poems of Pregnancy and Birth. Poetry Collection, 1985. Hat of Glass. The first Israeli book in prose to focus on the children of Holocaust survivors.Published in 1985; with a new edition 1998. Translated into German, Italian and Romanian. Stories from the collection were published in Great Britain, Spain, Greece, France, Turkey, Albania and China. Paper Bride. Novel, published in 1996, then in Romania 2000, and Germany 2003. Finalist of the YA German book award 2004. Becoming Gershona.Young Adult novel, published by Viking-Penguin, winner of the National Jewish Book Award in the United States 1991. Has been translated into Italian, German, Romanian, and Dutch, and adapted for Israeli television. Night Games. Novel, published in 1994. Flying Lessons. Cross-over novel which tells the story of a Holocaust survivor from Tunisia who teaches an Israeli girl how to fly. Published by Simon & Schuster in 1995.It was chosen as one of the best young adults novels in Germany 1995. It has been translated into German, Czech, Italian, Spanish, Dutch, Serbian and Albanian, and was adapted for the Israeli television. In 2009, it was produced as an opera, composed by Ella Milch-Sheriff, directed by Yael Ronen. The opera was a co-production of the Cameri Theatre of Tel Aviv with the Israeli New Opera and the Beer Sheva Sinfonyetta Orchestra. The libretto was published as a book by the Institute for Israeli Drama 2010.
Who Stole the Show?. Children's book, published in 1997. It won the Illustrated Book of the Year Award 1998 and was cited at the "Ze'ev Award" 1999.It was published in Italy 2003, and an English-Romanian bi-lingual edition was published in 2008. Adapted for a television series in 1999. Night Poems. Poetry collection for young people on darkness and fears, published in 2000. And the Rat Laughed. Novel, published in 2001, to highly favorable reviews. It was published in Germany 2007 and Australia 2008.It was produced as an opera in 2005, and a film version is planned. The Courage to be Afraid. Another poetry collection for young people on darkness and fears, published in 2005. Selected poems were published in Great Britain, Germany and the USA. They were also set to music by Ella Milch-Sheriff and Hava Alberstein. IsraIsland. Novel, published in 2006.A documentary based on the book is in production (Director: Oshra Schwartz). Excerpts were published in the USA. Beginner's Love. Young adult book, published in 2006. It was then published in Italy in 2007, the Czech Republic in 2008 and Germany in 2010. The book won the "Best 7" award of the German Radio in 2010. Australian Wedding.Autobiographical fiction, published in 2009. Excerpts were published in the United States and Australia. Stage and screen
An Old Woman. Monodrama on the life of the elderly. Produced by the Haifa Municipal Theatre 1983, and ran until 1989. The Last winter. Original dialogues for an Israeli-American feature film co-production.Director: Riky Shelach. Actresses: Kathleen Quinlan and Yona Elian, 1983. Hunger. Radio drama, based on a story from "Hat of Glass", produced by the WDR in Germany, 1989. The Child behind the Eyes. Monodrama, first produced in 1986, and ran on the Israeli stage for 11 years. It has also been produced as a radio play by the BBC London, Radio France, Radio Belgium, Radio Spain, Radio Ireland, six radio stations in Germany, Radio Austria and Radio Romania.It won the "Best Radio Drama" award in Austria 1996, and released on CD. New Broadcast in Austria 2008. On the stage it was performed in Rome (1990), New York (1991), Los Angeles (1996), Prague (1997), Sibiu Theatre Festival (2004), Resita Theatre in Romania (2005), State Theatre of Ankara, Turkey (2005), Lodz Theatre - Poland (2006), Bucharest Theatre (2007). New production in Israel in Arabic 2006 with actress-singer Amal Murkus. The play was published as a print book in 1988 and an e-book in 2002. Saying Kaddish and Leave – a screenplay for a documentary on the Holocaust of the Jews in Romania. Produced by the Israeli Educational TV in 1999.Thousand Calories. TV drama, produced by the Israeli 2nd channel, 2002. An Old Man. Monodrama, produced by the Israeli Theatre for Young People 2003. And the Rat Laughed. Opera based on the novel, composed by Ella Milch-Sheriff, directed by Oded Kotler. Produced by the Israeli Chamber Orchestra and the Cameri Theatre of Tel Aviv.World Premiere April 2005. The opera ran on the stage of the Cameri Theatre until 2009. <mask> <mask> and Ella Milch-Sheriff won the "Rosenblum Award" of the City of Tel Aviv. The opera was performed also in Warsaw 2006, Sibiu Festival 2007 and the National Theatre in Bucharest 2007. A new production of the opera opened in 2009 in Toronto, Canada on the stage of Opera York. It was performed in Hebrew. Sneaking into the Bible.Song cycle on biblical themes, composed by Ella Milch-Sheriff. Ramat Gan Chamber Choir, conducted by Hanna Tsur. Premiered at the Abu Gosh Music Festival in 2005. Performed also at Tzavta Theatre 2005 and Ramat Gan Theatre 2007. There in the World That Is New. Musical, 6 minute-piece on a girl on her journey to Israel after the Holocaust. Composed by Ella Milch-Sheriff.Performed by Li-Ron Choir Herzliya, conducted by Ronit Shapira, Torchlight Assembly, Holocaust Memorial Day 2008 at Massuah, Institute for Holocaust Studies, Kibbutz Tel Yitzhak. Live broadcast on cable TV HOT. Ballad of Three Prophets. Ten-minute musical piece on the three faiths, composed by Ella Milch-Sheriff. Performed by Moran Choir, conducted by Neomi Faran. Premiered at the Song Bridge Festival, Poland on May 8, 2008. Performed also on Holocaust International Commemoration Day 2009 at Massuah, Institute for Holocaust Studies, Kibbutz Tel Yitzhak.Whereabouts Unknown. TV drama about new immigrants upon their arrival to Israel in 1949. Produced by the Israeli Television- First Channel (Director: Yahli Bergman) 2010. References

External links
 <mask> Semel Official website
 <mask> <mask> at the Institute for the Translation of Hebrew Literature (ITHL)
 "<mask> Semel talks about the Jewish tragedy and the act of remembering", Interview with Bookaholic Romania, 23 March 2015

1954 births
2017 deaths
Israeli female dramatists and playwrights
Israeli female screenwriters
Israeli novelists
Israeli people of Romanian-Jewish descent
Israeli people of Polish-Jewish descent
Israeli poets
Tel Aviv University alumni
Israeli women novelists
Israeli women poets
Recipients of Prime Minister's Prize for Hebrew Literary Works
Deaths from cancer in Israel
Burials at Kiryat Shaul Cemetery
Jewish women writers
People from Jaffa

masks:
Nava Semel
Nava Semel
Semel
Nava
Semel
Semel
Nava
Semel
Nava
Nava
Semel
Nava


text_chunks:
<mask> (May 8, 1915 – September 19, 2009) was an American historian and author best known for his nonfiction books on Jewish, African-American, and American history. Since the 1950s, he was a prolific author of history books in the children's literature and young adult literature genres, having written nearly 100 books. Meltzer was an advocate for human rights, as well as an adjunct professor for the University of Massachusetts, Amherst. He won the biennial Laura Ingalls Wilder Award for his career contribution to American children's literature in 2001. Meltzer died of esophageal cancer in 2009. Personal life

<mask> was born in Worcester, Massachusetts to Benjamin and <mask>, semi-literate immigrants from Austria-Hungary. One of three sons, Meltzer was the only child to graduate from high school, furthering his education at Columbia University from 1932 to 1936, he had to drop out of college before graduating to support his family after his father died of cancer.Meltzer became a staff writer for the Works Project Administration, a program designed by the Federal Government to provide jobs for the millions of unemployed during the Great Depression where he worked until 1939. Meltzer was a staunch advocate for human rights, and much of his work he claimed was his way of speaking out against injustices and dictatorships. Meltzer wed Hilda "Hildy" Balinky on June 22, 1941. Meltzer served in the military during World War II, and rose to the rank of sergeant. After serving during the war, Meltzer became a writer for the CBS radio broadcasting network and then took an executive position with the pharmaceutical company Pfizer. While traveling the country for Pfizer, Meltzer did research at historical societies, local archives and museums and collected nearly 1,000 illustrations to begin a career writing history books with a focus on social justice. Having dropped out of university, he was a self-taught historian, and conducted much of his research in person, even developing his own notation system.He originally intended to be a teacher, and did not begin his interest in writing books until he turned 40. <mask> and Hildy Meltzer had two daughters and grandchildren. Hildy <mask> died in 2008. Meltzer most recently lived in New York City where he died at the age of 94 from esophageal cancer. Many of his personal writings, manuscripts, and papers, including letters, are now housed in the University of Oregon Special Collections, and are available to the public. Writing & Awards
Meltzer's books often chronicled struggles for freedom, such as the American Revolution, the antislavery movement of the nineteenth-century United States, and the movement against antisemitism. He wrote several biographies, including ones of Langston Hughes and Thomas Jefferson.Though most of his books are nonfiction he wrote two historical fiction novels, The Underground Man and Tough Times. The Underground Man is about a white abolitionist in the 1800s United States who is imprisoned for helping escaped slaves. Tough Times details the life of a young man coming of age during the Great Depression and draws on some of Meltzer's personal experiences growing up during the period. Some of Meltzer's other works focus on topics such as piracy, ancient Egypt, and early American wars with the Seminole people. Meltzer co-authored with Harlem Renaissance writer Langston Hughes the book A Pictorial History of the Negro in America, which was published in 1956. He also collaborated with Hughes on Black Magic: A Pictorial History of the African-American in the Performing Arts, though Hughes passed shortly after the book went to the press. Meltzer won several awards for single books and career achievements.In 1981 he was an American Book Award finalist for All Times, All Peoples: A World History of Slavery. Meltzer's Never to Forget: The Jews of the Holocaust was the 1976 recipient of the Boston Globe-Horn Book Award in the non-fiction category and winner of the National Jewish Book Award. He won the Boston Globe-Horn Award in 1983 for Jewish Americans: A History in Their own Words, 1650-1950. In 2003 he received the Laura Ingalls Wilder Award from the professional children's librarians, which recognizes a living author or illustrator whose books, published in the United States, have made "a substantial and lasting contribution to literature for children". The committee noted that he "continues to be a model for informational writing today" and cited four works in particular: Brother Can You Spare a Dime? ; Ten Queens; All Times, All Peoples; and The Jewish Americans. The two books by Meltzer most widely contained in WorldCat participating libraries are Never to Forget: the Jews of the Holocaust (1976) and Rescue: the story of how gentiles saved Jews in the Holocaust (1988).The latter is classified as juvenile literature and was soon published in a German-language edition. Other Achievements & Works

<mask> was an adjunct professor at the University of Massachusetts Amherst from 1977 to 1980, and a guest lecturer at universities in the United States and England. Additionally he presented at professional gatherings and did seminars for other professionals. He did work on various documentary films such as History of the American Negro and Five. Works

Autobiographical

 Starting from Home: A Writer's Beginnings (Viking Kestrel, 1988)
 <mask>: Writing Matters (Franklin Watts, 2004)

Non-Fiction

 In the Days of the Pharaohs: A Look at Ancient Egypt (1956)
 A Pictorial History of the Negro in America, Langston Hughes and <mask> (1956)
 3rd ed. revised by C. Eric Lincoln and <mask> (1968)
 4th revised ed., A Pictorial History of Black Americans, by Langston Hughes, <mask>, and Abraham Lincoln (Crown, 1973)
 Tongue of Flame: The Life of Lydia Maria Child (1958)
 Mark Twain Himself: A Pictorial Biography (1960)
 Milestones to American Liberty (1961)
 A Thoreau Profile, by Henry David Thoreau, <mask>, Roy Harding (1962)
 Thoreau: People, Principles and Politics (1963)
 In Their Own Words: A History of the American Negro, editor (Crowell, 1964–1967), 3 vols. A Light in the Dark: the Life of Samuel Gridley Howe.(1964)
 Milestonese to American Liberty: Foundations of the Republic (1966)
 Time of Trial, Time of Hope: The Negro in America 1919-1941 (1966)
 Black Magic: A Pictorial History of the Negro in American Entertainment, Langston Hughes and <mask>er (1967); later title, Black Magic: A Pictorial History of the African-American in the Performing Arts
 Bread and Roses: The Struggle of American Labor, 1865–1915 (1967)
 Thaddeus Stevens and the Fight for Negro Rights (1967)
 Langston Hughes: A Biography (1968) — NBA finalist
 Brother, Can You Spare a Dime?

masks:
Milton Meltzer
Meltzer
Mary Meltzer
Milton
Meltzer
Meltzer
Milton Meltzer
Milton Meltzer
Milton Meltzer
Milton Meltzer
Milton Meltzer
Milton Meltz