„Bibliotecarul Infernului” este una din acele cărți de o profunzime unică, de o inteligență narativa rară, care m-a tulburat și emoționat. Pe măsură ce am înaintat în captivanta poveste, am simțit că mă identific cu personajele , devenind din lector, parte a acțiunii, personaj la rândul meu, al romanului.Confesiunea epistolară a lui Giovanni Esposito este confesiunea celei mai intime părți a fiecăruia dintre noi.
Generația mea și următoarele, am cunoscut insula Ada Kaleh doar din povești sau din cărți poștale. Astfel că imaginarul, magia au fost întotdeauna cele care au înconjurat această frumoasă și unică insulă înghițită de apele Dunării.
Ideea existenței unei biblioteci secrete sub insulă, unde au fost expediate și depozitate incunabule, cărți blestemate și numeroase manuscrise medievale interzise de Inchiziție, dar și unele având paginile otrăvite, o adevărată Bibliotecă a Diavolului, alimentează imaginația fiecăruia și pune inteligenței noastre, subconștientului zeci de întrebări erudite, ale căror răspunsuri pot fi găsite doar în timp, în imortalitate sau poate niciodată; de unde și universalitatea lor și identificarea noastră cu personajele.
Giovanni Esposito va traduce tăblițele de smarald ale atlantului Toth, devenind nemuritor. O nemurire cu numeroase vieți trăite, în perioade diferite, alături de oameni și idei diferite, în diversele locuri ale peregrinărilor sale. O nemurire trăită cu intensitate … ce durează până la dispariția insulei iar intâmplările, oamenii cunoscuți, poveștile de iubire, toate ne stimulează imaginația si crează imagini aproape picturale. Personajele sunt vii, aproape palpabile și atât de aproape intelectual de fiecare dintre noi. De fapt, nemurirea e în noi.
Mulțumesc pentru acest fascinant roman fantastic, psihologic și polițist, scriitorului , artistului vizual și OMULUI Constantin Severin și îl recomand a fi citit . Este pasionant.
Art will continue to be a light in dark times. I’m thrilled to announce that the prestigious art platform ARTDEX from New York decided to feature my artwork Text and Time 113 (Archetypal Head) and my new awarded art concept/movement, the archetypal expressionism, on Instagram. They sent a newsletter about my art to art collectors and art lovers worldwide:
Born in 1952 in Baia de Arama, Mehedinti, Romania, Constantin Severin is the founder and promoter of a new and awarded artistic movement known as Archetypal Expressionism. He is a visual artist focused on paintings, installations, post-literature, and photography. Severin is also the founder of the ‘Archetypal Expressionism Group’ and co-founder of the International Art Group ‘3rd Paradigm,’ as well as a member of the European Artists Association in Germany, and a member of the Ottawa Art Association.
Over the years, the majority of art experts have asserted that only the figurative and the abstract are the only two major paradigms. Yet, with his Archetypal Art, Constantin Severin has convinced the art community that there’s also a third. The archetypes have been used for thousands of years by numerous populations around the world. Their secret power lies in the fact that they are part of everyone’s hidden inner life. Though a new concept, Archetypal Expressionism depicts an immemorial artistic reality, recalling an ancient tradition of art-making. The style is defined by vivid colors, deformities, and a strong sensitivity towards the world.
When talking about inspiration, Severin expressed that: “I had the idea to invent this concept after a serious study of the most representatives Romanian artists of the 20th century, from Brancusi to Maitec and Tuculescu, but also inspired by the works of some Modern masters like Klee and Mondrian as well as by the work of Carl Gustav Jung, who launched worldwide the concept ‘archetype.'” His art is currently promoted by Lavacow international auction house in Bucharest, Romania.
Severin’s solo exhibition “Hierarchy of Light” hosted by Elite Art Gallery, Bucharest, in October 2013 – you can watch a video clip here.
ARTDEX is a place for art collectors, artists, art dealers and curators to manage collections online and connect with one another.
Many thanks to the whole team of ARTDEX, especially to the founder Jenny Park Adam, who sent me a moving message:
”Dear Constantin, hope you’re well and staying safe! On behalf of our entire team, we’d like to thank you for being a great member of our growing community at ARTDEX! We’d love to highlight and feature your profile and your fabulous artworks in our upcoming newsletter. Please let us know if you have any news or anything else for us to highlight and share with our community and fans. You can send us an email to firstname.lastname@example.org or reply back to this message. We look forward to celebrating your brilliant art with the world! Kind regards, Jenny”‘
My solo show „Hierarchy of Light”, is the first and untill now the only monochrome solo show of painting in the history of the Romanian art and it was hosted by Elite Art Gallery, Bucharest in October 2013. The curator of the exhibition was a well-known art critic and writer, Corneliu Ostahie, who noticed that I have chosen the most difficult way of making monochrome painting, but in the same time the most provokative and successful in the long term. The exhibition was also presented by Prof. Dr. Maria Ana Tupan, from the University of Bucharest and the National University of Arts Bucharest, who pointed out the importance of the cultural archetypes in my art and the new and fresh vision and concept, the archetypal expressionism, I brought on the national and international art scene.
I used two fundamental colours for the Expressionist painters, yellow and red. It was a successful exhibition, two of the most beautiful paintings, „Text and Time 91” and „Text and Time 95” have been acquired by one of the founders of the biggest auction house in Romania, ARTMARK.
SENSO TV made a short movie of this event, a turning point in my career as a visual artist:
My art is represented and promoted by Singulart, Paris
Motto: „Persistence is the key to our dreams”( Samy Kabbara, art collector)
I”m thrilled to announce that SINGULART Paris, probably the most successful and prestigious online art gallery with a great selection of artists , decided to represent and promote my art worldwide:
” For us, every new artist represents a new journey to embark on, and we figure the best place to start is with an introduction to our team. Web and business developers, press agents, writers and advisers… Singulart is a team of 30 people with 10 different nationalities, all working everyday to promote your work around the world.”
I’m very impressed by the fact that the curatorial team selects artists for major international art fairs from New York, London or Hong Kong.
Special thanks to the founders Véra Kempf, Brice Lecompte and Denis Fayolle and to the whole team from Singulart, especially to my Artist Liaison, Matilda Curson, who discovered my art on net and helped me with good advices to build my profile on Singulart:
„Launched in 2017, Singulart has not only established itself as one of the most promising and dedicated original art galleries, but also continues to grow at an impressive rate, thanks to its dedicated team working to support artists and collectors alike.” (Artplusmarketing)
Indeed, the digital space offers more possibility, equity and transparency for the art market, and is expected to provide a safe place for artists to sell their work, as in the “real world” they are very much struggling to do so.
In such a space, however, it is still challenging to find the right partner, but through their unique approach to the artwork makers and collectors alike, Singulart is without a doubt one of them. Their idea lies in providing a platform, as well as tools, for artists to independently manage the sale of their works to a wide range of buyers.
Starting as a young French start-up, Singulart quickly became a reliable platform, raising 1.1 million euros through external funding and placing the emphasis on three important factors: an international standing, the individual selection of each artist, and leading experience in web marketing. This way, their mission to “empower artists” is successfully being achieved, as a team of experts readily works to further communicate the art of artists who are already quite established in their native countries.
Through careful curatorial practice and selection, Singulart has now turned into a space filled with new cultures and creativity, ready to be explored and shared with buyers worldwide.”(Angie Kordic, Widewalls)
The mystery of redemption is quickened whenever an outside spark animates a vessel an artist is composing – i.e. constructing in temporal rhythm – the vessel is sealed and the work exists in the artistic equivalent of living. We are fallible, except where fallibility is eclipsed by texture or flux. Bodies are spiritual content in painted insignia. As Sun Bear tells us, in 1989 alone, 130 Peruvian politicians were killed. Thus are conceptual frameworks double-edged, and sometimes ill-advised. Even so, linear progress is underrated, as the present exhibit attests.
Andrew Singer is a poet and artist, residing in Manhattan. He directs Trafika Europe (https://trafikaeurope.org), showcasing new literature in English translation from the 47 countries of Council of Europe. He has mentored with Nobel Laureate Derek Walcott for an MA in Writing Poetry, and has taught university Creative Writing, Literary Translation, and seminars in European and Anglo-American poetry and fiction most recently at Penn State University, and across Europe. His poetry and critical essays appear in such publications as World Literature Today, Fulcrum, Levure littéraire, Emanations, Pilvax, StAnza, and Open Letters Monthly. He believes all things begin and end in wonder.
Since the beginning of the XXth century the history of art did’nt register major ideas/paradigms or disputes. As we know, almost all the art historians and critics asserted that there are only two major paradigms: the figurative and the abstract. When I launched in 2000-2001, my new ideas about the archetypal art&archetypal expressionism, in the local media from Bucovina, Romania, I received no feedback from the art community.
I had the idea to invent this concept, after a serious study of the most representatives Romanian artists of the 20th century, from Brancusi to Maitec and Tuculescu, but also inspired by the works of some Modern masters like Klee and Mondrian and sure by the work of Carl Gustav Jung, who launched worldwide the concept „archetype”. In 2015, after I have read „The Red Book”by C. G. Jung, I had the surprise to discover that the paintings made by him over 100 years ago are very close to my vision about the archetypal expressionism: he used old archetypes, a palette of Expressionistic colours and pure colours one near the other, not mixed. In 2000, when I launched this art concept/movement I was a known writer, journalist and art critic. The lack of interest regarding my new vision made me think to a challenging decision: to become the first artist to follow programmatically my own concept… Before becoming a writer, I was a gifted painter as a child and teenager, that’s why I returned with a great pleasure and hope to my first spiritual love. In 2002 I painted my first canvas in oil, in the studio of the French artist Maria Santarelli, in Saint Laurent du Pont, Isère, France, during an art workshop organized by me and my French partners.
In the first artwork dedicated to the Archetypal Expressionism series, ‘’Text and Time 1’’(collection of the Art Museum Drobeta Turnu Severin, Romania) I included fragments from my first published articles on the archetypal expressionism, in 2000 and 2001. My first solo show, ‘’Text and Time’’(Bucovina Museum, Suceava, September 2004) was very successful, because it was promoted by the art experts from the global television, EuroNews, probably being impressed by this new concept launched on the contemporary art scene. Another two of my solo shows of painting, from Stuttgart, Germany in 2004 and from Piatra Neamt, Romania, in 2009, have been highlighted by EuroNews and I was invited with solo shows by the largest and the oldest museum of contemporary art in Romania, The Museum of Visual Arts, Galati, in 2009, next year by the Art Museum from Drobeta Turnu Severin ( the city of my childhood) in 2010 and in 2016 by the prestigious Brukenthal National Museum, Sibiu, the oldest art museum in South-Eastern Europe. Many cultural journalists and art critics in my country began to write since 2004 about the new art concept, the archetypal expressionism, and later a lot of art specialists and visual artist from the global art community also became interested about it. I created the first Archetypal Expressionism Group in October 2007, on ARTMESH. In February 2008, this group had 32 members, from 19 countries: Canada (Alberto Cerritos, Bianca Guna, James K-M), Denmark (Lars Heiberg, Mik Peter Rasmussen), Egypt (Khaled Siraq), France (Maria de Morais, Delphine Portier), Hungary (Beata Rostas), India (Manvendra Begerhotta), Ireland (Susanne Iles), Italy (Giulio Baistrocchi), Mexico (Paola Gonzalez), Netherlands (Maikel van Stralen), Norway (Elly Prestegaard), Poland (Lola Fischer), Portugal (Alberto D’Assumpcao), Romania (Simona Gocan, Constantin Severin), Russian Federation (Alex Schukin), Spain (Aitor Arakistain, David Heras Verde), Switzerland (Pia Baechler-Lehmann), UK (Bruce Rimell, Shaida Parveen), USA (Cile Bailey, Daniel Chavez, Matt Lewis, Cruz Montoya, Harry Spitz, Jamie Winter). You may read below the messages, wrote in 2008, by some important international artists, who joined this group founded on ARTMESH:
„I’ve got several responses to this thread and the group, so, amusingly, I thought I’d classify them…
The Practical Response: There are millions of artists out there, all swimming around like fish in a pond, all trying to get recognised. To align oneself with a paradigm can be a useful way of making a name. Admittedly it’s not really what I do, but if someone wants to make a movement out of a paradigm, more power to them.
The Annoyed Artist’s Response: For far too long, artists have been pushed into following paradigms that have largely been formulated by critics and commentators. As someone who teaches in an Art College I see this every day. Graduates struggle to break out of these paradigms after leaving, especially since many gallery owners actively encourage the continuation of this paradigmatism (good word, hey?). Here, at last, we seem to have a new or potentially new paradigm created by an artist, not a critic. Thus it has potential for genuine insight beyond the intellectual (which is all most critics can offer). I think this is a good thing.
The Thoughtful Artist’s Response: I will join this debate, I migth even align myself a bit with Archeptyal Expressionism for a while if I sense it is going somewhere and raising up some interesting questions for art in general and my work in particular. But I can never call myself an archetypal expressionist fully. I have never found a paradigm that fully fits my work and am very happy with that fact. I’m closer to visionary art really… no wait, more like petroglyphic art…um, no hang on, Keith Haring’s a big influence, so (cut!)
The Psychologist’s Response: Archetype in the original literature in which it was coined is a very specific set of experiences and phenomena, and thus indeed not everything an artist might produce would be, in my opinion, archetypal. Jung was very specific on what was archetype and what was more specific or personal. Which leads me to…
The Social Commentator’s Response (Exasperated): …if all artists ever produce are archetypes then this clicks into that John Forbes Nash slash John Buchanan model of humans as rational self-serving automatons, post-modernly devouring the past and repackaging it for the future. I don’t buy it, never did. If everything is archetype, then no new insights are available. This is not my experience as an artist or a human being.
New insights and experiences can become archetypes (Guernica…) but they must make the transition from the novel. If all artists produce nothing but archetype, then novelty is not possible, and thus we’re stuck in some fundamentalist postmodern paradigm. Humans don’t tend to act as models predict they do…
The Round-Up Response: …all of which goes to say that Archetypal expressionism can be a valid concept/movement/whatever since archetype is produced by only *some* artists, not all.
There is a stream running through art debates that seems a bit faux-transcendental to me “Well, in a way, all art is visionary… all art is archetypal, all art is (insert adjective X here)…” For me, I don’t buy that – archetypal work is not universally present in all art. Would you call what Tracey Emin does archetypal? I wouldn’t. It’s very personal, extremely particular…
Certain art is archetypal, and certain observers in a given state of mind might make art archetypal, but here, I think, we are speaking of archetypal as found in the artist’s expressive intentions…
For me, the responses I’ve had from Constantin regarding this paradigm have been quite personal, and quite referent to my work as an artist. This impresses me. Many people try to classify my work without really looking at it. I don’t get that impression with Constantin – I think he’s seen something in my work which chimes strongly, and that’s why I’m excited about this idea of his.
Peace and love!”
Bruce RIMMEL, UK
” constantin, first thanks for contacting me in the first place, second i am very sorry you did not get my first message let me try to reitterate,:
Your idea about archytpal expressionism intrigues me and makes a whole lot of sense to me … I am at the same time excited and intrigued. It may be the terminology I have been looking for, or wanting to use in regards to my work. I wrote in the group that i thought maybe i would add abstract to it in the sense, that i pull these archytypes (a word i have in much of my writing and have been using since reading jung and exploring language theory such as levi-strauss) out of abstraction, I am interested in how paint or marks can suggest or trigger visual memory, and therefore, can be used in communication. How recall and use this information is part of what we call language, but give little credit to. My ideas for my ‘found head series”(for lack of better words), came out of the ideas of da vinci, max ernst, francis bacon, all my favorites, and it is as you say something primal that goes back to the beginnings of pictural representation.
I have never really thought of directly reusing archetypes of cultures from the past as you have, that is an interesting concept -maybe i do a little in the sense of making a image which recalls a likeness like einstein at the chalkboard … but I am more interested in general archytype, how the mind grasps concepts and images, how we are able to read abstraction as order. how we percieve … and then of course the elusive definition of beauty and how that is captured, formed and perpetuated by art. It has been somewhat a struggle to me to write down my thoughts and theories about this … but I am encouraged by your idea and think you have helped my break through something conceptually.
I had the thought and it is still early in our “friendship” having just met you to ask, but I would be interested in having you write something about my work for my website, maybe we could work out a trade for an artwork?
it just seems you are very clear on your ideas and saw something in my art.
I would love to read more of your theory and writing or to hear it directly from you and have a conversation. my wife has yahoo messenger- but as i understand it you can only tye as we would here, Skype is a free download (google it) and enables you with a simple microphone to make phone calls computer to computer (free) and computer to phone (small charges) around the world to other skype users. If you ever get it i would love to talk to you in person as i think our conversation might be lengthly and i dont think I could afford that to romania( but i could check the rates) until then chatting here will have to do.
hope to hear from you soon,
Rodney ARTILES, USA
I can’t tell you how important and embarassing was your message!!! For the first time in my life someone told me what my art is!!! I’m fighting everyday to go ahead, believing in my own proposal of beauty and harmony, as I believe art it is!!! And your words gave me that necessary courage to believe!!! I’ll take you as one of my best friends and support.-
When I saw your artworks, I identified the same necessity to go to the bottom of our soul to bring that little treasure of harmony and happiness to create! You don’t imagine how you have helped me!!!
With all my heart!”
Alberto D’ASSUMPCAO, Portugal
As you can see, I’m busy for teaching and several design projects (including VR & multimedia design), and this is my last semester to finish and present my thesis. But I’m always thinking of our collaboration, which will be very significant to me. It would be a new media project combining digital language and painting components. Ideally, I hope to converge digital animation, sound, interaction, or even live presentation, together to create an immersive experience in both real gallery & virtual space. “ARCHETYPAL EXPRESSIONISM” is a wonderful concept we may work with. Maybe using VR to interpret some of your poems as well?
VR projects usually cost a lot for the devices and software, we’d better have a detailed proposal for funding first. Your info for residency sounds very helpful too. Let’s plan it carefully. Thanks for your patience!
All my best,”
Digital Media, Visual Design Department College of Visual & Performing Arts University of Massachusetts Dartmouth
”It looks like our move is going smoothly. I should be up and running and ready to contribute more to your group in the next two weeks. I’m also in the process of scouting out gallery space here in Ireland.I would love to open a gallery where artist’s could show Archetypal artwork … it is an experience I think the general public and the world needs. Hopefully I will be able to do it this year.
I have a question for you … I found your blog online and would love to subscribe to it. Do you have a subscription button on your site? I tried to use the link at the very bottom of the page but it didn’t seem to be working.
Best to you … I look forward to speaking with you soon and contributing to the group.
For many years I thought that my focus on the archetypal art, which in the twentieth century was represented by such major visual artists like Constantin Brancusi, Paul Klee or Ion Tuculescu, could be considered a marginal experience. But at the end of 2014, I was very surprised to find out about the new project from MoMA, New York City, FOREVER NOW, curated by Laura Hoptman:
Her project statement about the works of the 17 invited artists comes very close to my archetypal expressionism manifesto/statement, written almost 15 years before this exhibition and featured across numerous media outlets: “…whose work is atemporal, in a similar way: it is based on archetypal, symbolic forms that are by definition undatable, existing outside any specific time period .“This is indeed the essence of my art concept, too, written in different words. A huge impact of the archetypal expressionism concept was noticed among many visual artists belonging to the native nations from America, Australia or New Zealand., like Maori artist Tepora Watene, who wrote: ‘’ When I created the collection of art for my Solo Exhibition titled ‘Forsaken’ I had not heard of Constantin Severin’s terminology; ‘archetypal expressionism’. At the time, my mission was to create art-works to portray an ancient people; their history, ‘sacred legend carriers’ and ‘sacred symbols/hieroglyphs’. More importantly it was a deep internal spiritual journey to discover my origins and ultimately my mission as an artist. When first reading Constantin Severin’s definition of ‘archetypal expressionism’ I felt as though he was describing the process I used to create my ‘Forsaken Collection’. I was and still am elated, because finally I am connected to another person, furthermore another artist, who not only truly understands my art-form but can articulate it into words. Here in New Zealand, a lot of Maori Culture & Art is based upon that which has become known from last 200 or so years. It is wonderful to see contemporary indigenous/Maori art evolve from the carvings and weaving of the 1800’s and early 1900’s . However, in saying this, my quest is to connect with my ancient, historic origins; to do this I have spent 100’s of hours researching and seeking inner spiritual contact with my Tupuna (Ancestors). Additionally I’ve spent 100’s of hours playing with shapes, symbols, paint, mixed media and various supports. I’ve only scratched the surface; there is a multitude of images within me waiting to be rendered, manifested into the physical realm. It is a juggle prioritising time between producing them or art for commissions, exhibitions and awards. The constant internal struggle to earn a living versus living my art; my ultimate goal is to earn a living from living my art, ‘archetypal expressionism’. Kia ora Constantin, Arohanui tane.’’
Now you may read some of the texts written in the past by international art experts about my art, from which I quote more extensive passages below:
“Elements of expressionism and classical realism combine in the works of Constantin Severin. His rich-colored geometric compositions are combined with perfectly recognizable genre scenes that quote masters of realistic painting – Jan Vermeer, Diego Velazquez and others. On the one hand, the artist sets the idea of artistic evolution in his works. On the other hand, he demonstrates that Realism is just one of the many ways to accept and display the world.” (Olga BORTE, art critic and journalist, Moscow)
“We are proud to have included in the Lavacow Christmas Auction a work by Constantin Severin, whom we appreciate for the delicate mixture between different artistic styles, creating a harmonious all that succeeds to communicate, through a single artwork, the essence of the history of art.”(Cristina OLTEANU, CEO at LAVACOW Auction House, Bucharest)
“Symbols, lines, surfaces, spaces. All the humanity is made of mysterious symbols. And Constantin Severin uses them to write a new language of art. A language made of concepts, feelings, colours and emotions. Constantin travels in the past, in the ancient times and dimensions, to return in our present and tell about the possible futures. About the next lines of expression, to describe the present, drawing the future with past symbols. His own symbols.”(Luca CURCI, visual artist and architect, founder of “It’s Liquid” art magazine, Bari)
“We are looking forward to having Constantin Severin (the founder and promoter of the archetypal expressionism) and his group exhibiting at the Rotterdam International Art Fair. The works of Constantin is of a very interesting concept for our show. We are always looking for fresh new concepts and like to introduce these to our audience. We think that the archetypal expressionism – which lies between the two major paradigms of contemporary art, the figurative and the abstract – will do very well at the Art Fair, and we are looking forward to seeing the works in real-life.” (Joelle DINNAGE, Director at Global Art Agency Ltd)
“In literary and visual expression, but perhaps most notably in his clear-sighted theory of our present condition, Constantin Severin is breaking new ground. The concept of “Post-Literature” (which he has articulated in an article accessible at http://www.inst.at/trans/14Nr/severin14.htm) reveals him as one of the most original of contemporary thinkers concerning the nature of creative activity and the self-transformation that it is currently undergoing. One would be missing something important not to know of what Severin (situated of all places in Suceava, Romania) is up to. Take a look at the article, then search the web for his reductively symbolic paintings, which are on the verge of forging a new post-modern vocabulary from modernist precedent and nativist tradition. As western Europe declines, esthetically, morally, politically, something apparently is happening in Eastern Europe, and Severin is a part of it.” (Madison MORRISON, American writer)
The archetypal art, if it will be accepted by the global art community, could become an aesthetic bridge between Western and Oriental worlds, based on our common ancient roots and values.
Azi, luni 18 noiembrie 2019, a ieșit de sub tipar cel de-al doilea roman al meu, „Bibliotecarul Infernului”, publicat de editura Cartea Românească Educațional. Editorul cărții este prof. univ. Vasile Burlui iar redactor de carte scriitorul Paul Gorban. Coperta este semnată de graficianul Ionuț Broștianu.
Cartea va fi lansată la târgul de carte Gaudeamus din București în ziua de sâmbătă 23 noiembrie 2019, ora 14, la standul nr. 26 al editurii Cartea Românească Educațional, în prezența autorului și a invitaților săi.
Invitați: scriitorul Daniel Corbu; doamna Olimpia Coroamă, președintele Asociației Memorie și Speranță și redactor șef al revistei trilingve 3R (română, italiană, franceză) dedicată memoriei faimoasei dinastii culturale Cazaban.
„Bibliotecarul Infernului” este confesiunea
Giovanni Esposito (născut la Napoli, în anul 1685), făcută prietenului său din
România, Constantin Ionescu, scriitor și pictor. Pe ambii îi leagă o atracție
neobișnuită și iubirea pentru insula Ada Kaleh, micul Levant al României,care a
avut un sfârșit tragic în anii ’70 ai secolului trecut, fiind scufundată în urma
construirii hidrocentralei Porțile de Fier.
Giovanni Esposito, ajuns bibliotecar în
Napoli, vecin și prieten din copilărie cu compozitorul Domenico Scarlatti, este
fascinat din adolescență de micuța insulă de pe Dunăre. În urma unui dialog cu
Prințul Eugen de Savoia despre pictorul Caravaggio, acesta este impresionat de
erudiția sa și îl invită să lucreze la Biblioteca Imperială din Viena. După
numai un an petrecut în capitala imperiului austro-ungar, Împăratul Carol al
VI-lea și Prințul Eugen de Savoia îi încredințează lui Giovanni misiunea
secretă de a avea grijă de o bibliotecă subterană construită sub insula Ada
Kaleh, în care au fost expediate cărți blestemate, incunabule și manuscrise medievale
interzise de Inchiziție, dar și unele având paginile otrăvite, o adevărată Bibliotecă a Diavolului. În
tezaurul subteran de scrieri medievale, bibliotecarul Giovanni Espositodescoperă și studiază, la vârsta de 45 de
ani, tăblițele de smarald ale atlantului Thoth, pe care reușește să le traducă
și să se impregneze de învățăturile sacre, care-l fac nemuritor.
În roman sunt descrise numeroase personaje istorice pe care Giovanni Esposito le-a cunoscut în cei 250 de ani în care a trăit în Biblioteca Infernului până la scufundarea insulei, o inflorescență de întâmplări, dialoguri, lecturi, trăiri spirituale și povești de dragoste petrecute în special în locurile peregrinărilor sale, Napoli, Viena, Ada Kaleh, Belgrad, Orșova și Tekija.
e impresionant. Suprapus în diferite straturi, borgesian. Și tonul e
acaparator. (Nichita Danilov)
Scriitorul Paul Gorban despre romanul “Bibliotecarul Infernului”, dedicat insulei Ada Kaleh (text de prezentare pe coperta a IV-a):
Prozator profund, cu o imagistică bogată, cu o tehnică proaspătă care stârnește interesul lecturii, Constantin Severin aduce în fața lectorilor săi o poveste captivantă, în care ne putem regăsi fiecare. Obsesiile culturale, cele carnale, cele sociale, precum și cele mentale ale personajului principal ne fac să trăim cu intensitate fiecare pagină a acestei cărți, cu atât mai mult cu cât ai mereu senzația că din cititor poți deveni treptat un personaj al romanului. Bibliotecarul Infernului este una dintre cele mai tulburătoare cărți scrisă în ultimii ani în România, iar asta nu face decât să recunoaștem vocația autentică a lui Constantin Severin, prozator, poet și artist vizual pe care istoria literară nu îl mai poate ignora.