taifas literary magazine no. 4, october, 2020

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Taifas Literary Magazine no. 4, October, 2020 - ISSN 2458-0198 ISSN-L 2458-0198 Founded in Constanţa, June 2020 The magazine appears in Romania editorial office Founding President Lenuș Lungu Director: Lenuș Lungu, Ioan Muntean Deputy Director: Paul Rotaru Technical Editor Ioan Muntean Covers Ioan Muntean Editor-in-Chief: Ion Cuzuioc Deputy Editor: Stefano Capasso Editorial Secretary: Anna Maria Sprzęczka Editors: Vasile Vulpaşu, Anna Maria Sprzęczka, Pietro Napoli, Myriam Ghezaïl Ben Brahim, Zoran Radosavljevic, Suzana Sojtari Iwan Dartha, Auwal Ahmed Ibrahim, Destiny M O Chijioke, Nikola Orbach Özgenç


  • 2 authors ... p. 2

    editorial ... p. 3

    poetry ... p. 6

    prose ... p. 33

    essay ... p. 41

    confabulation ... p. 44

    2 authors ... p. 47

  • 2

    Taifas Literary Magazine no. 4, 2020, October


    ISSN 2458-0198 - ISSN-L 2458-0198


    Gabriela Mimi Boroianu



    Die Kerzen schmolzen

    und sie strömten auf meinen Körper

    von dir ausgezogen

    Und das Licht drang in mich

    bis Jenseits der Stille,

    und das phosphoreszierende Blut

    ging durch die Nacht wie ein Schrei vorbei...

    Jenseits des Lebensendes

    eine Seele

    sucht ihre Flügel;

    In meinen Wunden

    wachsen Feder...

    Warte auf mich an den

    Toren des Traums,

    damit wir zusammen



    S-au topit lumânările

    și-au curs pe trupul meu

    despuiat de tine,

    Și m-a pătruns lumina

    până dincolo de tăceri,

    iar sângele fosforescent

    a trecut prin noapte ca un țipăt...

    Dincolo de marginea vieții

    un suflet

    își caută perechea de aripi;

    În rănile mele cresc pene...

    Așteptă-mă la porțile visului,

    să zburăm împreună.

    Vladanka Cvetković


    Hemija osećanja

    Nebo je boje limenog cinka.

    Moja osćanja nevoljna

    u obelodanjivanju

    svoje hemijske strukture.

    Uostalom, kako se mere osćanja?

    Epruvetom? Pipetom? Vagicom?

    Sreću nosih kao


    ali ljubav je


    nestalna tečnost.

    Naši povremeni


    nosili su mnoga značenja.

    Iskrice su sevale

    pržeći poslednje presne

    komade razuma.

    Tvoja emocija bila je

    jednostavno osećanje i

    nije tražila suvišno objašnjenje.

    Ja sam secirala osećanja.

    Sada tišina pada na nas

    iskreći srebrnastom srćom

    koja preti da nas povredi.

    Taifas Literary Magazine no. 4, 2020, October

    TAIFAS LITERARY MAGAZINE ISSN 2458-0198 - ISSN-L 2458-0198

  • 3

    Taifas Literary Magazine no. 4, 2020, October

    year I, no. 4, 2020, October

    ISSN 2458-0198 – ISSN-L 2458-0198

    editorial 3-4

    Paul Rotaru


    Music and substance

    The concept of absolute silence is neither

    an utopia nor an ideal itself, but a way of

    abstractization of all our notions of sound. If

    you ask someone when was the last time they

    listened to the voice of the stars, you might be

    answered: either never or that voice doesnʼt

    exist. And yet, the voice of the

    stars does exist; we hear it

    whenever we search a channel

    on the radio and it is that mix of

    waves that sometimes disturbs

    us before reaching the desired

    channel. Earth has its voice,

    too; its very low sound

    vibration is indistinguishable

    to our ears and that is why we

    are unaware of it. Sound is one

    of the primary factors which

    influenced the settlement of

    the world and universe in the

    order we see nowadays; it

    determines the physicl, mental and behavioral

    development of all living beings; it organizes

    the internal and external structure of any

    matter, system and group.

    Pinching a guitar chord creates a vibration

    that we realize as being sound. The same way,

    humans have the ability to create sound by

    their biological constitution; more precisely,

    they have the capacity to create a unic sound

    vibration and that is called voice. The vocal

    print of any human – and animal – is unique, it

    has its own wavelenght and it canʼt be met

    anywhere else around. That being said, we can

    appreciate that two violins do not sound

    egually when tested with high precision


    Man, guided by the need to understand the

    sound, established some frequency categories

    named ranges. The ranges are disposed by the

    vertical infinity rule and they relay their origin

    over and over in octaves. The becar,

    chromatic, harmonic or arpeggio progression

    of any sequence of notes is a tendency of

    returning to origin; it becomes valid and

    controllable only within the limits of this

    conventional interval. Nevertheless, as seven

    musical notes were enough to create the

    diversity of works of which we

    are aware, the return to origin

    on a higher plane of the sound

    vibration strives to an

    enlargement of its horizon. The

    flexibility of the matter leaves

    us with countless miracles at

    hand; it allows us the

    adjustment of all the things we

    use on infinite frequencies.

    When two musical instruments

    from different categories meet

    on the same wavelength, they

    form a chord. Several chords on

    different frequencies form

    harmony. The notion of absolute sound in

    terms of musical instruments is still a topic

    under discussion today. When we ask the

    violinist to reproduce the note Fa, we must

    also take into account the squeak resulting

    from rubbing the bow on the string, a sound

    that is or is not the same as the note Fa.

    Therefore, from the multitude of sounds that

    surround us, we choose only the one that is the

    object of our interest; but we never listen only

    to the note, but to the set of notes.

    At the same time, through repeated

    exercises, man became able to recognize the

    notes of sounds in nature without reproducing

  • 4

    Taifas Literary Magazine no. 4, 2020, October


    ISSN 2458-0198 - ISSN-L 2458-0198

    them on a musical instrument. For example,

    Rachmaninoff had fun saying to a visiting

    friend: ʼThe creaking of unconfined hinges is a

    succession of Mi, Sol and Si, meaning a Mi

    minor. You opened the door differently than

    yesterday's visitor, who only gave me

    dissonances!ʼ In the general chaos of all the

    sounds in the universe there is a stable whole,

    similar to the liquids in which the Brownian

    motion takes place indefinitely. As long as

    there is movement, there is also sound. One of

    the most common postulates in physics and

    chemistry is that, although nothing is lost but

    everything is transformed, any substance

    tends to a state with minimal energy and

    maximum disorder. From this, the sound

    vibration is a

    substance in itself,

    whose apogee is

    extinction. Let's keep

    in mind that any sound

    is consumed much

    later than the ear can

    perceive. So we are

    governed by sounds,

    accompanied by them

    beyond conscious boundaries.

    In addition to a prelude by Chopin, we hear

    the atmospheric movement, the urban noise,

    and only our interest in the main factor, the

    musical work, implies a harmonization of the

    psyche with nature, with the world and with

    the self. It is a psychic process similar to the

    one in which, when you look at a painting, you

    have the impression that at some point its

    frame has disappeared. So, through the

    exercise of attention and concentration, the

    original point becomes conscious uniqueness,

    and the whole becomes an unconscious

    secondary plane. You don't see it, you don't

    hear it, because your interest destroys the

    secondary plan, but it is there permanently

    and only the involuntary attention preserves it

    in order to complete the original setting.

    Through this exercise of attention and

    concentration, you have the opportunity to

    process any substance intellectually; as in

    telekinesis: the stone does not rise, nor does

    the spoon bend by itself, but the psyche rises

    and bends under the influence of its own

    flexibility! Thus, you have the illusion that the

    substance undergoes the transformations that

    you order, while it remains the same.

    Music therapy - or sound therapy - has

    existed since ancient times, as man has

    understood that sound vibration is one of the

    basic binders of all cells in a substance. The

    production of sound vibrations aims to reduce

    the intensity or even eliminate those already

    existing at the place of

    interest; in other

    words, it aims to

    restore an original

    harmony that the cells

    need in their

    structure. Even when

    we are silent, we make

    sounds by breathing,

    by heartbeat, by

    swallowing. Therefore, the concept of absolute

    silence is relatively even in a vacuum. There is

    an invasion pressure around any vacuum

    environment, just as a vacuum exerts a

    conservation or explosion pressure, which of

    course implies sound waves. We fool

    ourselves into believing that we separate

    ourselves from sounds when we are in