Draft:Mircea Teculescu
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Mircea Teculescu |
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Mircea Teculescu (born June 3, 1962, in Ploiești, Prahova) is a contemporary poet and a member of the Writers' Union of Romania, Bucharest Poetry Branch.
Biography
[edit]De profesie inginer, este stabilit din anul 1985 la Câmpina, județul Prahova.
A professional engineer, Teculescu has been living in Câmpina, Prahova County, since 1985.
Between 1992 and 2023, he published various articles, poetry, and prose in numerous publications, including Evenimentul social și artistic, Valea Prahovei, Jurnalul de Prahova, Telegraful de Prahova, Oglinda Prahoveană, Ora, Oglinda Câmpinei, Viața Prahovei, Albatros, Revista Nouă, Axioma, Haiku Ploc (France), Oglinda literară, Convorbiri Literare, Ramuri, Vatra, and Helis.
He appears in five haiku anthologies and one haibun anthology, the latest being Solidaritate prin haiku (Solidarity through Haiku), Constanța, 2011, dedicated to the Fukushima disaster. He has won four awards in the monthly haiku contest organized by the Romanian Kukai website.
Since 2003, Mircea Teculescu has been a member of the Haiku Society of Constanța.
In 2015, he received an honorable mention for short prose in the international contest organized by the publication Occidentul Românesc (Spain).
In May 2016, he won second prize at the 3rd edition of the Roots literature competition, organized by the online magazine Însemne culturale.
Published Works
[edit]- Exerciţii de tăcere (Exercises in Silence), haiku micropoems, 2003
- Porţi în depărtare (Distant Gates), Japanese prose, T-haibun, senryu, tanka, haiga, 2008
- Venus de februarie (February Venus), poetry, 2016
- Fiecare vede altceva (Each Sees Something Different), poetry, 2017
- Umbrele copacilor tăiaţi (Shadows of the Felled Trees), poetry, 2020
- Jocul și Moartea (The Game and Death), poetry, 2022
- Fapte diverse (Miscellaneous Facts), poetry, 2023
- Costumul gol al astronautului (The Astronaut's Naked Suit), poetry, 2024
Critical Reviews
[edit]Mircea Teculescu observes the world’s painting and the graphic nature of his own states from a contemplative position, using verse—when possible—as a tool for sculpting. His general equation is melancholic, emerging from a calm and moderated imagination that unfolds like beads strung on a reflective thread. An imagist of both airy and grave themes (when necessary), Teculescu gathers melancholies under the sparkle of a mirage, that of the moment when flowers suddenly ignite around you, and you appear. A subtle erotic breeze blows through the shadows of the felled trees, powerfully effective, even giving continuous nothingness a sense of meaning. The contemplative tableaux he paints—pointillistically and speculatively structured—also strive towards meaning, not necessarily erotic.
Al. Cistelecan