Ruxandra Cesereanu hat als Dichterin, Romanautorin, Essayistin und Literaturkritikerin internationale Anerkennung erlangt. Cesereanus Werk reicht von ihrer Auseinandersetzung mit Weiblichkeit und Erotik in ihren Gedichten und Prosa bis hin zu einer Auseinandersetzung mit dem kommunistischen Erbe Rumäniens in ihren Essays und ihrem Journalismus.
Sie prägte in einer ersten Phase ihres literarischen Schaffens den Begriff Delirionismus, der die Umsetzung einer halbpsychedelischen Trance in Poesie darstellen sollte. In Ruxandra Cesereanus Absicht repräsentieren Gestein und Kristall das Wort in seinem reinen, ursprünglichen, trägen Zustand, während die Kraft, die seismisch auf sie einwirkt und Spaltung, Bruch/Gleiten, aber auch den endgültigen Ausstieg aus der Trägheit verursacht, die brutale Energie des Wortes ist Dichter, durch dessen Worte es bricht und spaltet, wenn es in den dynamischen Kreislauf der Welt eintritt und das brodelnde Magma in seinen Eingeweiden signalisiert. Der Autor räumt dem Bild bzw. seiner konkreten Proteinmaterie die völlige Vorherrschaft ein!
Technisch gesehen haben diese Gedichte nur scheinbar etwas mit dem automatischen Schreiben surrealistischer Herkunft zu tun. Aus einer bestimmten Perspektive sind die eindringlichen Bilder, die die Poesie von Ruxandra Cesereanu charakterisieren, eher mit den Erfahrungen Deutscher Expressionismus, vor allem mit der Lyrik von Georg Trakl verbunden.

Die ideelle Chemie des Gedichts spiegelt sich auch in seiner Struktur wider, durch den Übergangsritus von einem stilistischen Register zum anderen (entsprechend überlappenden oder verknoteten psychischen Bereichen), so dass am Ende das gesamte Gedicht ein liturgisches Lied bedeutet Geographie mental in eine kosmische umzuwandeln. Der Band ist, wie der Dichter bezeugt, das Ergebnis langer Radtouren entlang des Samosflusses. Wenn Sie sich schneller als gewöhnlich vorwärtsbewegen, aber den ganzen Körper in Bewegung trainieren, weicht die Zukunft, die zusammen mit der umgebenden Luft vor Ihnen berauscht, langsam der Erinnerung, dem Bild der Vergangenheit. Wie sie wunderschön schreibt: „Freundschaft entlang eines Flusses ist nur in einem Gedicht etwas Statisches.“ Und selbst dann nicht: Die Perspektive verändert sich ständig, Stimmen und Ichs wechseln sich ab, entsprechend grafisch markiert und in separate Strophen gegossen.
Der Text vermischt das Unvollkommene, das Perfekte und das Gegenwärtige in einer Mischung aus surrealen Sätzen und Definitionen. Dies verstärkt in gewisser Weise die schamanische, okkulte Atmosphäre, die der Band von einem Ende bis zum anderen bewahrt.
Aber lassen wir die Autorin ihre Gedanken über die Dichtung und Dichtkunst äußern: "Ich glaube an Poesie, weil es die höchste Kunst für mich ist, wahrscheinlich die einzige literarische Gattung die der symphonischen Musik gleichkommt. Wenn ich über Gedichte spreche, beziehe ich mich nicht auf den Versbau, sondern auf Verse, die in einer fortgeschrittenen Form auf Ästhetik bauen. Darum geht es, wenn ich sage, dass ich einen Kampf für die Poesie führe. Ich glaube tatsächlich, dass es in unserer entzauberten Welt noch Lösungen gibt, um die Welt durch Geschichten wieder zu verzaubern."
In dieser poetischen Anthologie wurde sowohl ein chronologisches als auch ein thematisches Kriterium verwendet, um die Entwicklung der Hauptkerne der poetischen Vorstellungskraft der Dichterin im Laufe der Zeit zu verfolgen.

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Einhunderteins Gedichte

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