102 Facts About Ion Vinea

The more conservative Vinea drifted apart from them as they rose to international fame with the Dada artistic experiment, being instead affiliated with left-wing counterculture in World War I Romania.

Ion Vinea expounded his social critique and his program of cultural renewal, fusing a modernist reinterpretation of tradition with a cosmopolitan tolerance and a constant interest in European avant-garde phenomena.

Ion Vinea drifted away from artistic experimentation and literature in general by 1930, when he began working on conventional newspapers, a vocal anti-fascist publicist, and a subject of scorn for the more radical writers at unu.

Ion Vinea held a variety of employments, making his comeback as a translator of Edgar Allan Poe and William Shakespeare.

Ion Vinea died of cancer just as his own work was again in print.

Ion Vinea had by then been married four times, and had had numerous affairs; his third wife, actress-novelist Henriette Yvonne Stahl, was still redacting his unpublished novels.

Although, in adulthood, Ion Vinea categorically denied his Greek ethnicity, at least one of his parents was of documented Hellenic origins.

Ion Vinea was nine years younger than her husband, who, in his thirties, became seriously ill.

When Ion Vinea was still an infant, the Iovanakis moved from Giurgiu to Bucharest, capital of the Romanian Kingdom, where, in 1905, they had another son, Nicolae.

Ion Vinea had the older Symbolist Adrian Maniu for a school tutor, but generally did poorly, averaging 8.33 in literature and philosophy.

In October 1912, together with Saint Sava colleagues Marcel Janco and Tristan Tzara, Ion Vinea set up the literary magazine Simbolul.

Shortly after the Simbolul episode, Vinea vacationed in Garceni, on Tzara's estate, and at Tuzla.

Ion Vinea was thus an advocate of social realism, praising Maxim Gorky and, in later years, Dem.

Ion Vinea made a point of showing that he despised literary cafes, the gathering spots of "poets with no muse".

Ion Vinea did however attend Terasa Otetelesanu and other such bars, mixing in with the literary crowd.

Ion Vinea kept a lasting grudge against Arghezi, who frequently censored his "revolutionary" outbursts; for his part, Arghezi noted in 1967 that he always "loved and admired" Vinea.

Ion Vinea was featured in Alexandru Bogdan-Pitesti's dailies, Libertatea and Seara, where he inducted Costin.

Ion Vinea preserved a keen interest in wartime politics, but did not explicitly share the "Germanophile" agenda that supported the Central Powers, although it was prevalent at Cronica, Seara, and Libertatea.

From October 4 to October 11,1915, together with Demetrius, N Porsenna, and Poldi Chapier, Vinea directed his own review, Chemarea, best remembered for hosting Tzara's radical poetry.

Ion Vinea reserved scatological outbursts for the Ententist Vasile Drumaru and his "National Dignity" paramilitaries, decrying the "populist imbecility" of nationalist authors such as Popescu-Popnedea or Constantin Banu.

Once Romania declared war on the Central Powers, Ion Vinea was drafted into the Romanian Land Forces, training with the third heavy artillery regiment.

Ion Vinea kept close company with two young women, Maria Ana Oarda and Aurica Iosif ; the three all contributed to a diary, which mainly records Iosif's own enthusiasm for "Greater Romania" throughout the early Romanian offensive.

Ion Vinea was kept informed about the developments by Tzara himself, and sent in congratulatory letters which, according to researchers, give clues that he was envious; he sent Tzara a poem of his, but this proved too tame for Dada standards, and was never taken up.

In early 1918, following disagreements with Cocea, Ion Vinea left Chemarea and joined the staff of Arena, a daily put out by Hefter-Hidalgo.

Ion Vinea soon regretted his Arena affiliation, confirming Hefter's bad reputation as a blackmailer, and returned to Chemarea.

An undated letter to Qvil, which researcher Sanda Cordos proposes is from around that time, suggests that Ion Vinea returned on his own to pacified Romania, and was summering with his father in Draganesti.

Later that year, shocked by his brother's death in a freak riding accident, Ion Vinea took a sabbatical.

Ion Vinea was pursuing an adulterous relationship with the aspiring actress Dida Solomon, who was working as a typist.

Ion Vinea studied off and on at the University of Iasi Law School alongside Costin, only graduating in 1924.

Ion Vinea never submitted his written thesis, and never became a practicing attorney.

Ion Vinea mediated between this autocratic manager and the liberal staff.

Ion Vinea was still a vocal opponent of the academic traditionalists, satirizing Dragomirescu and the Romanian Writers' Society for their purge of Germanophile talents such as Arghezi.

Ion Vinea depicted the primitivist streak of high modernism as a more authentic current than traditionalism, in particular Transylvanian traditionalism, and saw Muntenia as the cradle of authentic urban culture.

Petre Pandrea, who organized the legal defense for some of the imprisoned communists, alleges that, as early as 1923, Ion Vinea took Soviet money sent to him by a leading party member, Ana Pauker.

In that context, Ion Vinea produced an editorial eulogy to Karl Marx, and, as he later noted, supported "all the rallies and campaigns organized by the labor movement", being a combatant for Dem.

Ion Vinea delved in art criticism, with short essays on exhibits by Janco and Maxy, and with eulogies for folk and abstract art.

Ion Vinea continued to deride, or simply ignore, Lovinescu, whose Sburatorul competed for the role of modernist guardian.

However, it was chronically plagued by financial setbacks, and almost shut down several times; during such episodes, Ion Vinea took up work for Cocea at Facla.

Ion Vinea gave a mixed review to the Surrealist Manifesto, praising the surrealists' focus on "organic" revolt against "the hegemony of the conscious mind", but noting that its debt to psychoanalysis was defeating the purpose.

Ion Vinea's father died that year, leaving him to look after Olimpia Iovanaki; an adoring son, he remained by her side and closely followed her advice.

Ion Vinea had separated from Solomon, who went on to marry Callimachi in August 1924.

Ion Vinea was the sister of a more successful actress, Tantzi Cutava-Barozzi.

In tandem, Vinea seemingly grew tired of Futurism, publishing in 1925 a French anti-manifesto for la revolution de la sensibilite, la vraie.

In describing Barbusse for his Facla readers, Ion Vinea compared him to the glowing figure of Jesus Christ in Leonardo's Last Supper.

Carandino claims that Ion Vinea subsequently acted as an adviser to some main PNT figures, namely Armand Calinescu and Virgil Madgearu, as well as diplomat Nicolae Titulescu.

In conversation with Aderca, Vinea demanded that Contimporanul be remembered not for "political fighting", but for "its influence on our artistic life".

In 1930, Vinea published his volume Paradisul suspinelor with Editura Cultura Nationala, illustrated by Janco.

Ion Vinea was already credited as a translator of books by Romain Rolland and Jules Barbey d'Aurevilly, but these were in fact penned by Tana Qvil; she had asked he former husband to lend her his more prestigious signature.

Ion Vinea had made a publicized return to the mainstream press, with opinion pieces and lampoons in Adevarul, Cuvantul, and the PNT organ Dreptatea, and with literary prose in Miscarea Literara.

Ion Vinea was for a while a member of Dreptateas editorial team.

At that stage of his life, Ion Vinea reconciled with Lovinescu, with whom he now shared a moderate outlook and liberal agenda.

Ion Vinea continued to write prose, and, in 1931, with the celebratory 100th issue of Contimporanul, announced that he was putting out Escroc sentimental, an early draft of Lunatecii.

Ion Vinea found out at the last moment and had them withdrawn, with a spat of verbal violence.

From 1930 or 1931 to 1944, Ion Vinea was married to Henriette Yvonne Stahl, an actress and award-winning novelist, as well as a famed beauty.

Stahl tried to get Vinea to join her in studying theological and paranormal investigations by Emanuel Swedenborg, but found his "obtuseness" unsettling.

Contimporanul went bankrupt in 1932, by which time Ion Vinea had by then replaced the retiring Cocea as editor of Facla, and was writing for the minor political newspaper Progresul Social.

Ion Vinea renounced his republicanism and paid homage to the returnee King Carol II.

Carandino writes that, as a rule, Ion Vinea "took very little care of Facla": "We got used to seeing our director as an 'outside' contributor, as he was so rarely present in the gazette pages".

Ion Vinea drifted away from PNT politics, deploring the party's failure to address the Great Depression, while giving his endorsement to the Grivita Strike of 1933.

Ion Vinea averted this crisis by congratulating his assailant for his "deductive intelligence", winning his confidence and camaradery, and then sending him on his way.

Ion Vinea became unfaithful, pursuing "complicated" affairs with other women, but frequenting the Bucharest brothels.

Around that time, Vinea established clandestine links with the Zionist underground, informing them about German funds laundered through Romanil Company, which went to finance Romania's far-right; his contact was Jean Cohen, who reported to Tivadar Fischer.

Ion Vinea was then assigned editor of Evenimentul Zilei, a propaganda daily published by Seicaru, while working at Seicaru's Curentul.

Ion Vinea was followed there by one of his Facla subordinates and a close friend, Vlaicu Barna.

Ion Vinea still authored a posthumous encomium to his former rival Nicolae Iorga, who had been assassinated by the Guard.

Ion Vinea partook in debates splitting the literary community: in 1941, he responded to George Calinescu's overview of Romanian literature, dismissing it as an impressionistic, and therefore highly subjective, contribution.

However, Ion Vinea found himself in trouble with the Nazi Ministry of Propaganda for eulogizing Swiss neutrality and journalistic objectivity.

Ion Vinea maintained contacts with the local Zionist resistance, represented by Zissu and Jean Cohen, sending them economic and social data which reached the Allies.

Shortly after, Vinea received an interdiction to publish from the Propaganda Ministry, and was even threatened with prosecution for war crimes, but the order was revoked by Premier Petru Groza in 1946.

An "utterly discreet" presence while the country underwent rapid communization, Vinea focused almost entirely on his new career, that of a translator from English and French.

Ion Vinea, "panicked by the prospects of old age and failure", changed his lifestyle drastically, giving up smoking and drinking.

Ion Vinea moved with her from his mother's home on Uranus Hill to a townhouse on Braziliei Street, Dorobanti, thus "covering his tracks".

Ion Vinea produced Romanian versions of Edgar Allan Poe's romantic stories, especially Berenice, Ligeia, and The Fall of the House of Usher, and was involved in ESPLA's Shakespeare translation project, applying his poetic skill to Henry V, Hamlet, Othello, Macbeth, and The Winter's Tale.

Ion Vinea never finished the latter, and personally destroyed his entire work on Lucretius.

Some were issued under Dumitriu's signature, which Ion Vinea grudgingly allowed in exchange for money.

Reputedly, Ion Vinea was being coerced to join the Communist Party and become a Securitate informant, but stood his ground.

Vinea and his lover were arrested and held in custody for several months in 1959, his gold coins having resurfaced ; her conversations with Vinea wire-tapped by the Securitate, Stahl herself was imprisoned for several months in 1960.

In confinement, Ion Vinea was reportedly bastinadoed so that he temporarily lost control of his limbs; Oghina fell ill.

Ion Vinea was allowed to travel within the country by November 1961, when he wrote to his lover, from Constanta.

Ion Vinea was allowed to publish in the literary magazines.

Together with Henriette, Ion Vinea was made to write for Glasul Patriei, a communist propaganda magazine aimed at the Romanian diaspora.

Ion Vinea was featured there with notes on consecrated intellectual figures whom he had befriended, including Cocea, Enescu and Brancusi, but with an enthusiastic reception of the young socialist novelist, Titus Popovici, whom he had interviewed at Mogosoaia Palace.

Ion Vinea refused to comply, noting: "I know that P is a swindler, but he has been good to me"; in this private context, he confirmed that Hamlet was fully his own work.

In 2005, researcher Ion Vartic opined that the allegations of plagiarism were partly substantiated, but suggested a more "nuanced" verdict: Dumitriu's work should be read as a sample of collaborative fiction and intertextuality, involving both Vinea and Stahl.

Ion Vinea secretly envied those who had left, feeling abandoned after Costin, who spent time in communist prisons, emigrated in 1961.

Ion Vinea was considered healthy enough in July 1962, when Lily Haskil encouraged him to resume his writing.

Purcaru noted that Ion Vinea made himself available in "that same setting of distinguished elegance, where old furniture and book spines with their patina will announce the blossom of [his] finely-worded manuscripts"; the host announced that he was working on the final draft of Lunatecii, to be presented to his publisher "before the end of this year".

Ion Vinea's cancer relapsed later that summer, during another vacation on Tataia Beach.

Ion Vinea experienced "horrific agony", and had to undergo emergency surgery, which failed to address his health issues; aware that he was entering the final stages of his disease, he registered his civil marriage with Elena, adopting her niece Voica as his own daughter.

Shortly before his death on July 6,1964, Ion Vinea was given for review a rough draft of Ora fantanilor, which finally saw print some months later.

Ion Vinea took the book into his hands, then to his lips.

Ion Vinea's body was for a while on display at the USR House, which, Barna argues, was a "sign of munificence" from his communist critics; it was afterward buried at Bellu Cemetery.

Never adopted by the Dadaists, Ion Vinea felt naturally affinities with the conservative side of Dada, illustrated by the "beautiful and virginal" poetry of Hugo Ball.

Dianu once commented that Vinea shared with the traditionalists both a love of local folklore and for the works of Reiner Maria Rilke, but that he resented their mysticism, which he found distasteful.

Ion Vinea was not the purely impulsive modernist: evidence suggests that he dissembled surrealist automatism by simply rearranging consciously written poetry into unusual formats.

Researcher Alexandru Piru suggests that virtually all of Ion Vinea's poems, including those under print at the time of his death, were entirely composed before 1944.

Ion Vinea is a last male descendant of an illustrious and principled family, but surrounds himself with misfits, and pursues three women at once: a Greek belle, a delicate Catholic, and a secretive lady who stands for "Byzantinism tainted by the occult".

Ion Vinea falls under Guna's spell at an early stage in his life, which allows Vinea to explore legends surrounding Bogdan-Pitesti's interloper status.

The Purcaru interview shows Ion Vinea explaining modernism as a "failed experience", the product of youth seeking "intransigent poses, terrible whims, and some of the more extravagant theories".

Ion Vinea publicly complained that Lunatecii had to be rewritten because of these borrowings, but, according to Vartic, the claim should be treated with skepticism.

Ion Vinea pursued a career in film editing, winning the a prize at the Cupa de cristal gala in 1987.

Writers Nicolae Tzone and Ion Vinea Lazu founded an eponymous publishing house and took his works, putting up a memorial plaque on Braziliei Street; these projects earned endorsement from Voica, who inherited the Braziliei Street home.