44 Facts About Mihu Dragomir

Mihu Dragomir was a Romanian poet, prose writer and translator.

Mihu Dragomir debuted in his early teens, and, before turning 19, had self-published his first volume of verse, putting out the literary magazine Flamura.

Mihu Dragomir fought in their ranks for the remainder of World War II, witnessing events which were retold in his poetic cycles and short-story collections.

Mihu Dragomir was joined he mass organizations of the Romanian Communist Party, moving from generic progressivism to Leninism, and then to explicit Stalinism.

Mihu Dragomir continued to write poems that post-Stalinist reviewers upheld as more genuine, or even brilliant; he generally kept these for private use, or, when he published some of them, was attacked by his peers as an "escapist".

Mihu Dragomir was always seen as a suspicious figure by Communist Party cadres.

Mihu Dragomir was isolated and sidelined after the Hungarian Revolution of 1956, upon which he was sent to work as a consultant for the local film industry, during which time he inspired The Thistles of the Baragan, adapted from Istrati's work.

Musician Claudiu Moldovan claims that, due to his "brown complexion" and familiarity with Lautari songs, Mihu Dragomir was mistakenly seen by Romanies as belonging to their own ethnic community.

Young Mihu Dragomir attended primary school in his native city, followed by Nicolae Balcescu High School from 1929 to 1933.

Mihu Dragomir founded Flamura magazine in Braila in 1937, handing its management to Stefan Topcea and Gheorghe Capagea-Rosetti in early 1939.

Mihu Dragomir eventually interrupted his business training in order to attend the Bacau reserve officers' school from 1940 to 1941.

Mihu Dragomir returned to publishing with short poetry collections: Ruga de ateu, adica vorbe despre oranduieli si carmuitori and Inger condeier.

Mihu Dragomir first used the pen name Mihu Dragomir in Flamura in 1938.

In 1940, when Mihu Dragomir composed a poem named for Edgar Allan Poe, it was published by Adonis and the Ionescu-Tamadau printing press.

In later years, allegations surfaced that Mihu Dragomir himself had affiliated with the Crusade.

On December 1,1940, Mihu Dragomir wrote about the "green pennon of the Guard, and the azure pennon of eternal Poetry", flying side by side.

Mihu Dragomir survived the civil war of 1941, in which the Guard was chased out by Conducator Ion Antonescu.

Mihu Dragomir resumed university classes in 1942, but was mobilized in 1943 and saw action in World War II until 1945.

Mihu Dragomir continued his studies, with interruptions, until graduating in 1948.

In November 1945, after clashes with the anti-communist National Peasantists and National Liberals, Mihu Dragomir represented the UTP at a rally in Braila, as one of the speakers who demanded that the two "fascist" groups be outlawed.

Mihu Dragomir first stated his new aesthetic goals in a manifesto he wrote alongside G Climatiano, and which he presented for review in the Communist Party newspaper, Scinteia.

The anonymous author alleged that Dragomir had once misplaced his personal papers in a public area, upon which the Securitate had stumbled upon evidence that he had been a wartime informant, involved with "staking out" a communist activist, Manole H Manole.

Mihu Dragomir's own scattered contributions from Romania's early communist period feature a hymn to Joseph Stalin, with music by Anatol Vieru.

Mihu Dragomir agreed with Malenkov's rejection of literary "glumness", noting that "glum" images had appeared in poems by Tulbure and Nina Cassian.

From 1954 to 1956, Mihu Dragomir was editor-in-chief of Tanarul Scriitor, put out by the USR as a trade magazine for young communist authors.

Mihu Dragomir gave a lecture, while Demostene Botez and Ioanichie Olteanu read out from Neculuta's Spre tarmul dreptatii.

Mihu Dragomir's renditions formed a significant portion of a Simonov edition which came out in late 1955, but he was criticized by a fellow writer, Dimitrie Florea-Rariste, for not capturing the "plenitude of [Simonov's] lyricism".

Mihu Dragomir's career suffered during the Hungarian Revolution of 1956, when the Romanian communist leadership became alarmed about the local spread of liberal socialism.

Mihu Dragomir's supposed engagement in the Crusade became a topic of denunciation and debate during the Young Writers' Conference of 1956.

Literary scholar Eugen Negrici argues that, as one "recovered from the right-wing areas", Mihu Dragomir suffused literary communism with echoes from clerical fascism and the Iron Guard's Orthodox mysticism.

Mihu Dragomir's project was accepted and Louis Daquin was taken in as its director, with Struteanu providing the screenplay.

Mihu Dragomir was affiliated with the relaunched Luceafarul, serving on its editorial board from July 15,1958 to 1960.

Mihu Dragomir is credited with having helped discover Constanta Buzea, Adrian Paunescu, and Alexandru Ivasiuc.

Vintila and Fanus Neagu were both co-editors and contributors, and sometimes took over for Mihu Dragomir in going over the readers' submissions.

Mihu Dragomir continued to publish his own poetry in various installments: Pe drumuri nesfirsite, Intoarcerea armelor, Povestile baltii, Stelele asteapta pamintul, and Inelul lui Saturn.

Mihu Dragomir died of a heart attack in Giurgiu on April 9,1964, shortly before turning 45; he was reportedly there on a literary assignment.

Mihu Dragomir bequeathed some of her late husband's manuscripts to Stoian, but personally handled a retrospective edition, Sarbatorile poetului, as it came out in 1988.

Raicu reserves his praise for samples in which Mihu Dragomir finds authenticity of feeling, and a poetic voice, with the "curiously prolonged dwelling" on themes of unrequited love.

In 1943, Mihu Dragomir earned attention from critic Ovidiu Papadima with poems about combat on the Eastern Front.

In one such contribution, Mihu Dragomir writes about the leading role of the Communist Party:.

Mihu Dragomir's loving depiction of the Macin Mountains and their Lipovans, included in Stelele pacii, was rejected by Contemporanul as too idyllic for the new aesthetic standards.

Those who knew Mihu Dragomir reported a more spontaneous and non-political side of his political creation, largely manifested in oral form.

Boureanu mentions his colleague's classical sensibilities: Mihu Dragomir recited from Horace, or spontaneously imitated the Horatian odes, during one of their outings in Sulina.

Struteanu similarly recalls Mihu Dragomir improvising an homage to the swans of the Danube, which mentioned poetic loves.