Documentarul Recorder „Justiție capturată” a primit premiile Superscrierea Anului și Superscrierea Cititorilor, la Gala Superscrieri XV, iar Recorder a fost desemnată Redacția Anului.

42 de materiale au fost premiate dintre cele peste 300 înscrise în competiția ediției aniversare care marchează 15 ani de la lansarea Premiilor Superscrieri.

Competiția Superscrieri 15 a inclus următoarele categorii principale: Debut Jurnalistic, Jurnalism Tematic, Interviu, TV & Video-Jurnalism, Investigație, Presă Locală, Feature Writing, Inovație și Civic Influencers.

În cadrul galei au fost acordate premii onorifice pentru: Redacția Anului, Editorul Anului, Carte de non-ficțiune, Jurnalism Explicativ, Premiul pentru întreaga activitate, Jurnalism internațional, Anti-dezinformare și Mentor pentru generații întregi de jurnaliști;

Au fost acordate și premii speciale tematice: „Sănătate mintală în România” și „Animal Welfare în România”;

De asemenea, s-au oferit bursele tematice: bursa Superscrieri – Ion Rațiu pentru jurnalism de investigație, bursa Superscrieri – Naumann, pe tema drepturilor omului și a parteneriatului civil, bursa Superscrieri – Snoop, dedicată sănătății mintale, și bursa Superscrieri – Bitdefender, dedicată scam-urilor online care folosesc tehnici AI;

Ediția aniversară cu numărul XV a avut ca temă „Împreună am făcut mai multe decât credem” și a celebrat evoluția jurnalismului românesc din ultimii 15 ani.

Premiul juriului a fost acordat materialului PressOne despre modul în care statul român antrenează luptători din armata privată a lui Horațiu Potra în unități de elită ale MApN.

Documentarul Recorder „Justiție capturată” a fost Superscrierea Anului.

Jurnalista Emilia Șercan a motivat acordarea premiului „Superscrierea anului”: documentarul „a indignat, a revoltat, a scos oamenii în stradă”, iar jurnaliștii care au lucrat la el „au fost amenințați, discreditați și puși la zid doar pentru faptul că și-au făcut meseria cu bună-credință și în interes public”.

„Acest material [n.r. Justiție Capturată] nu ar fi existat fără munca multor altor jurnaliști care au acoperit acest subiect cu mult timp înainte să o facem noi.(…) Și de asemenea aș vrea să le mulțumim celor care au preluat materialul, celor care au continuat să-l dezbată în publicațiile lor”, a spus pe scena Superscrieri Andreea Pocotilă, jurnalistă Recorder, câștigătoarea premiilor „Superscrierea Anului” și „Superscrierea Cititorilor”, alături de Mihai Voinea.

Și jurnalistul Mihai Voinea a vorbit despre solidaritatea din breasla jurnaliștilor. 

„Mi-am adus aminte de momentul ăla extraordinar de la conferința de presă de la Curtea de Apel, când am avut o mie de sentimente amestecate, dar unul dintre cele mai puternice a fost solidaritatea. A fost extraordinar, pentru că n-am mai simțit niciodată atât de puternic lucrul ăsta – că noi, jurnaliștii, suntem de partea binelui și ne luptăm cu niște oameni care sunt în fața noastră (…) și ne simțeam foarte puternici.

La un moment dat, Andreea a pus o întrebare și i s-a răspuns în doi peri, și a vrut să pună o întrebare de follow-up și a fost repezită. «Gata, ți-ai pus întrebarea».

Și a intervenit un reporter de la Digi24 care a spus: «Îi dau eu întrebarea mea». A fost ceva extraordinar. Erau jurnaliști din televiziuni, din presa online, din toate mediile, presa independentă, presa mainstream și ne-am simțit împreună și ne-am simțit puternici”, a spus pe scena Superscrieri Mihai  Voinea, jurnalist Recorder, câștigătorul premiilor „Superscrierea Anului” și „Superscrierea Cititorilor”, alături de Andreea Pocotilă.

Unii dintre jurnaliștii premiați au subliniat fragilitatea industriei și dificultățile legate de finanțarea presei independente.

„Eu lucrez la PressOne de 10 ani și în sine e o minune faptul că PressOne există de 10 ani. Se datorează unui efort susținut al unor mai multe generații de oameni care și-au imaginat cum trebuie făcută presa conștiincioasă în România”, a spus Bianca Felseghi, câștigătoarea Premiului Juriului, alături de Răzvan Filip.

Juriul a fost prezidat de Dan Duca și i-a reunit pe Alina Mărculescu Matiș, Alina Radu, Cătălin Striblea, Codruța Simina, Cristian Leonte, Daniel Condurache, Dragoș Pătraru, Emilia Șercan, Irina Păcurariu, Marian Voicu, Marius Comper, Mihai Ghiduc, Mona Dîrțu, Oana Giurgiu, Paula Herlo, Paul Radu, Robert Schwartz și Tudor Mușat. Categoria „Civic Influencers” a fost jurizată de Cătălin Moise, Diana Filimon și Monica Jitariuc.

Membrii juriului s-au recuzat de la evaluarea materialelor aflate în situație de conflict de interese.

Câștigătorii Ediției Superscrieri 15:

SUPERSCRIEREA ANULUI

Justiție capturată – Andreea Pocotilă, Mihai Voinea (Recorder)

Redacția Anului – Recorder

Editorul Anului – Alexandra Tănăsescu (Cultura la dubă)

PREMIUL JURIULUI

Statul român antrenează luptătorii de top din armata privată a lui Horațiu Potra în trei unități de elită ale MApN. Surse PressOne: „E o hemoragie” – Bianca Felseghi, Răzvan Filip (PressOne)

SUPERSCRIEREA CITITORILOR

Justiție capturată – Andreea Pocotilă, Mihai Voinea (Recorder)

DEBUT JURNALISTIC

LOC 1 Investigație cu camera ascunsă. Cât de ușor poți ajunge instructor auto în România – Gabriel Nicolae, material realizat în echipă cu David Muntean (Recorder)

LOC 2 Drum spre școală cu oprire la pariuri sportive – Raluca Cristea (Școala9)

LOC 3 x 2 câștigători: Dreptul la umbră: lipsa spațiilor verzi devine o problemă de viață și de moarte în București – Anamaria Sandu (Mindcraft Stories)

și Regii din Sinaia: spații comune în blocurile lui Beniamin Gonț, vândute ca apartamente de lux. Nou tun imobiliar în stațiunea de munte unde primarul e acuzat că și-a cumpărat castel cu banii din mită – Luiza Popovici (PressOne)

JURNALISM TEMATIC

LOC 1

seria Banii partidelor – Cristian Andrei (Snoop)

AUR pentru Realitatea: George Simion a dat un milion de euro pentru o zi de promovare și aproape jumătate pentru o emisiune cu Anca Alexandrescu, dar fără el

• „Au amanetat PNL”. Datorii de 25 de milioane de euro către o singură firmă, televiziunile sună după bani
• Prețul cărții lui Ciucă: 3.000 de exemplare tipărite și promovate cu 2,5 milioane de euro  

LOC 2 podcastul SEISM – Andrei Popoviciu (Scena9)

LOC 3 x 2 câștigători:

seria despre dezastrul de la Praid – Bianca Felseghi (PressOne)

• Cronica unei prăbușiri anunțate: Praidul este sub apă și sub tăcere
• Râul mort Târnava Mică: Cum a transformat colapsul Salinei Praid o întreagă vale într-o zonă calamitată
• Efecte în lanț ale dezastrului sărat de la Praid: apa din barajele a trei județe a fost sacrificată ca să dilueze apele Mureșului

și

seria despre muncitorii asiatici în România – Iulia Hau (Snoop & HotNews))

• Rețele locale escrochează muncitori asiatici în România și îi lasă în ilegalitate
• Nu l-am bătut, am avut o discuție mai aprinsă”. Ce a pățit un srilankez care muncește în România ca să nu-și piardă terenul cu orez și banane de acasă
• Cum au ajuns să călătorească DJ-ii srilankezi constant între Italia și România pentru petreceri underground ale comunității lor

TV&VIDEO-JURNALISM

LOC 1 x 2 câștigători: seria Armata digitală a Kremlinului, episodul I, episodul II – Natalia Zaharescu, Măriuța Nistor: editor text: Victor Moșneag, editor video: Anatolie Eșanu, montaj: Andrei Muntean (Ziarul de Gardă)

și

Cea mai mare firmă fantomă, validată de ANAF – Alex Nedea (Recorder)

LOC 2 seria Instruiți să facă haos, episodul I, episodul II, episodul III – Malvina Cojocari (CU SENS). Au contribuit: Irvin PEKMEZ (Detektor.ba), Enes HODZIC (Detektor.ba), Nino BILAJAC (Detektor.ba), Ralitsa FICHEVA (Factcheck.bg)

LOC 3 Singuri. Coșmarul fără sfârșit al copiilor abandonați – Diana Meseșan, Mihai Voinea, Cristian Delcea (Recorder)

INVESTIGAȚIE

LOC 1 Justiție capturată – Andreea Pocotilă, Mihai Voinea (Recorder)

LOC 2 seria Armata digitală a Kremlinului, episodul I, episodul II – Natalia Zaharescu, Măriuța Nistor; editor text: Victor Moșneag, editor video: Anatolie Eșanu, montaj: Andrei Muntean (Ziarul de Gardă)

LOC 3 Statul român antrenează luptătorii de top din armata privată a lui Horațiu Potra în trei unități de elită ale MApN. Surse PressOne: „E o hemoragie” – Bianca Felseghi, Răzvan Filip (PressOne)

PRESĂ LOCALĂ

LOC 1 seria Cine este George Simion, episodul I, episodul II – Răzvan Moldoveanu (Reporter de Iași)

LOC 2 seria „Circuitul Negoiță”. Cum s-a surpat unul dintre cele mai noi bulevarde din Capitală – Florin Râșteiu (reporter și montaj), Răzvan Chiruță (reporter), Cătălin Doscaș (editor) (Buletin de București)     

LOC 3 Suflete dărâmate: ce pot face adulții când lumea se prăbușește peste copii? – Edit Éva Pál (Átlátszó Erdély) materialul tradus

FEATURE WRITING

LOC 1 Vulpea neagră a războiului din Ucraina – Polina Cupcea (Oameni și Kilometri)

LOC 2 x 2 câștigători: Căldărar în Corcova, zugrav la Bruxelles – Elena Stancu, Cosmin Bumbuț (Teleleu & HotNews)

și De ce nu reușim să consolidăm Bucureștiul până la cutremur – Vlad Odobescu, fotografii de Ioana Cîrlig (Scena9)

LOC 3 Sate însetate, orașe privilegiate. O criză anunțată a apelor subterane accentuează inegalitățile dintre rural și urban în Moldova – Adina Florea, Cosmin Filișan (foto) (Scena9)

INOVAȚIE

LOC 1 O călătorie prin Cosmos, cu plecare din Bârlad – Ionuț Sociu; fotografa: Ioana Cîrlig; instalații multimedia: Augmented Space Agency; editor: Andra Matzal (Scena9)

LOC 2 „Ce ascundem: Revistă – Expoziție – Conversații” – Scena9 & Rezidența9

LOC 3 Avortul pe TikTok – Denisa Sandu, Radu Mihai (Școala9)

INTERVIU

LOC 1 x 2 câștigători: Judecătoarea Daniela Panioglu, după reportajul Recorder: Abandonați speranța, e un sistem controlat – Vitalie Cojocari (Euronews România)
și
Răzvan Rădulescu: „Nu mai vreau să fac cinema. Simt că lumea asta nu mai e a mea” – Anca Vancu (Scena9)

LOC 2 Scriitorul Mihail Șișkin: „Rusia nu mai poate fi salvată. Responsabilitatea noastră e să salvăm cultura.” – Alexandra Tănăsescu (Cultura la dubă)

LOC 3 Adolescenții fără adolescență din Pirita au școală și se visează departe, dar pentru asta au nevoie de șanse – Oana Moisil (newsletterul Meandre)

CIVIC INFLUENCERS

LOC 1 Influența din condusul sub influență: democratizarea științei și mobilizarea civică, de la convingerea majorității judecătorilor până la învingerea majorității parlamentarilor – Vlad Zaha

LOC 2 Reprezentarea romilor în media, episoade: Haurențiu, Mircea Bravo, Loredana, Lolita, Dan Frînculescu – Bogdan Burdușel

LOC 3  „Se numește FEMICID” – Drepturile femeilor, Feminism, Violența împotriva femeilor – Mălina Irimia

Carte de non-ficțiune – Cosmin Popa –  Economie, corupție și politică în România lui Nicolae Ceaușescu (Editura Corint)

Premiul onorific pentru Jurnalism Explicativ – Sorana Stănescu – Foaia de observație

Premiul onorific pentru întreaga activitate: Europa Liberă România, Panorama, Mindcraft Stories

Premiul onorific pentru International Reporting: Andrei Popoviciu

Premiul onorific pentru Anti-dezinformare: Iulia Stănoiu (Context), Victor Ilie (Drepturi și Strâmbe), Matei Vrabie (Public Record)

Premiul onorific Mentor pentru generații întregi de jurnaliști: Daniel Condurache

BURSE ȘI PREMII SPECIALE

Bursa Superscrieri – Ion Rațiu pentru jurnalism de investigație – Florin Râșteiu, Buletin de București

Premiul special „Sănătate mintală în România” – Provocări online, consecințe în viața reală – Andreea Archip, Cristian Lupșa (editor) (Școala9)

Premiul special „Animal Welfare în România” – se împarte la două câștigătoare: Eutanasia ca afacere: zeci de mii de câini uciși pe milioane de euro, bani publici, sub ochii autorităților – Medeea Stan (Snoop)
și
„Direcția Morții” de la Codlea: Mii de câini eutanasiați pe bani publici sub comanda unui veterinar sancționat pentru cruzime – Alina Zibrițchi (PressOne)

Bursa Superscrieri – Naumann pe tema „drepturile omului: parteneriat civil” – Vanessa Mathe

Bursa Superscrieri – Snoop pe tema „sănătate mintală” – Luiza Popovici (PressOne)

Bursa Superscrieri – Bitdefender „scam-uri online cu tehnici AI” – Răzvan Robu (Public Record)

***

SUSȚINĂTORII EDIȚIEI:
Parteneri de creștere
Bitdefender, BRD – Groupe Societe Generale, Kaufland

Sponsori de categorie

PPC, FAN Courier, Media Trade Services, Blitz Production, Ethical Media Alliance, Humane World for Animals, Difine PR

Parteneri burse

Rațiu Democracy Center, Fundația Friendrich Naumann pentru Libertate, Snoop

***
 

Despre Superscrieri, programul Fundației Friends For Friends (FFFF.RO):  
Superscrieri este tributul pe care din 2011 îl aducem autorilor care, prin forța scriiturii lor, prin originalitate, onestitate și curaj încă ne mai spun poveștile care contează. Autorilor care cred în forța cuvântului bine ales, ne arată cum stau de fapt lucrurile, ne scapă de prejudecăți și stereotipuri, ne emoționează, ne îmbogățesc, ne feresc de fake news. Lor le dedicăm, cu recunoștință, premiile, bursele și seminariile Superscrieri.

***

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The post Alexandra Tănăsescu, desemnată Editorul Anului la Gala Superscrieri appeared first on Cultura la dubă.

RO

Tatiana Țîbuleac was born in Moldova, she’s a Romanian, the wife of a British-Swiss citizen and she lives in Paris for 13 years. Through her books she has shown more than any passport could, that she is a complex writer, who can bring to live characters from different parts of Europe.

In 2019, her writing career, completely unplanned, took a surprising turn, even for herself. She won the European Union Literature Award for her novel The glass garden, her second book, and next to her name, they put “Romania.”

“I’m Romanian. I introduce myself as a Romanian writer. I’m from Moldova, but everywhere I went with my books, I introduced myself as a Romanian writer. I find it normal. I don’t believe in this separation. Writers from Moldova have always wanted to be a part of Romanian literature.”

And Tatiana Țîbuleac has managed that without even trying. She has never lived in Romania, but she writes in Romanian and is trying to teach the language to her children, born and raised in the French capital.

“My children speak 4 languages – English, French, Romanian and Russian. I like that they discovered reading in Romanian and I think that already is a good way.

I set my ambition not to get any other citizenship, I could have gotten a British or a Swiss citizenship, my husband being British-Swiss. But in the end, I’m still a Romanian in Paris.

Many Romanians try to cut all their ties. To me it wasn’t the case. Probably my desire to go to Romania from Moldova was so strong, that I say proudly that I’m a Romanian.

It’s my small love declaration, I think.”

Tatiana was born in 1978 in Chișinău. Both her parents worked in press, her father as a journalist, her mother as a corrector at a newspaper. And their daughter walked in their footsteps, even though her n’t father would have wanted a more secure path for her, such as medical school or law school.

“I used to love what my father was doing, but back then, journalism was harder to do that what I did. He used to tell me that I will freeze in the cold, that I will be sleeping in attics. In those days, you would sleep in someone’s attic, and do the story at the farm, the school, the kindergarten.

And I chose journalism, eventually. Those were some good years, I liked it a lot. The only issue I had was when I transferred to TV and I had to be a news anchor, I didn’t like that.”

She worked in written press for three years, then she joined Pro TV Chișinău, the first commercial and independent station in Moldova. There she was a reporter, an editor, but also a news anchor.

“I did the first stories of migrants from Moldova in Italy. I remember meeting people who had slept for a half of year tied up in trees, because they couldn’t sleep on the ground, so the police wouldn’t catch them.

There were touching moments for me and I think that is where I learned to listen to people.”

“I learned a lot from journalism and I have never regretted those years. I think that I would still be practicing it, if I hadn’t come to another country.”

After working in press, she collaborated with UNICEF and discovered people from different countries, who have broadened her horizons. She met her husband and moved with him to Paris.

“I’ve always felt like an outsider in Paris. It’s a difficult relationship with Paris and I don’t know why, because it’s a lovely city.

But there are places where you can’t or you won’t fit in. On the other hand, this is what made me feel good in Paris. I’ve never had an issue whether the French will see me as their own or not.”

“Today I’m here, tomorrow I won’t be, I take the best from today. Right now I fell very good in France.”

She didn’t know that her walks on the small Paris roads would open her path to literature.

“I had never felt the need to write literature. You can’t feel the need to write when you’re already writing all day long. My work day used to start at 6 a.m. and would end at 11 o’clock in the evening. All day long I would write or edit, I don’t see how I could have started to write a book at home, when I came home to sleep, or watch a movie, rest, do anything but write.

Writing began on this street.”

On Rue Montorgueil, right in the heart of Paris, the first arrondissement, her first writings that were different that her experience in press were being born.

It was in a vivid area, full of cafe’s and boutiques specific to Paris, a few steps from the out-of-the-box Centre Pompidou and Brâncuși Workshop.

“I stardet speaking to a florist at a flower shop here and she had a great story. And I thought of doing something with her story.

And I started writing some short things on Facebook. I wrote about 10 lines there and called it a modern-day fable. It was like child’s play.

And so many people read that thing, that I continued writing these modern-day fables. Then a website created a permanent column with “modern-day fables”, and somebody from that website said that we should put them in a book. And that is how I actually started writing.

That is when this shift occurred, from journalism to literature, although it was not literature yet. I called them fables because they had a moral in the end.

I wrote about a lot of people in this neighborhood. Things have changed now.”

The flower shop closed down, and Tatiana became an internationally appreciated author.

“With “Modern-day Fables” I started to get thousands of messages, more than I’m getting now, with two published books. People identified with the theme and would send me stories, they wanted to be in Modern-day Fables.

I felt somewhat like an impostor, because everyone would say to me “you’re such a kind, gentle, good woman”, and I’m neither kind, nor gentle, nor good. It was the wrong picture.

There was too much kindness around me and I couldn’t handle it. I felt like telling them that I’m not like that, stop writing to me, you’re pissing me off.

And I believe that that is exactly how “Summer”, my first book, came to be. Because “Summer” is exactly the opposite. I think I wanted to show that I am different, in fact. The writing in “Summer” represents me. I am “The Summer”. I am the woman in there. I am the boy, that is how I am.

“Summer” came to be after a summer I spent with my parents. They came to France, the children were small, and we showed them the country.

We went to the exact places that I’ve described in that book. And I, having a complicated relation ship with my father, I felt for the first time that I have somehow forgotten him, seeing him playing with my daughter. My father seemed a beautiful man, interesting, something I had never noticed, because we would always argue.

I had started writing these stories on my blog around that time and I got home and wrote a story that was the basis for the character of the mother in the book. It was a Jewish mother whom I had met at a hotel and she was dying. We spent a few days together, we chatted. We spent some time at the hotel, where she had came with her children, her head was shaved.

When I got home, I started writing her story. But I noticed that there wasn’t an ending to what I was writing, it wasn’t just a post or a story anymore.

I started writing every day, this masculine voice was in my head and I didn’t know what to do with it and I carried on. I wrote it in less than two months. The editor from Moldova Gheorghe Erizanu was visiting then and asked me if I’m writing anything.

And I said “I’m writing a thing, but it’s bizarre, I don’t know who might read it. Nothing llike this has ever been written in Moldova, a story where the child doesn’t love his mother, there’s a lot of hatred there.” And he told me to send it to him. I sent it on a Thursday and on Monday he told me that he was getting it ready for print.”

“The Summer When my Mother’s Eyes Were Green” received in 2018 “The Observatorul Cultural” award for prose and the FILIT award. She then became known throughout Europe after the first translation, in Spanish.

“I had a complicated relation ship with this book. I hated it. I thought that nobody wanted to see it. But we made our peace and now I somewhat miss a little kindness.

Everything is too cynical now. Everybody’s asking me about crisis, evil, death, depression. Now I’m on the other end of things.

In “Summer” I was Tatiana from Paris, in a way. In “Summer” I denied all that Moldova meant. In “Summer” I’m the cosmopolitan woman, living in Paris, connected to England, who knows galleries, paintings, because that is who I am.

I was often asked why I had chosen to write about two Polish and not two Romanians or Moldavians. I also asked myself those questions. And I think that’s how “The Garden” came to be. That’s where I had my revenge, I went back to Chișinău, in the Botanical, in my neighbourhood.”

The novel “The Glass Garden” confirmed and cemented Tatiana Țîbuleac’s success in Romania, as well as the rest of Europe and South America.

It was written, as was “Summer”, in Romanian, language being a character in it’s own, both in the book, and in the life of Tatiana from Chișinău.

“I think that “The Garden” had been in my head forever, it was inside me. With “The Garden” I had this dilemma, whether to write it in Russian or not. Because there were a lot of things coming in my head in Russian, it being the language of my childhood in a way, the language of the city and it was a book about the city, about Chișinău.

But I chose to write it in Romanian and I’m happy that I chose so, because it’s a story about the Romanian language, not the Russian language.

When I wrote this book, I felt that it was a moment of reconciliation between these two languages. Now I would have to re-read it, see how I position myself, because things have changed.

My father was more Rusophobic than I was. That was one of our reasons for arguing. He distanced himself completely from Russian language when we started using the Latin alphabet.

He felt Romanian and dreamt of the unification with Romania. After we started using the Latin alphabet, he didn’t touch Russian literature. He did what many are doing now, during the war.

In my case, it was difficult to separate myself from the Russian language, because I grew up speaking Russian, and he couldn’t understand why I didn’t have this burning hatred towards everything Russian. It sounds bizarre to argue because of language, but there were many cases, we weren’t the only family.”

Meanwhile, her father passed away, and Tatiana left Chișinău a long time ago.

Her family’s history and the region she was born in still follows her, because the war in Ukraine has profound emotional ramifications.

“Our name is Ukrainian, we had relatives in Ukraine. My mother lives in Chișinău. I never thought that I would ever see Russia killing children in Ukraine, given the historical bonds, but it is happening.

In the first month of the war, we were paralised.

For people in Moldova, the war feels different. People are hearing the loud explosions, they have children left for studying, they have vacation homes, they have friends staying with them in Chișinău, because they seek shelter.

To us, this war is much worse. It is the worst. And it is still not over. And it hurts me to see people thinking that it is over or that it’s better now.

I can understand going back to our lives, because you cannot constantly live with someone else’s misfortune, but last week Kiev was bombed again, and the events aren’t even the first ones on the news anymore.

People are vacationing, Europe is in vacation. But the war continues.

I fear tanks going into Chișinău, where my mother lives, but not only that. I fear that we are witnessing a war online and we’re not doing enough. I cannot understand how, in these days, such a war is permitted. Nobody is stopping it.”

When the war began, Tatiana took in her home in Paris some refugees from Ukraine and, for the first time, understood her family’s own past.

“It meant reconnecting to my grandparents past, who were deported, and, more than any trip to Siberia, these months I realized what it actually means to leave your home with a bag, a barefoot child and run. These stories started to take shape for me. My mother was born in a gulag, in Siberia.”

She hasn’t written in this period and she doesn’t believe that art should respond to current themes, but should be an intimate act, which you feel or not.

In fact, she does not necessarily plan on continuing her writing career, but expects things to go on in a natural way, such at it was until now.

“If I’ll write another book, it’s ok, if not, it’s still ok. I don’t want to be tied up by just writing. I want to believe that I can do other things as well.”

She does not live in the center of Paris anymore, but is living a quiet life on the outskirts of the city, where she is gardening and dedicates her time to her children.

“Home is where your family is, I believe. But I feel that I will change many places.”

She is part of an international community, more than a French one, and has a realistic perspective on the country in which she lives.

“Not all French people live like the wealthy in Paris. There are very poor regions in France.

This myth that everyone eats croissants for breakfast in France is not true.

There are families that make as much as middle class families in Romania.

I have not felt the French adversity towards immigrants, but it exists. This is a more open area, where you barely feel it, but the far-right has been on everyone’s lips during these elections. This scares me. I am an immigrant and am part of a community of immigrants.

Having this British side in the family, we saw what was happening with Brexit, when nobody thought that it will happen. When you talked to people, nobody was voting pro-Brexit, but eventually, Brexit happened.”

When she is not dedicating her time to her family, the Romanian writer travels a lot to promote her books. She closely follows Romanian contemporary literature, but says that “I’m not doing so well at the chapter of relation ships with other writers, it’s like a wall there.”

She would want for Romanians to appreciate more their fellow’s performances, and stop self-sabotaging.

She has a skeptical view of the world in which we live, through the prism of the terrible war, but manages to see glimpses of hope in common people.

“I’m not an optimistic person, rather the opposite. But I believe that optimism can be helped through some gestures of solidarity, a warm loaf of bread, a warm coat.”

“I don’t believe that we can live outside of community

I still see the kindness in people. I have seen some good people even in these times. I really don’t like it when someone’s good gestures are being doubted. As long as the gesture es made, for PR or otherwise, it’s a good thing.

I believe that people’s kindness comes out once in a while.”

***This story is part of the “France Week” series, a Cultura la Dubă project supported by BNP Paribas.

The post Tatiana Țîbuleac, writer: “The world thinks that if someone leaves, they must have a place to call home. In my mind it wasn’t like that.” appeared first on Cultura la dubă.