Realitate şi imagine în romanul ,,Zile de nisip”
Reality and Image in the Novel ,,Zile de nisip”( ”Sand Days”)

Summary/Abstract: Bujor Nedelcovici’s novel ,,Zile de nisip” (1970), directed by Dan Piţa (under the name Faleze de nisip), but criticized and banned as film by Nicolae Ceauşescu, is a detective story which becomes novel of analysis, parable or even novel of manners. The novel proposes and develops the theme of moral aggression, the innocent guilty theme, the theme of individual’s loneliness in his search for power, and also the theme of a novel within a novel. Regarding the last, one of the characters of the novel ,,Zile de nisip” Ștefan Albini, writer and photographer in search of subject and characters for the ,,great book” takes part in all events narrated: theft, possible murder, prosecution, investigation and murder again. He began to write his novel, but experienced it before writing it entirely. Ștefan Albini is a neutral witness character with a very important role both in the structure of the novel and the destinies of other characters. The transfiguration of reality, of transforming it into an image, a literary work, is revealed in the novel, which has a very interesting narrative structure. The ,,Second Book” of Bujor Nedelcovici’s three books, is the beginning of Stefan Albini’s „future novel”. The „Second book” narrates the same events in the first ,,book", but from a different perspective, the Kid, the young man accused of theft and crime by doctor Theodor Hristea. Hereby, ,,Zile de nisip” becomes a double novel: it contains the story itself and the story of all stories or reality and image. Eventually, both deeply raise the problem of power as a form of selfishness and conservation. Stefan Albini also inserts the literature-reality relationship in the novel, as well as the writer-writing-destiny or author-character relationship. Starting from these premises, the present paper aims to track and analyze the relationship between reality and image, as it appears in ,,Zile de nisip”. The reality is that of the book in which Stefan Albini appears as a character, whereas the image is related to Stefan Albini’s designed novel.

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