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1950 prozator si eseist prose writer and essayist

Acte originale. Copii legalizate. Variatiuni pe o tema in contralumina, 1982; prezent in antologia Desant '83; Compunere cu paralele inegale, 1988, editia a doua, 1999, editie in limba franceza, 2001; Frumoasa fara corp, 1993; Cu garda deschisa, articole si eseuri, 1997; Introducere in teoria literaturii, 1997; In cautarea referintei, eseu; Experimentul literar romanesc postbelic (in colaborare cu Monica Spiridon si Ion Bogdan Lefter), 1998; Generatia '80 in proza scurta (in colaborare cu Viorel Marineasa), Editura Paralela 45, 1998; Competitia continua. Generatia '80 in texte teoretice (antologie), Editura Paralela 45; Reducerea la scara (publicistica), Editura Paralela 45, 1999

Original Documents. Authenticated Copies. Variations on a Theme in Counter-light, 1982; in the anthology Paratroops '83; A Composition with Unequal Parallels, 1988; The Bodiless Beauty, 1993; Guard Down, 1997; An Introduction to Literary Theory, 1998; In Search of a Reference, 1998; Experiment in Post-War Romanian Literature (with Monica Spiridon and Ion Bogdan Lefter), 1998; The '80s Generation in Short Stories, 1998; On a Lower Scale, articles, 1999; The Competition Continues. The '80s Generation in Literary Criticism, 1999;

Variatiuni pe o tema in contralumina se subintituleaza cartea de debut a unuia dintre cei mai talentati scriitori aparuti in anii ‘80 (Acte originale. Copii legalizate): o proza foarte construita, experimentand in limitele noilor jocuri metatextuale. Subtitlul explicita, scotand-o in prim plan, modalitatea narativa, asa cum arhitectura narativa evidentiaza in cladiri structurile, exprimand astfel tocmai ceea ce aria constructiei a cautat intotdeauna sa ascunda. (Marian Papahagi)

Variations on a Theme in Counter-light is the subtitle of a debut book by one of the most talented authors of the 80s (Original Documents. Notarized Copies): very elaborated prose, experimenting within the limits of the new meta-textual games. The subtitle explicated the narrative modality by highlighting it, just as narrative architecture would highlight the structures of buildings, thus expressing precisely what the art of construction has always sought to conceal. (Marian Papahagi)