Maria (I), Nicholas Jordan ▲▲▲ ALTCULTURE MAGAZINE Nr.108, 8/2026 ▲▲▲ Noi mai credem încă în cultură! Abstract: In "Maria", published in ALTCULTURE Magazine (no. 108, 2026) as an excerpt from Nicholas Jordan's work ASHMAN, the narrative follows the tour group’s ascent into the picturesque yet austere landscapes of Bukovina, arriving at Vatra Dornei against a backdrop of mounting geopolitical tension. As rumors of civil unrest and historical uprisings filter in from the outside world via anxious transatlantic phone calls and foreign journalists, the narrator navigates eccentric interpersonal dynamics among the travelers—notably the mismatched, reluctant pairing of Moira and Geoffrey Johnston. Blending vivid travelogue with evocative reflections on sacred art and spiritual pilgrimage, the text captures the group's visit to the legendary painted monasteries of Moldovița. Amidst stunning Byzantine frescoes and discussions of medieval theology with local monastics, the narrator encounters Maria, an enigmatic and brilliant tour guide whose sharp intellect and intersecting paths with foreign reporters hint at deeper cultural and spiritual currents just beneath the surface of a changing Romania.
GLUME PROASTE, de Nicolaie Dincă ▲ ALTCULTURE MAGAZINE Nr.108, 08/2026 ▲
GLUME PROASTE by Nicolae Dincă ▲▲▲ ALTCULTURE MAGAZINE Nr.108, 8/2026 ▲▲▲ Noi mai credem încă în cultură! ABSTRACT Title: Glume proaste (Bad Jokes) Author: Nicolaie Dincă Source: ALTCULTURE MAGAZINE, No. 108, 08/2026 Synopsis and Themes This darkly comic, satirical rural short story blends elements of local folklore (specifically the myth of the moroi or vampire) with domestic farce and heavy drinking. Set in a village cemetery and the households nearby, the narrative explores marital infidelity, neighborhood gossip, and the absurd misunderstandings between a heavy-drinking husband, his unfaithful wife, and her lover. Key Ideas • The Cemetery Awakening: Ionel, heavily intoxicated, wakes up naked inside the tomb of his recently deceased, alcohol-preserved friend Gogu. Finding a pair of dark underwear and a white tank top under a nearby walnut tree, he puts them on and walks home. • The Secret Encounter: The clothes actually belong to Ionel's wife, Gigela, and her lover/cousin, Marcel, who had rushed to the cemetery to look for Ionel and ended up distracted by a romantic interlude under the moonlight, leaving their clothes behind. • The Supposed Vampire: Amid rumors that Gogu has risen as a moroi (vampire) taking revenge on his enemies, another local rival dies suddenly. Spurred by fear and local superstition, Ionel and a band of villagers break into Gogu's tomb to drive a wooden stake through his heart. • The Comedic Twist: Inside the crypt, Gogu is found wearing Ionel's missing clothes, holding a photograph of Gigela and Marcel. Just as Gogu opens his eyes and seems ready to reveal the truth, the villagers strike the stake, forever silencing the "vampire" and preserving the awkward domestic status quo.
moartea face cu mâna… nebuna, de Doria Șișu ▲ ALTCULTURE MAGAZINE Nr.108, 8/2026 ▲
moartea face cu mâna... nebuna, de Doria Șișu ▲ ALTCULTURE MAGAZINE Nr.108 8/2026 ▲ ABSTRACT Title: moartea face cu mâna... nebuna (death waves its hand... the crazy one) Author: Doria Șișu Source: ALTCULTURE MAGAZINE, No. 108, 8/2026 Synopsis and Themes This poem is a striking, fragmented, and highly meta-textual exploration of trauma, repressed memories, and the agonizing process of writing poetry itself. It masterfully blends brutal, surreal imagery with an intruding, cynical voice—acting either as an internal critic or an imagined editor—that constantly interrupts, mocks, and judges the poetic act. Key Ideas • Visceral Trauma and Memory: The poem opens with violent, surreal metaphors—a giant blade rolling through the streets and blood-stained hands that represent "forgotten and murdered memories." It later addresses the chilling normalization of trauma and assault, describing them with a jarring sense of detachment. • The Meta-Poetic Dialogue: What makes the piece unique is the continuous disruption by a second voice. This critical presence breaks the fourth wall, demanding "mystery" and "poetic breath," calling out "clichés," and pitying the author who is "thinking she makes poetry" while stealing words from her past. • Dissociation and Defense Mechanisms: The speaker exhibits profound emotional disorientation, questioning their own subconscious reactions ("I realized I laugh in my sleep / or is sleep laughing in me?"). • Isolation as a Conclusion: The final lines shift to a poignant, quiet resignation. The narrator retreats into darkness, building walls of stones around their knees in a futile, heartbreaking attempt to speak of love to inanimate objects.
De la iunie 1990 la România fără cărți, de Eugen Matzota ▲ ALTCULTURE MAGAZINE Nr.108, 08/2026 ▲
De la iunie 1990 la România fără cărți, de Eugen Matzota ▲ ALTCULTURE MAGAZINE Nr.108, 08/2026 ▲ Noi încă mai credem în cultură! ▲▲▲ ALTCULTURE MAGAZINE Nr.108, 8/2026 ▲▲▲ Noi mai credem încă în cultură! Editorial — by Eugene Matzota Abstract From June 1990 to a Bookless Romania: A society that trades libraries for screen-fed anger and packaged ignorance willingly condemns itself to short memory and voluntary servitude. Drawing a parallel to the social pathology of June 1990—shifting from physical violence in the streets to mass hysterical applause for the manipulation of primal instincts—this essay critiques the modern collective cowardice and rejection of reason. Abandoning books turns humanity into its own executioner, leaving those who embrace darkness with no right to complain when they are ruled by shadows.
Geometria luminii dincolo de ecran, de Eugen Matzota ▲ ALTCULTURE MAGAZINE Nr.107, 07/2026 ▲
Geometria luminii dincolo de ecran, de Eugen Matzota ▲ ALTCULTURE MAGAZINE Nr.107, 07/2026 ▲ Noi încă mai credem în cultură! The Geometry of Light Beyond the Screen Editorial — by Eugene Matzota Abstract: In the editorial of this issue, the author points out that the order of the world has never depended on the whims of the powerful or the scale of characterless technology, but rather on the right angle preserved by a man in silence. From the ticking of brass in 1900 to the cold silicon of our century, the "Great Sifting" continues unabated, while Altculture positions itself as a form of spiritual hygiene and a workshop of the ancient Architecture. Using the square and the compass as living instruments of measure, this editorial is a call to lucidity in an era dominated by noise and screens: an open construction site where the rough ashlar still awaits us all.
The Vanishing Aromanian Today, Eugene Matzota ▲ ALTCULTURE MAGAZINE Nr.107, 07/2026 ▲
The Vanishing Aromanian Today, Eugene Matzota ▲▲▲ ALTCULTURE MAGAZINE Nr.107, 7/2026 ▲▲▲ Noi mai credem încă în cultură! The Vanishing Aromanian Today — recently launched on Amazon! Abstract: Written for those brothers of mine who are close to me, but far from their identity, this book offers a comprehensive journey through the history, resilience, and modern challenges of a remarkable people without a state, yet never without an identity. Tracing the thread of Aromanian history from Antiquity to the present, the work explores the diverse etymology and background of their names through Theodor Capidan’s lens, contrasts simplistic stereotypes with nineteenth-century accounts of flourishing urban and commercial communities by travelers like William Martin Leake, Gustav Weigand, and Ami Boué, and confronts the silent, contemporary threat of globalized assimilation. It stands as a vital call to action for each new generation to preserve its language, traditions, and collective memory.
Drumuri la mănăstiri (II) – Fragment din ”Omul de cenușă” ▲ ALTCULTURE MAGAZINE Nr.107, 07/2026 ▲
Drumuri la mănăstiri (II) by Nicholas Jordan ▲▲▲ ALTCULTURE MAGAZINE Nr.107, 7/2026 ▲▲▲ Noi mai credem încă în cultură! Abstract: In "Drumuri la mănăstiri (II)", published in ALTCULTURE Magazine (no. 107, 2026) as an excerpt from "Omul de cenușă", author Nicholas Jordan chronicles a tour group's journey through the winding roads of the Prahova Valley, Brașov, Bran, and Sighișoara. Set against the stark backdrop of late-communist Romania, the narrative follows an eclectic mix of Western tourists obsessed with vampire myths and Count Dracula, led by an observant guide named Nic and a silent, enigmatic driver. Blending sharp sociological observation with atmospheric travelogue, the text explores the clash between romanticized literary expectations and the grim, melancholic realities of local daily life. From chaotic medieval banquets and damp lodgings to encounters with historical landmarks like the birthplace of Vlad Țepeș and the wooden staircase of Sighișoara, the narrative reflects on isolation, systemic oppression, and the peculiar ways foreign travelers seek out fantasy within a deeply constrained world.