Preface - French-English Translation Although Constantin Roman casts himself as an observer or perhaps even as an anti-communist militant he remains above all an artist. His work, “From Dracula to Ceausescu, the un-sung voices of Romanian Women”, be it a narrative, a study, or a homage to the “Romanian Woman” reflects wonderful talent. At the outset, the inspiration for the book seems like a crazy idea – that of Matisse’s painting “Blouse Roumaine”, graduating onto Picasso’s paintings influenced by this recurring theme, in several different variations, whilst juxtaposing these artists against the sombre backdrop of the second world war, echoing the voice of Matisse in such an overwhelming fashion, and after, progressively projecting back in time towards the Mythical Woman – the overpowering presence of the Romanian Culture that brings us page by page to the tales of some amazing women, all the more surprising in the context of Romanian Communism and Post-Communism, such a marvellous feat, one which the author had accomplished well. The introductory pages hit the perfect pitch. They are sober, the author knowing how to lend the body, structure and lightness of the Romanian Blouse itself, folklore, beauty and colours that dominate: “a Romanian blouse, of ancient design, of a pale, very soft blue, a blouse embroidered with old ochre stitches, which must have belonged to a princess”. The “Cantique” of Matisse invokes a dream, the painter’s dream, whilst the author himself beguiles the readers in joining in a dance, through his amazing roll call of Romanian Women. His is an audacious choice in its simplicity, through which he provides us with the opportunity to meet and see, alphabetically, the Woman within Romania and the woman in exile. Moreover, the thematic index, further enables the reader, should he so wish, to play with rearranging the sequence of names, should a particular preference rest with performing artists or perhaps the performing political movers and shakers. The reader is therefore free to follow a more global path by cross-correlating the history of their life. Let the readers lose themselves in the labyrinth of names, starting with that of Gabriela Adamesteanu, the very much alive novelist and publisher of “Revista 22”, the intellectual weekly of liberal persuasion, or perhaps stay in the company of the celebrated folk singer Maria Tanase, or that of Elizabeth von Wied, the poet Queen who wrote under the nom de plume of Carmen Sylva and who was the spouse of Carol I. All these refreshing insights hold the reader under a powerful spell.However, the real delight that confronts the reader comes with the very knowledge, a rigorous and precise knowledge: each biography is complemented by carefully chosen quotations and also by extremely useful bibliographical references. Constantin Roman’s regard for thoroughness, in combination with his restrained style, leaves the reader with an open field. It is therefore left up to the reader as whether to smile at the thoughts of Mady Cancicov – “And the solitude: do you know what it means to forfeit one’s solitude?”, or rather to be moved by the International Communist militant Ana Pauker, or to decide whether to dip into the novels of Oana Orlea. Indeed it is the reader’s choice in eliciting a meeting with contemporary women like Marta Petreu, a very much accessible philosopher, who may be ready to start – and why not? a dialogue with the reader. Yet it is somewhat difficult to close the book with the passage of Sabina Wurmbrand, the missionary of the Underground Church, who knew well the political prisons. Constantin Roman invites us for a walk, during which he enjoins past and present alike, in a brisk coming and going of the narrative. It is a narrative that cannot suddenly end, but rather one which compels us to start all over again and revisit. It is a truly wonderful gift, a very happy surprise indeed of an inherently original book, which haunts us like the persistent music of those Romanian women’s voices. Prof. Catherine Durandin Institut National des langues et civilisations orientales, Paris 17 décembre 2002. .