sábado, 7 de junio de 2008

PROYECTO RESCATE



Aunque pueda parecer a primera vista una tomadura de pelo, una mera ociosidad de un escritor en una mala racha o una idea para un cuento que se alargó a unas doscientas páginas, Firmin, desgraciadamente es algo más que todo eso_ y quizás eso también_. Pero si a los más exigentes no les resulta original una historia que trate de una rata que come libros les amedrentará saber que la escribe un doctor en filosofía por la Universidad de Yale en la que además ha sido profesor_ al menos como argumento de autoridad_. Sin embargo, no necesita muchos defensores la hilarante historia de este “ratón de biblioteca” que deja de ser estereotipo de fábula infantil para convertirse en la metáfora desencantada de la condición humana. En otras palabras, Firmin se recrea apuntando al lugar donde apuntan las grandes obras de la historia. Puede parecer un juicio desmesurado para un opúsculo de su magnitud, pero es coherente que este nimio y zarrapastroso roedor a fuerza de ojear esos hitos universales de la Literatura _ y paraliteratura_ se impregne del sentir que se vuelca en ellos, el legado de la humanidad. De aquí surge la primera ensoñación quijotesca. Esta pequeña rata imbuida ya en la lectura despreciará el libro como objeto comestible para “devorarlo” a la manera que el ser humano frecuenta hacerlo. Ello le irá convirtiendo en un pequeño ser que asume una herencia que no le pertenece pero que llegará a considerar propia. El principio de la tragedia de Firmin será el desarraigo de su harapienta, “infestada” y desconsiderada familia formada por una gran rata beoda llamada Flo que cumple el papel de madre y su progenie, supervivientes de la ley del más fuerte. Firmin dejará de ser el débil que no supera las leyes de la cruel naturaleza para ahondar en el espíritu del ser humano a través de su producción cultural. La sensibilidad de Firmin se irá fraguando no sólo con la lectura sino con la asidua visita a un cine de sesión continua.

La estructura tópica de la fábula da paso a una configuración más propia de una novela de aprendizaje en la que la rata racionalizará sus instintos, sus emociones de la misma manera que interpretará el mundo, a través de ese afán designador tan propio del ser humano. Firmin realizará el retrato de sí mismo con los instrumentos que aprende en los libros y el cine e intentará con ellos describir esa realidad externa, ese mundo de los hombres. Esta perspectiva no me parece la más fundamental de la obra. No es la crítica social de la superficialidad del hombre lo que prima en su desvelamiento a través de los ojos de Firmin. Parece en todo caso la recreación de la soledad y la marginación del ser, la intensidad con la que puede alcanzarse ese bienestar que llamamos felicidad casi sin más y que siempre queda rodeado de desengaño, tristeza, dolor, un velo tenue como el que deposita el silencio tras el fatal tropiezo de Jerry por las escaleras.

Tan cercana y a veces tan obvia la introspección en la psicología de Firmin nos devuelve el reflejo fugazmente con una amplia desazón, una risa que como por arte de magia Savage sabe congelar en una mueca patética. Es desgarrador soñar con Firmin en su encuentro erótico con Ginger Rogers, cantar con él las melodías de Greshswin o Porter, y pasear por el paisaje tan simbólico como desolador de Cornhill. Nos trasmite una emoción contenida similar a la que sentiría Firmin con sus lecturas. La prolijidad de este afán lector hace verosímil la multitud de ingredientes literarios a los que la narración rinde tributo. A los ya citados de la fabulística y la bildungsroman, podría unirse el género utópico o en la versión contemporánea distópico. La referencia a las obras de ciencia-ficción escritas por Jerry tiene ese sabor irónico y resoluto de la buena técnica paródica. Ello se vertebra brillantemente con el mundo apocalíptico de derribos, hogueras y plagas de ratones que huyen depavoridas, en que Firmin termina su periplo vital, tan contradictorio y aciago.

Habría que rastrear más detenidamente la profundidad del relato de Firmin que con naturalidad desprende en ocasiones un lenguaje sentencioso y a la vez espontáneo. La verborrea de una rata amorfa, cuya gran testa es síntoma de su inteligencia, y desnutrida, que hace de su corazón un fruto amargo y frágil, es discurso suficiente para sobrecogernos y hacernos ver que nuestro puesto señero en el escalafón evolutivo no nos asegura esa “segunda oportunidad” vetada a la saga Buendía. La declamación melodramática del Finnegans wake con la que se clausuran ambas obras puede parecer baladí_ aunque ya de por sí, incluso fuera de contexto, da rienda suelta a una elocuente trascendencia_ pero no pretenciosa cuando seguimos aún pensando en cómo observa la vida con ese peculiar síndrome de humanidad esta rata: “cada día que transcurre estamos más débiles y más locos”. Sin duda se hace apremiante la necesidad de rescatar a Firmin de lo que ni siquiera el ser humano puede escapar.

13 comentarios:

A. dijo...

Me gusta vuestro blog. De Firmin, simplemente decir que me parece muy muy bueno (sobre todo la primera parte).
Un saludo de otro blogger con gustos literarios y suerte con el colectivo iletrado.

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