“En el clóset”, perfiles de la sexualidad adversa

Enelcloset_LoaezaClóset. Anglicismo. Sinónimo de armario y ropero. Mueble empotrado en donde se guarda y se esconde. Ropa, zapatos, identidades. En su libro En el Clóset, de reciente aparición, Guadalupe Loaeza se sirve de la popular frase dedicada a definir esa tenue línea entre aceptar o no tus preferencias sexuales para presentarnos varias decenas de casos de personalidades notables en el ámbito artístico cultural del último siglo. Carlos Monsiváis entre ellas.

El cronista de México no veía el caso en hacer alarde. Se conocía pero no tenía por qué demostrárselo a nadie. Es recordada su retunda negativa a contestar con amplitud aquella morbosa pregunta. Para él la condición erótico-afectiva humana era privada y tener que definirla le parecía discriminatorio.

No así, dedicó buena parte de su obra a escudriñar la historia de la diversidad sexual y persiguió con voz y tinta los crímenes de odio. El volumen póstumo Que se abra esa puerta: Crónicas y ensayos sobre la diversidad sexual, publicado por los sellos Paidós y Debate Feminista el año pasado, es claro ejemplo de un Monsiváis sostenido en los ideales de Salvador Novo, quizás una de sus máximas influencias.

Así, el título del volumen, En el clóset, es otro alarde de metáfora popular de atrevido enunciado que sirve de pretexto para hablar de grandes personalidades quienes sufrieron su condición homosexual, nos dice Guadalupe Loaeza. Es por ello que la escritora decidió dedicar el compendio a la memoria de su gran amigo al cumplirse ya el primer aniversario de su partida.

En el volumen, presentado en el Museo del Estanquillo la noche de ayer miércoles último de julio, desfilan en brevísimos textos, reseñas biográficas relámpago sobre Oscar Wilde, André Guide, Marcel Proust, Federico García Lorca, Andy Warhol, Dirk Bogart, Oscar Bernstein, Salvador Novo, Sara García, Gabriela Mistral, Elton John, Jody Foster y el propio Monsiváis, entre muchos otros.

A Loaeza le acompañaron Pável Granados y Marina Castañeda, esta última responsable del texto prólogo al volumen cuya portada luce un diseño evocativo al trabajo de Andy Warhol y en donde, sobre un fondo arcoíris, propio de la cromatografía gay, la palabra “clóset” se dibuja con la llave de un cerrojo porque, como en la caja de Schrödinger, es ahí donde habita la incertidumbre.

Marina Castañeda rechazó encontrar intención morbosa en los textos que Loaeza fuera publicando el año anterior en las páginas del diario Reforma y que ahora conforman el presente título. La escritora “no nos da chismes de sábanas, sino historias de amor”, apuntó Castañeda: perfiles doloridos de sexualidad adversa que nacieron y crecieron, casi todos, antes de la primera mitad del siglo XX, es decir, en la era premoderna de la homosexualidad.

Pável Granados, por su parte, ofreció una larga charla sobre los implicados en el volumen, en donde Loaeza “presenta casi cincuenta personajes, cada relato sumamente ágil: en menos de cuatro páginas se presenta una existencia, una problemática, una anécdota, un personaje.”



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