Bolaño viajero

Ilustración por Víctor Abarca

A veces sueño que Mario Santiago

Viene a buscarme con su moto negra.

Y dejamos atrás la ciudad y a medida

Que las luces van desapareciendo

Mario Santiago me dice que se trata

De una moto robada…

Roberto Bolaño / “El burro”

 

GONZALO TRINIDAD VALTIERRA |

I

Para Bolaño sería irrisorio, y hasta estúpido, enterarse de nuestras reflexiones sobre su poesía o su prosa. “Siempre me ha costado reflexionar sobre mi poesía o sobre el oficio de poeta. Las pocas veces que lo intenté, al leerme, me sentí como un tipo ridículo que mete la pata hasta el cogote, nunca dije lo que de verdad quería decir”, en sus propias palabras. Por suerte ya está muerto y podemos hacerlo a gusto, pero con cuidado de no buscar paja donde hay heno.

II

A diez años de distancia su nombre se ha convertido en un amuleto de la lengua española. Tanto así, que está por inundar las publicaciones de revistas y periódicos culturales. Y sin un poco de suerte, de los que no lo son pero se ufanan de serlo. A todo esto. ¿Quién lee a Bolaño? ¿Quién conoce la entraña del narrador? ¿Quién al poeta? ¿Quién al híbrido poeta-narrador-poeta? ¿Quién ha viajado con él en su maleta, en el metro, a algún lugar distante para dejarse llevar por las palabras que preñan el papel?

III

Que la literatura es un viaje, y que el viaje es un tema recurrente en la literatura, de eso no hay duda. Acontece entonces que hay personajes directamente relacionados con los viajes, y autores de la misma condición. Como Bolaño. Bolaño viajero. Él mismo dijo alguna vez que “el viaje de la literatura, como el de Ulises, no tiene retorno”. El propio Bolaño fue como sus personajes, aparecía en lugares inesperados, o inverosímiles, en compañía de personajes variopintos como el legendario Mario Santiago Papasquiaro. Bolaño fue vagabundo, exiliado —en el sentido serio y cruel—, trashumante y prestidigitador. Sin duda el viaje, en términos de desaparición y reaparición fastuosa en un lugar y otro, fue alimento de sus letras.

IV

Dada su condición de viandante fue disolviéndose la idea de patria para él. No había un lugar al que perteneciera del todo. La tierra dejó de ser el ring de las intrigas políticas y se convirtió en el escenario de la imaginación, del imaginante que lo abarca todo. “Muchas pueden ser las patrias, se me ocurre ahora, pero uno solo el pasaporte, y ese pasaporte evidentemente es la calidad de la literatura. […] Saber meter la cabeza en lo oscuro, saber saltar al vacío, saber que la literatura es básicamente un oficio peligroso”, en palabras de Bolaño.

V

No existen patrias ni quimeras por el estilo. No deberían existir. Pero las hay; esta idea se aferra como la hierba ponzoñosa en los muros de las personas. Por suerte hay quienes derriban esos muros e incineran todo rastro de hierba y patria y quimera. “Algunos instantes, algunas calles, algunos rostros o escenas o libros que están dentro de mí y que algún día olvidaré, que es lo mejor que uno puede hacer con la patria”. La única patria para Bolaño fue el olvido. Pero a él no lo olvidamos.

VI

Pero vivir sin patria. Andar de exilio en exilio como de verso en verso es peligroso. Hay riesgos que un escritor nómada debe correr. Y llegado el momento, corroerlos para buscarse nuevos peligros. Lo importante es llegar a los lugares profundos y ver la boca de los pozos en que uno se ha metido, como observatorios del drama humano. Esto puede alborotar a los fantasmas que habitan los pozos más profundos. Quizá por eso Bolaño no volvió a México. O por un sentido del humor que no entendemos aún pero que está urdido en sus novelas y cuentos.

VII

Los detectives. ¿Qué decir sobre ellos? Son buscadores, también viajeros como Bolaño. Como él, tienen que hurgar en los abismos de la inmunda condición humana. Escarbar en la locura. Y reírse de todo so pena de volverse locos en caso de tomarse las cosas con mucha seriedad.

Y luego vi al detective

Volver al lugar del crimen

Solo y tranquilo

Como en las peores pesadillas

Lo vi sentarse en el suelo y fumar

En un dormitorio con sangre seca

Mientras las agujas del reloj

Viajaban encogidas por la noche

Interminable

Bolaño, como haría un detective de esos con los que sueña, vuelve sobre los pasos de las palabras, de los símbolos, y los multiplica interminablemente. En sus poemas o en sus narraciones. Siempre anda buscando al mismo asesino, la misma imagen, el mismo crimen. Siempre fue un hombre radical, y eso, la radicalidad, la asoció con “un estado nómada que se convierte en espíritu”. Un estado de búsqueda de la poesía dentro de la narrativa, o viceversa, quizá un intento desesperado por reunirlas, coser las rasgaduras y conservarlas así, puras y primigenias.

VIII

Al diablo la realidad. Al diablo la ficción. Todo es lo mismo. Todo terminará en un gran libro y al final no sabremos si Marco Aurelio fue el invento de algún poeta o un hombre de carne y hueso. Bolaño mezclaba, era un juego por supuesto, algo muy serio, la realidad con la ficción. No había límites que diferenciaran una de otra. ¿Por qué violentar las cosas con límites? No hay necesidad de tanto desprecio por la creatividad. Una mirada tan rica como la del chileno no podía conformarse con diferenciar vulgarmente la cal de la sal.

IX

Hace cinco años se habló mucho y se escribió mucho de la ausencia de Bolaño. Se cumplen diez en esta ocasión. Pero no hablemos de ausencias frente al cadáver de un escritor de su talla. Hablemos de su presencia, de Bolaño a la distancia, de sus obras, de sus personajes, de su proyecto narrativo, de sus logros y también de sus faltas. Si algo he disfrutado de Bolaño han sido sus respuestas en las muchas entrevistas que le hicieron. Nada de pedantería. Siempre con un sentido del humor envidiable, a pesar de haber sufrido un destino muy latinoamericano. Siempre parecía un juego para él, tuteando a todos y pidiendo que lo tutearan. En ocasión de una entrevista que pensaba hacerle a Onetti, recordó que lo primero que hizo fue tutear al escritor. No hubo entrevista pero esa tarde comió y fue al cine.

X

“La literatura, al contrario que la muerte, vive en la intemperie, en la desprotección, lejos de los gobiernos y de las leyes, salvo la ley de la literatura que sólo los mejores entre los mejores son capaces de romper. Y entonces ya no existe la literatura, sino el ejemplo.”

Roberto Bolaño.

| RMM | GT | @Seliztli |

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