José Emilio Pacheco (1939-2014)

“Las cuatro habitaciones” (1914), Vilhelm Hammershoi


Durante cincuenta años que parecían la vida entera, José Emilio Pacheco nos enseñó a morir. La siguiente es una selección de versos de entre 1962 y 2009; en todos ellos, la desaparición física, la última exhalación, la memoria y el futuro marcado por la propia ausencia son motivo constante. Que sean pues sus palabras las que nos ayuden a entender su ausencia y el vacío que hoy, de súbito, se forma en el idioma.




Alrededor del alba

despiertan las campanas,

sonoro temporal que se difunde y vibra

en las últimas bóvedas

de la noche, en el aire

que la luz reconquista.


Vuelan como palomas los instantes

y otra vez

cae el silencio.


De Los elementos de la noche [1958-1962]




Stanley Park, Vancouver


Por aquellos senderos caminamos.

Los árboles

Se alzan allí desde hace miles de años.


que el tiempo erige a la eternidad vulnerable.


no volveremos nunca a contemplarlos.


De Irás y no volverás [1969-1972]




D.H. Lawrence y los poetas muertos


No desconfiemos de los muertos

que prosiguen viviendo en nuestra sangre.

No somos ni mejores ni distintos:

tan sólo nombres y escenarios cambian.


Y cada vez que inicias un poema

convocas a los muertos.

Ellos te miran escribir,

te ayudan.


De Irás y no volverás [1969-1972]




Otredad, otra edad


¿Qué pensaría de mí si entrara en este momento

y me encontrase en donde estoy, como soy,

aquel que fui a los veinte años?


De Siglo pasado (desenlace) [1999-2000]




Ojo de hormiga


Cuando vuelva el cometa no estaré aquí.

O mejor dicho: seguiré en esta tierra

pero ya convertido en ojo de hormiga.


De Siglo pasado (desenlace) [1999-2000]






Concisión de la lluvia, soberanía del agua al caer en los árboles. Cuando todo se ha vuelto un poco añil la lluvia obliga al amanecer a prolongar su grisura. Es grato mirar el mundo cubierto por un velo que afirma su continuidad, la perduración de una vida en la que ya no estaremos.


De La edad de las tinieblas [2009]



*Selección y nota introductoria de Sergio Huidobro


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