Los Relámpagos de Agosto, Ibargüengoitia para festejar el 2010

libibarguengoitiaSalve patria venerable a los de abajo y Pito Pérez, a águilas, serpientes, cartuchos, tropas viejas y sombras de caudillos, salve memoria sacrosanta las polvaredas heroicas de las balas legendarias que a mitad del campo de batalla parieron al revolucionario Partido Único, el Único Partido. El centenario del mítico balazo nacional le pertenece en buena parte a Jorge Ibarguengoitia, que nunca se habría atrevido a escribir ni una página “si no hubiera sido vilipendiado, vituperado y condenado al ostracismo, y menos a intitularlas Los relámpagos de agosto (título que le parece verdaderamente soez).”

Son estas las hondas memorias del Gral. José Guadalupe Arroyo, insigne militar que podría pasar por injustamente olvidado, de no ser porque no hay nada porque recordarlo. Si a algo debe su suerte, la poca buena y la mucha mala, es a un dominó caído de equívocos, malentendidos e infortunios que tienen, además, el poco tacto de suceder al tiempo que el país va saliendo de las brumas del conflicto y se reconstruye alrededor de su gran toro mítico: La Revolución, en mayúsculas, en grandote y en altar. El Partido se escribe con altas también, porque en él encarnan los ideales. A ranchero presidente, compadre secretario y el traidor al ataúd. Pobre Lupe Arroyo, sin saber jamás si está jugando de ranchero, de compadre o de traidor, cambiando todo el rato de enemigos con una facilidad que pasa por promiscua.

Es sabia la decisión del señor Ibarguengoitia de darle en préstamo la voz narrativa de sus Relámpagos al mismo Lupe Arroyo, que pasa a ocupar el trono del Yo en el recuento de los años inmediatamente posteriores a la Sta. Revolución y sus andanzas en medio del PRIR y el PIIPR (Cada uno asumido como más revolucionario que el otro). Dedicatoria falsa incluida, a su mujer.

El invisible novelista pasa al papel juguetón de transcriptor de memorias, de mero corrector de estilo que lo pone un poco a salvo de cualquier juicio o interpretación que se pudiera atribuir a él directamente.

Puede que por pura conveniencia al relato, la narración avanza en líneas rectas y sencillas, con capítulos breves construidos en torno a sucesos clave, llamativos y cercanos al suspense cómico y al inagotable formato “¿Qué pasará después?”. A veces insertos epistolares, de diarios, documentos, etc.

Pero la gran mina abierta por Los Relámpagos de Agosto es la sorpresiva vuelta de tortilla a la novela de la revolución, a Azuela, Campobello, Muñoz, Guzmán y hasta su Artemio Cruz moribundo y contemporáneo, que se ven asaltados por una carcajada cínica y desparpajada ante los ídolos de barro del museo intocable de los templos priístas.

Movida, ágil y ácida como és, Los Relámpagos abre puertas anchas para su adaptación a varios formatos radiofónicos, fílmicos y televisivos, sea por su estructura capitulada y fácilmente transcrita a guiones, sea por la fluidez cómica y negra con la que se encadenan los sucesos, personajes hábilmente definidos a trazo grande, cercanos a la caricatura, escenarios aún existentes e interés generado en las semanas próximas por el tema revolucionario, los festejos oficialistas y el revival histórico.

RL

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