Para leer: El necrófilo

Necrophile-es-CouvertureCuando se cae en la cuenta de que ya casi nada nos sorprende debido a la inmediatez y a la apertura que existen en este período de la historia humana, suscitadas en gran medida por el carácter explícito de los medios de comunicación, sobre todo (y todos) la Internet, resulta perturbador que aún existan libros susceptibles de calar en las entrañas de la sociedad moderna, de ingresar en sus inventarios de mitos y tabúes como lo hace El necrófilo, novela de la escritora francesa Gabrielle Wittkop  (1920-2002) en forma de diario de apenas un centenar de páginas.

Gabrielle Wittkop es una escritora  poco conocida en lengua castellana. Este relato en primera persona describe el desgarrador itinerario de un hombre poseído por el demonio de la carne fría, la carne pálida y angélicamente maldita que recién acaba de ser abandonada por el soplo de vida;  “una de las facetas del erotismo más oscuras, más delicadas y más difíciles de transmitir: la necrofilia”.

– “La clandestinidad exige unas murallas que protejan del aliento de la tierra y unas cortinas que detengan la mirada de los astros”: Gabrielle Wittkop.

La autora aborda la materia de esta obra luciferina, que bien pudo haberse escrito durante el primer Romanticismo, con guantes y bisturí: preparándose a dar saltos mortales, llena de finísimas incisiones la hoja para adentrarse, y adentrar al voyeur, en el espíritu cautivo de un hombre cuyo destino es un catálogo razonado, psicológico, sensible, de los motivos que posee para tales inclinaciones. El propio personaje alude a su condición perversa, en un sentido filológico, cuando confiesa que: “se habla del sexo en todas sus formas salvo en una. La necrofilia no es tolerada por los gobiernos ni aprobada por los jóvenes contestatarios. Amor necrófilo, el único que es puro, ya que hasta el amor intellectualis, esa gran rosa blanca, espera ser pagado a cambio. No hay contrapartida para el necrófilo enamorado, el don que hace de sí mismo no despierta ningún impulso”.

La necrofilia por su sola pronunciación en voz alta ha sido estigmatizadas a priori a lo largo de la historia humana; pero, como defendía Charles Baudelaire ante las acusaciones que el Estado francés hizo en contra de Las flores del mal, debemos decir que “Hay muchas morales… Está la moral del arte, que no es la misma que la moral de la gente”. En las palabras siempre esclarecedoras del poeta, se encuentra la clave para sondear el límite de lo que sería un crimen.

En El necrófilo, el anticuario que roba cadáveres por las noches, ya sean de jóvenes o viejos, prefiere el contacto de la carne inerme, muerte que revela su faz poco a poco en la podredumbre de los cuerpos que ama, la que queda de manifiesto cuando se pregunta: “¿Por qué me pusieron el nombre de Lucien, a mí, el lucífugo?”, o cuando indica en su actividad al dios: “Parece como si me protegiera Hermes, dios de los ladrones y guía de los muertos”.

Son innegables la atmósfera y el efecto que Wittkop consigue en esta exquisita obra literaria, pues su personaje ficticio parece tan verosímil que va encarnando ante los ojos del lector conforme éste se apropia de los detalles que conforman su placer, “placer peligroso, un juego prohibido, maldito”, reza una de las solapas del volumen. Y si alguien duda de la atención que se le puede conceder a un relato como éste, debe mencionarse que fue publicado en Francia en 1972 agotándose rápidamente, y que permaneció sin reeditarse hasta 1990, cuando la autora, que lo consideraba “uno de los textos más inquietantes de la literatura contemporánea”, volvió a lanzarlo. En español podemos hallar el libro gracias a la editorial Tusquets desde 1995, en su serie “La sonrisa vertical”. Esta novela demuestra que aún quedan resquicios de luz en el interior del hombre capaces de trastocar nuestro sentido de un universo lógico y ordenado, como se quisiese que fuera.

RL/CC

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