Temporal: a propósito de José Emilio Pacheco

libjose_emilio_pacheco1210 Que el tiempo sea una presencia constante en la escritura de José Emilio Pacheco no lo limita ni lo aferra a la exploración eterna de una sola idea poética. Tiempo, en su obra, antes que concepto es un campo donde giran, se rozan y se integran el resto de sus temas, esos sí, incontables: memoria histórica, infancia, pasado, historia con y sin mayúscula, pertenencia, desarraigo, México (país, ciudad ó idea).

Su labor es escritura y  no  “obra poética y en prosa” porque no parece que Pacheco exista en dos caminos paralelos. Es posible, por ejemplo, hablar de un Poe poeta sin que nos nuble el narrador, o tratar al Lorca dramaturgo sin sentir la necesidad de que el Lorca de rimas nos explique al primero. Pero en Pacheco, la sensación de coherencia interna, de unidad inquebrantable en toda su obra hacen indisociable el verso de la narrativa: dos poemas, MalpaísAlta traición condensan muchas de las visiones sobre México necesarias para asimilar del todo La fiesta brava o La luna decapitada, en prosa.

De la misma forma, la lectura de versos como Aceleración de la historia o Extranjeros, arroja la luz necesaria para respirar entre el eco de lamentos en espiral que es Morirás Lejos.  Si un tercer ejemplo fuera necesario, basta poner de frente a Vecindades del centro con Las batallas en el desierto para que se abracen.

Es el tiempo, tanto su fluir como su ausencia, el tronco de la escritura de José Emilio Pacheco. Tal vez previniendo la facilidad con la que caería en la repetición temática o en el agotamiento, lo ha camuflado una y otra vez en formas a veces obvias, a veces insospechadas: la lluvia, la piedra, el río, la sal, letras, arena que se escurre, memorias de niñez, evocaciones de cualquier pasado, propio, ajeno, ambos. Es una pedantería  querer encontrarle un hilo negro a la obra inagotable de este hombre universal que jamás admitiría serlo. La gran risotada es saber que el valor de la obra de José Emilio Pacheco sea, precisamente, atemporal.

No aprovecho este renglón para hablar de este monstruo de sabiduría bonachona y reposada como reciente depositario físico del último Cervantes. Hay ya decenas de portales que lo han dicho todo en los últimos días. Lo que quiero es el recuerdo de Pacheco  que es de hueso y carne, no de papel. “Discúlpenme, me pasé de tiempo otra vez” nos dice a mi mamá y a mí al bajar del estrado de la FIL de Guadalajara en 2006, divertidos ante su preocupación sincera y ocurrente que parece ignorar que para el público sus ponencias son siempre cortas, insuficientes, no importa si duran 15 minutos o toda la tarde, si hay que llegar tres horas antes o esperar otras cinco. “Siempre me pasa”, dice, ajustándose los lentes, siempre reposando su mano ligera y paternal sobre el hombro o la espalda del que lo escucha.

Ninguna falsa modestia. José Emilio Pacheco se muestra siempre apenado ante la mera posibilidad de hacer esperar a alguien, de negar dos minutos de charla, de tener que saludar a distancia y no de mano, de perder la oportunidad de preguntar cómo están todos en casa, cómo está usted, de dónde viene, qué tal ve el clima, cómo le ha ido. Aún parece sorprenderse o sonrojarse cuando alguien se acerca a él llamándolo “maestro”, él, el que puede exponer ideas sobre novela decimonónica o sobre poesía del siglo XII con la misma levedad con la que acepta un café con tres de azúcar o comenta sobre lo pesado que era el tránsito en Viaducto hace un par de horas.

Así como lo cansan las entrevistas, José Emilio (justo así, sin apellidos, familiar) hace magia y la transmuta en conversación de sobremesa, transforma los interrogatorios en charla, las declaraciones en cotilleo. Y así, el reportero se retira del lugar con la curiosa seguridad de que él, que fue en busca del letrista sagrado, del inalcanzable poeta, acabó encontrándose al abuelo eterno de los mitos, al que el tiempo otorgó la fórmula innombrable en la que grandeza y humildad, leyenda y cotidiano, sean sinónimos.

RL/CO

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