El Príncipe de capa roja voló los pájaros

Mugre Rosa, de la premiada escritora uruguaya, Fernanda Trías, es una novela distópica que va presentando polaridades diferentes: ciudad portuaria y “adentro”, las ciudades del interior que prosperan con una productividad envidiable; confinados y rebeldes (nuevamente, las experiencias narradas en esta polaridad traen al lector la sensible y reciente sensación de los efectos de la pandemia del COVID 19); luces y sombras, sobre todo por los frecuentes cortes de electricidad.

Hay veces que no pienso en nada.

¿Cuándo?
Ahora.

Mentira: estás pensando que no pensás en nada.

Decime vos en qué pensás.

Pienso en pájaros.

Fernanda Trías, “Mugre rosa”, 2020.

Andrea Aquino

En la cronología de una semana azotada por el viento rojo, el sábado treinta de octubre pasado, la novela Mugre rosa de Fernanda Trías fue distinguida con el premio Batolomé Hidalgo, en la categoría Narrativa (2021). Eso ya constituía un reconocimiento, más a allá de lo económico, de entrada al canon local, regional, a lo que se suma el premio Sor Juana Inés de la Cruz de la Feria Internacional del Libro de Guadalajara (México), dos días después. Lo dicho constata y reafirma el fenómeno de tendencia al alza de las escritoras latinoamericanas, sobre todo cuentistas, que perezozamente fue denominado “segundo boom latinoamericano” por la prensa en el 2019 y, a pesar de ser rechazado por ellas mismas como etiqueta, como cinturón que asfixia, los títulos y copetes de artículos en los principales periódicos de España y la región, no dejan de identificarlo así: “El nuevo boom latinoamericano”, “El otro boom latinoamericano es femenino”. A las escritoras como Mariana Enríquez (Argentina), Samanta Schwelin (Argentina), Mónica Ojeda (Ecuador), Giovanna Rivero (Bolivia), Guadalupe Nettel (México), Agustina Bazterrrica (Argentina), Selva Almada (Argentina), entre otras, hace un par de años se le sumaba la uruguaya Fernanda Trías. Sí, hay supremacía numérica de escritoras argentinas. Estas mujeres que tienen entre treinta y cincuenta años, figuran en las mesas de escritores de las diferentes ferias internacionales del libro, tanto en Latinoamérica como en España y, además, sus traducciones han ampliado el espectro de lectores, comenzando por el mercado anglosajón.

¿Qué une a estas voces? ¿Qué es lo que hace que sus libros y sus figuras se hayan vuelto convocantes y, aún más, atractivas? No podemos negar que la cuarta ola feminista es, por una parte, responsable de visibilizar su escritura, pero no basta ni para explicar el fenómeno ni para ahondar en él. Es cierto que, a pesar de sus disparodades, en cuanto a registros y obsesiones, algo las une. Todas ellas narran el daño. Con referencia a lo dicho, la polisemia del fenómeno y los focos de atención son lo que amplían el campo de acción de esta nueva narrativa femenina latinoamericana, sea de influencia anglosajona, de voces criollas o autóctonas. Todas exhuman los restos, las ruinas del daño, de ayer y de hoy, indagan en lo siniestro, lo abyecto o en las diversas monstruosidades. Víctimas y victimarios, rituales oscuros de variada filiación religiosa, ecocidios, femicidios, en fin, un viento que arrasa y destruye. Sus narradores, por lo general, son testigos de la ficción que muestra la violencia ejercida en los otros.

Pues bien, este fin de octubre de 2021, la imagen neblinosa del rostro de Trías, con el pelo revuelto, mirando desafiante o no al obturador, comenzó a multiplicarse como hongos rosados en los prtales nacionales e internacionales, en los perfiles de escritores que mostraban o celebraban los reconocimientos. Coincidiendo con la 43° Feria Internacional del Libro de Montevideo (28 de octubre al 7 de noviembre), también se multiplicaron lo ejemplares sanguinolentos que se podían comprar en el stand de Penguin Randon House.

Mugre rosa es una novela que parte del ambiente enrarecido y las consecuencias en las personas: el fenómeno del Príncipe, el viento rojo y el nerviosismo colectivo. La narradora, una periodista que renuncia a su trabajo es una sensible cronista de los efectos de eso que llegó por el aire y por el agua. La ciudad porturaria (no es extraño tener imágenes de las cianobacterias que llegaron en enero de 2019 a las costas montevideanas y la masa verde electrizado avanzaba con pereza, pero sin pausa hacia el este) y su gente se ve obligada a adaptarse a las inclemencias de la peste. A pesar de la incetidumbre que maneja por la elección del punto de vista interno, la aguda observación de la periodista va pintando un friso post apocalíptico. Esta distopía teñida de rojo muestra la toxicidad de arreboles que si bien atraen al ojo, luego de los efectos del viento, espantan. Montevideo es presentada en clave distópica, de ello dan cuenta la elección de nombres levemente distorsionados. El fenómeno meteorológico trajo las algas tóxicas, una masa sanguinolenta que afectó peces, piel humana y pájaros. Estos últimos, huyeron de inmediato dejando un silencio ensordecedor.

El relato va presentando polaridades diferentes: ciudad portuaria y “adentro”, las ciudades del interior que prosperan con una productividad envidiable; confinados y rebeldes (nuevamente, las experiencias narradas en esta polaridad traen al lector la sensible y reciente sensación de los efectos de la pandemia del COVID 19); luces y sombras, sobre todo por los frecuentes cortes de electricidad. Dentro y fuera, ellos y nosotros, el nuevo estado de emergencia y la vida solaz, el antiguo hospital de Clínicas y el actual, los dóciles y los disidentes. En fin, la estructura general de la novela está planteada desde esa columna de confrontaciones. En la oscilación está la profundidad, porque la prosa no es ambiciosa, se destaca por ser llana. No hay un tejido de intertextualidades, un diálogo con otras obras, ahí no está la búsqueda. La protagonista es una más de las que resiste y su cabeza está focalizada en eso.

En cuanto al confinamiento, en particular, interesa cómo va perfilando ese mundo exterior que es mediado o manipulado por las imágenes del televisor. Los programas de debates se suceden proyectando la monótona luz azul, espectral, pero “segura” en comparación con la iridiscencia selectiva y venenosa que obliga a moverse en determinados horarios o días y protegidos con tapabocas o máscaras con filtros. La forma en que se narran los efectos del viento rojo nos posiciona como lectores frente a otro fenómeno latinoamericano: el de la nueva episteme crítica a la que refiere Gisela Heffes en su trabajo “Introducción. Para una ecocrítica latinoamericana” de 2018, revisión que no se agota en las referencias de producciones literarias, pero que tiene en ellas un campo fértil de estudio. Consideramos que esta novela de Trías se suma a ese constructo ficcional que no solo habilita, sino que exige ser leído desde la “ecocrítica”. Al respecto, nos parece ilustrativo el siguiente pasaje: “Retomando la importancia de las preocupaciones medioambientales, en cuanto herramienta de indagación crítica, en la intersección entre los límites de nociones específicas como especies y la consecuente necesidad de revisar las interrelaciones entre naturaleza y cultura, y lo animal y lo humano en todas sus representaciones culturales y estéticas” (Heffes,2018:31).

Otros aspectos que provocan interés en el texto son: el manejo conflictivo de los vínculos, donde las maternidades son presentadas como latencias que están entre el deber ser y las pulsiones, los deseos de las mujeres, por una parte. La pareja, como preocupación, por otra. Su madre vive sola, en ese barrio que parece estar resistiendo y que la neblina protege. Los Pozos es uno de los pocos espacios medianamente limpios de la ciudad. El vínculo tenso, de reconciliación recién estrenada abre el espacio de esa puja de la protagonista por no ser como su madre, de no parecerse siquiera. Los peligrosos viajes hasta la casa de su madre son un riesgo que le pesan tanto como las bolsas de comida que tiene que conseguir para que no se muera de hambre. El rieso pesa y pesan los recuerdos. ¿Culpas? ¿Altruismo posmoderno y líquido?

La ambigüedades, en cuanto a estos vínculos, hacen del monólogo de la protagonista un mecanismo de defensa contra lo que está allí afuera. Además, es un recurso narrativo para evocar los momentos del pasado, cuando el Príncipe todavía no había llegado a la ciudad con su capa que enrojece, reseca y despelleja. La pregunta que late en la primera mitad de la novela es si ese fenómeno es pasajero o llegó para quedarse, si es posible volver atrás y recuperar la vida como la conocían, o van a tener que adaptarse a esa “nueva normalidad”. Resulta familiar ¿no? Porque de esa circunstancia depende que sigan comiendo esa mugre rosa que es CARNEMÁS, el paté de carne en vasitos similares a los de yogurt, horrible, cuyo olor se impregna en la piel y que les permite sobrevivir, pero que también los acerca, una lata a la vez, a la muerte. ¡Pero es tan higiénico en comparación con todo lo que se pudre allí afuera! Hay que comer para vivir, no como Mauro que parece vivir para devorarlo todo, comestible o no. Mauro que habita circunstancialmente y devora sin medir consecuencias, y es un desafío constante para la protagonista que acepta cuidarlo a cambio del sueño de huir al norte. Mauro es el oponente de Max, aunque tenga vínculos diferentes con la mujer. La protagonista reflexiona acerca de la convivencia con uno y otro, y de esas comparaciones surge otro péndulo que la lleva y la trae en el tiempo. El niño y su síndrome son su presente, como lo es visitar a Max que está internado en el Clínicas; sus días en pareja, alegres, son parte del pasado. Ya no hay matrimonio, ya no hay vida compartida, esa que se terminó antes de que llegara la peste.

Para terminar esta invitación a leer la novela, queremos reparar en la alternancia de los capítulos y páginas con diálogos, reflexiones que parecen inconexas, pero que van configurando, a lo largo de la novela otro texto, como el fluir de la conciencia. Un diálogo como ideas sueltas que se da consigo mismo o es el deseo de conversar con un otro. El confinamiento, sobre todo en soledad, tiene esos efectos. El temor de los ojos rojos y de que se vuelen los pájaros de la cabeza. El Príncipe y su capa  trajeron el miedo y la posibilidad de la locura a todo el que sobreviva. Esos pensamientos están ahí, latiendo, defendiéndose del viento rojo que arrasa todo allá afuera.

Este artículo fue previamente publicado en el siguiente link: https://sujetos.uy/tag/mugre-rosa/

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