{"id":2038,"date":"2025-04-19T19:14:16","date_gmt":"2025-04-19T19:14:16","guid":{"rendered":"https:\/\/juanbutten.com\/?p=2038"},"modified":"2025-04-19T19:14:27","modified_gmt":"2025-04-19T19:14:27","slug":"rereading-paradiso","status":"publish","type":"post","link":"https:\/\/juanbutten.com\/es\/rereading-paradiso\/","title":{"rendered":"Releer Paradiso"},"content":{"rendered":"<p><strong>por Juan Butten<\/strong><\/p>\n\n\n\n<p>Fue un s\u00e1bado de enero de 1998 cuando lo encontr\u00e9, apilado entre un libro deshojado de Marcalle Abreu y un manual de mecanograf\u00eda, en un puesto de la calle Arzobispo Nouel. El lomo estaba maltratado; las hojas, tostadas y amarillas, algunas rayadas y llenas de apuntes hechos con un lapicero azul ya casi borrado. Aun as\u00ed, se manten\u00eda firme: <em>Paradiso<\/em>, de <strong>Jos\u00e9 Lezama Lima<\/strong>, primera edici\u00f3n cubana de 1966, 617 p\u00e1ginas, colecci\u00f3n \u201cContempor\u00e1neos\u201d.<\/p>\n\n\n\n<p>No lo compr\u00e9 por intuici\u00f3n ni por la fama de su autor. Lo compr\u00e9 porque un amigo \u2014de esos que leen con intensidad y recomiendan con fervor\u2014 me hab\u00eda hablado de un cap\u00edtulo en particular: el ocho. Seg\u00fan \u00e9l, ese solo cap\u00edtulo justificaba el resto. \u201cNo vas a entender la literatura de otra manera despu\u00e9s de eso\u201d, me dijo, casi como una advertencia. En aquel momento pens\u00e9 que exageraba.<\/p>\n\n\n\n<p>No lo le\u00ed de inmediato. Lo dej\u00e9 en mi taller durante meses, mientras asist\u00eda al nacimiento de mi hijo, al desvelo, al silencio forzado. Fue entonces, en medio de la confusi\u00f3n hormonal de un hogar reci\u00e9n estrenado, que me sumerg\u00ed en ese universo. Tard\u00e9 dos meses en atravesarlo. Y sal\u00ed del otro lado cambiado.<\/p>\n\n\n\n<p>A\u00f1os despu\u00e9s, casi por error, decid\u00ed releerlo. Pero no fue esa versi\u00f3n, ya que el mismo amigo me lo pidi\u00f3 prestado y nunca me lo devolvi\u00f3, como tantos otros libros. Tuve que comprar otra edici\u00f3n en eBay: <em>C\u00e1tedra Letras Hisp\u00e1nicas<\/em>Madrid, 1993, edici\u00f3n de <strong>Elo\u00edsa Lezama Lima.<\/strong>.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p>No suelo releer. Prefiero el recuerdo, el eco de la primera lectura, la forma en que un libro se fija en la memoria como una vieja fotograf\u00eda. Porque la relectura, muchas veces, decepciona. Es como reencontrarse con una exnovia de la adolescencia: aquella que en su juventud brillaba con una belleza que el tiempo ha suavizado. Hay cosas que, si se las vuelve a ver, pierden el hechizo. Y uno prefiere no volver a mirarlas jam\u00e1s.<\/p>\n\n\n\n<p>Pero con <em>Paradiso<\/em>me equivoqu\u00e9.<\/p>\n\n\n\n<p>El cap\u00edtulo ocho es una trampa hermosa. All\u00ed, <strong>Jos\u00e9 Cem\u00ed<\/strong>el joven protagonista, vive su iniciaci\u00f3n er\u00f3tica, pero Lezama evita toda narraci\u00f3n directa. No hay escenas convencionales ni relato cronol\u00f3gico. Lo que hay es una <strong>liturgia barroca,<\/strong>una ceremonia de s\u00edmbolos, un viaje m\u00edstico a trav\u00e9s del deseo.<\/p>\n\n\n\n<p>El lenguaje no describe: <strong>invoca<\/strong>Cada oraci\u00f3n es un golpe de tambor en una ceremonia secreta. Aparece <strong>Fronesis,<\/strong> esa figura ambigua que conjuga belleza y sabidur\u00eda, como un gu\u00eda inici\u00e1tico. El cuerpo se vuelve texto sagrado. El erotismo, una v\u00eda de conocimiento.<\/p>\n\n\n\n<p>Lezama no narra una escena sexual. <strong>Construye una m\u00edstica.<\/strong>No se lee: se <strong>decifra.<\/strong> it.<\/p>\n\n\n\n<p>Mientras rele\u00eda, algo se encendi\u00f3 en mi cabeza. El mismo murmullo que sent\u00ed al leer a <strong>Proust<\/strong> por primera vez. El mismo v\u00e9rtigo que me provoc\u00f3 Joyce. Y comprend\u00ed que Lezama pertenece a esa familia extra\u00f1a y luminosa de escritores que no solo cuentan, sino que <strong>transforman el lenguaje en experiencia.<\/strong>.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p><strong>Proust<\/strong> convirti\u00f3 el tiempo en un tejido po\u00e9tico. <strong>Lezama<\/strong> lo transforma en espiral, donde mito y presente giran como si fueran la misma cosa. En lugar de magdalenas, Lezama ofrece palabras cargadas de mito, met\u00e1foras que explotan como frutas tropicales maduras.<\/p>\n\n\n\n<p><strong>Joyce<\/strong>por su parte, descompuso el lenguaje para acercarlo al pensamiento humano. Lezama hace lo mismo, pero a su manera: <strong>barroca, neocl\u00e1sica, caribe\u00f1a.<\/strong>Sus frases se despliegan como ramas de ceiba, llenas de floraciones imprevistas. Leerlo no es seguir una historia: es <strong>perderse en un laberinto para encontrarse en otro plano.<\/strong>.<\/p>\n\n\n\n<p>Lezama no escribi\u00f3 desde Par\u00eds ni desde Dubl\u00edn. Escribi\u00f3 desde <strong>La Habana.<\/strong>Desde una isla donde el barroco no era una escuela literaria, sino una forma de sobrevivir al exceso, al calor, al mestizaje, al rito.<\/p>\n\n\n\n<p>En <em>Paradiso<\/em>la historia familiar se cruza con la historia colonial, el catolicismo con el sincretismo, el erotismo con la metaf\u00edsica. No hay realismo m\u00e1gico: hay <strong>cosmogon\u00eda caribe\u00f1a.<\/strong>.<\/p>\n\n\n\n<p>Donde otros narraban, <strong>Lezama creaba mundos.<\/strong>.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p>Anoche, sin querer que terminara, acab\u00e9 esta relectura. <em>Paradiso<\/em>como gran cumbre de la literatura hispanoamericana, no envejece. No porque sea eterno, sino porque se <strong>reinventa con cada lectura.<\/strong>El lenguaje en Lezama no representa: <strong>transforma.<\/strong>Es cuerpo, es s\u00edmbolo, es tr\u00e1nsito.<\/p>\n\n\n\n<p>Como en <strong>Proust<\/strong>como en <strong>Joyce<\/strong>la novela no es historia: es <strong>viaje hacia lo esencial.<\/strong>.<\/p>\n\n\n\n<p>Y yo, que no releo casi nunca, hoy entiendo que esta vez no hab\u00eda regresado al pasado.<br><strong>Hab\u00eda nacido de nuevo.<\/strong><\/p>","protected":false},"excerpt":{"rendered":"<p>By Juan Butten It was a Saturday in January 1998 when I found it, stacked between a tattered book by 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