Agorafobia [Agoraphobia]
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Narrated by:
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Francisco Alemán de las Casas
About this listen
La máxima del poeta chileno Nicanor Parra que afirma “Poesía es todo lo que se mueve y el resto es prosa,” parece definir con gracia a Francisco Alemán de las Casas, escritor cubano y creador del poemario Agorafobia, que he tenido el gusto de presentar en el marco del festival VISTA de literatura independiente.
De las Casas, cual pequeño Dios, como definiera Huidobro a los poetas, nos lega estos versos brutales e intimistas, reveladores de una cotidianidad que es atisbada desde el temor y el dolor de la nostalgia. Es su propio panóptico de Bentham, desde donde escudriña cada rincón de su propia alma, de su propio ser.
La autenticidad, sin poses, sin dobleces, honesta sobre todas las cosas (como debe de ser la verdadera poesía), de esta obra sorprendente y vital, revela a un poeta que, ceño en alto y mirada al infinito, se mantiene de pie ante las tormentas de Dios, al decir de Holderlin.
“Te coseré las pestañas con alambre de cobre al rojo vivo”, grita el poeta desgarradoramente, y su discurso es auténtico, vivaz, brota desde un alma torturada. De las Casas, sin dudas, ha descubierto el secreto de constituirse en ser desde la mismísima palabra. Y comienza a construir, como predijera Heidegger en su descreimiento de la poesía moderna, su habitación en la tierra.
“Un día, por decreto de la ciencia me nombrará dinosaurio”, dice el poeta. Inquietud biológica que se traduce en carne. Un poemario, en fin, de profundas inquietudes antropológicas. Y es que De las Casas es un juglar de la fisiología y los tormentos. Quien busque sosiego en esta obra, perderá el tiempo. Porque Agorafobia es el Frankenstein de Mary Shelley, construido a retazos en la geografía asesina de Santiago, entre el smog y las montañas de los Andes, escarbando más allá del corazón de quien escribe.
Francisco Alemán de las Casas posee una voz propia, lo cual ya es mucho en este universo saturado de poetas y pseudo poetas. Ha logrado no aburrir, ha logrado dotar a su escritura de una lírica reconocible, sin concesiones y sin poses. Su quehacer nace desde la honestidad.
Y es que Agorafobia no se trata de engranar palabra tras palabra, frase tras frase, por el mero hecho de que la música trascienda. De las Casas evita el metalenguaje tan común de la poesía pretenciosa y fatua que se cocina desde antaño y se concentra en regalar un trozo de su alma. La capacidad exponencial de Francisco es notable. “El agua, sabia como es, se traga la miseria de los hombres y escupe cada tanto sus huesos carcomidos para que la gente pobre fabrique con ellos peinetas y botones”.
Desde la tristísima “La Puta de San Antonio”, pasando por la serie de Fractales y desembocando en esos curiosísimos Clonazepan, este poemario de Francisco, no el Papa sino el poeta, es un canto a la vida desde las sombras, desde la cuasi locura que cargamos, muchas veces sin saberlo, la mayoría de los hombres. Solo que en este caso el poeta, ducho en reconocerse y explorarse, lo hace llegar de la manera más sabia que se pueda sospechar.Y es notable en la poesía de Alemán ese afán por el fin y lo incorrupto, por el estallido final que limpie lo vivido, por el renacer de las almas y los tiempos. Es un ejercicio de revival perpetuo, de purificación y recomienzo.
Alemán de las Casas siempre deja una ventana a la esperanza, a la lucha diaria, al devenir de lo sacrílego o de la unción, aunque sea imposible hablar de positivismo en estos versos tristes y locuaces. Es la antropología brutal de la que hablaba. (Rafael Piñeiro López)
©2015 Francisco Alemán de las Casas (P)2023 Francisco Alemán de las CasasRelated to this topic
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