Saturday, June 24, 2006

Aprofundar ou Acumular

Alguns autores, como Julián Rios ou Valère Novarina, no desenvolvimento da minúcia, do detalhe, não aprofundam, acumulam expandindo, como se fosse essa a única intenção, as descrições que fazem.
Outros, como Lautréamont, para citar um clássico, Michaux ou Herberto Helder, contemporâneos, aprofundam o sentido do texto a cada palavra que lhe acrescentam.
Na prosa podíamos citar V.Woolf : o seu discurso é o da intensificação, ainda que pelo detalhe, tal como os poetas que referi acima. Continuando na literatura feminina não se pode esquecer o percurso pioneiro de uma Clarisse Lispector, que li ainda muito jovem, como li Agustina Bessa Luís, durante as "sestas" a que o calor de Tavira nos obrigava.Não havia o furor do bronzeado da praia, e assim se adquiria o hábito da leitura tranquila até se poder sair de novo, mais à noite.No caso de Portugal, já com vozes de contemporânea inovação, impõe-se falar de Maria Velho da Costa, e da obra-prima que CASAS PARDAS continuam a ser.
Os autores que acumulam, sendo a sua prosa ou poesia feita de substância elaborada, podem tornar-se mais cansativos pelo esforço que exigem de recordar por onde começaram.
Os que aprofundam despem-se de tudo o que não serve o impulso primeiro, a energia que os lançou no abismo do discurso.
É certo que com Wittgenstein aprendemos que só se deve falar do que se conhece bem, variante do propósito cartesiano que Boileau resumiu dizendo "ce que l'on conçoit bien s'ennonce clairement" (Arte Poética).
Já agora um pouco de Wittgenstein:
"Wovon man nicht sprechen kann darueber muss mann schweigen"(Tractatus...).
Ao que Novarina, desafiador ilustre respondeu, com toda a sua obra: "ce dont on ne peut parler c'est cela qu'il faut dire".
Pois bem, sempre houve e haverá muitas maneiras de dizer, o que se pode e o que não se pode, por qualquer razão extrínseca ou intrínsica ao criador.

E chegamos à questão do estilo, ineludível.Por mim fico com Herberto Helder, na APRESENTAÇÃO DO ROSTO:
...
Uma noite começo a escrever.
Tenho uma memória: nada foi esquecido.
Vem adequado agora a um vivo sentido de expressão.
...
As pessoas perdem o nome,os acontecimentos libertam-se do seu movimento centrífugo: fica um núcleo cerrado de significações.
..Depois: um ritmo, uma libertação.
Há dentro da gaveta uma rima de folhas escritas de ambos os lados.
Escrevi-as para os sombrios tempos do esgotamento.
Eu sou- e ali está a minha prova.
(1968 )

Quem não entende a força oculta deste movimento, desta energia cuja substância é a própria alma, a própria carne do poeta, não entenderá nunca o sofrimento e a alegria,que pode ser desbragada, da escrita.

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