{"id":4734,"date":"2014-01-31T10:03:41","date_gmt":"2014-01-31T10:03:41","guid":{"rendered":"https:\/\/www.revistarambla.com\/julio-ramon-ribeyro-la-voz-de-la-palabra-imposible\/"},"modified":"2014-01-31T10:03:41","modified_gmt":"2014-01-31T10:03:41","slug":"julio-ramon-ribeyro-la-voz-de-la-palabra-imposible","status":"publish","type":"post","link":"https:\/\/www.revistarambla.com\/en\/julio-ramon-ribeyro-la-voz-de-la-palabra-imposible\/","title":{"rendered":"JULIO RAM\u00d3N RIBEYRO: LA VOZ DE LA PALABRA IMPOSIBLE."},"content":{"rendered":"

\t\"alt\"En caso<\/span> de fracasar<\/span> advert\u00eda<\/span> que<\/span> vivir\u00eda<\/span> como<\/span> personaje<\/span> en los libros<\/span> de Alfredo Bryce Echenique<\/span>; su<\/span> mejor<\/span> amigo. Al ritmo<\/span> de los boleros de Agust\u00edn<\/span> Lara constru\u00eda<\/span> meticulosamente<\/span> su<\/span> literatura<\/span><\/p>\n

\t\u00a0<\/p>\n

<\/p>\n

\tEn caso<\/span> de fracasar<\/span> advert\u00eda<\/span> que<\/span> vivir\u00eda<\/span> como<\/span> personaje<\/span> en los libros<\/span> de Alfredo Bryce Echenique<\/span>; su<\/span> mejor<\/span> amigo. Al ritmo<\/span> de los boleros de Agust\u00edn<\/span> Lara constru\u00eda<\/span> meticulosamente<\/span> su<\/span> literatura<\/span> y, si<\/span> se daba<\/span> el caso<\/span>, celebraba<\/span> una<\/span> frase<\/span> memorable con la Traviatta<\/span> de Verdi; depend\u00eda<\/span> del soberbio<\/span> grado<\/span> adherido<\/span> a su<\/span> pulso<\/span> o del des\u00e1nimo<\/span> que<\/span> a veces<\/span> atropella<\/span> la voluntad<\/span>.<\/strong><\/p>\n

\t\u00a0<\/p>\n

\t\"alt\"<\/span><\/p>\n

\t\u00a0<\/p>\n

\tRodeado<\/span> de libros<\/span> maquinaba<\/span> la pr\u00f3xima<\/span> ejecuci\u00f3n<\/span>, dej\u00e1ndose<\/span> la piel<\/span> grabada<\/span> en el cemento<\/span> fresco de esas<\/span> p\u00e1ginas<\/span> concebidas<\/span> con el sabor<\/span> amargo<\/span> de la nicotina<\/span>. Si hab\u00eda<\/span>\u00a0 que<\/span> enjuagar<\/span> el abecedario<\/span> de su<\/span> paladar<\/span> descorchaba<\/span> una<\/span> botella<\/span> de Burdeos<\/span>. Resignado<\/span> y sediento<\/span> segu\u00eda<\/span> el curso<\/span> de su<\/span> irreversible destino<\/span>. Una<\/span> temporada<\/span> trabaj\u00f3<\/span> como<\/span> recogedor<\/span> de peri\u00f3dicos<\/span>, conserje<\/span> de hotel, cargador<\/span> de bultos<\/span> en una<\/span> estaci\u00f3n<\/span> de tren<\/span>, pero<\/span> firme<\/span> en su<\/span> prop\u00f3sito<\/span>. En Amberes<\/span> le sobrevinieron<\/span> decepciones<\/span> amorosas<\/span>; en M\u00fanich<\/span> la dureza<\/span> de un fr\u00edo<\/span> insoportable<\/span> lo enclaustr\u00f3<\/span>. Mataba<\/span> el tiempo<\/span> con el olfato<\/span> de quien<\/span> se vale para<\/span> ver<\/span> el \u00e1ngulo<\/span> de esa<\/span> clase<\/span> media dejada<\/span> atr\u00e1s<\/span>. En tres<\/span> meses<\/span> se lo jug\u00f3<\/span> todo<\/span> y escribi\u00f3<\/span> Cr\u00f3nica<\/span> de San Gabriel<\/em>, novela<\/span> con la que<\/span> ganar\u00eda<\/span> el premio<\/span> nacional<\/span> en Lima. Rodeado<\/span> de papeles<\/span> y tentado<\/span> al fracaso<\/span>, ascend\u00eda<\/span> flagel\u00e1ndose<\/span> por<\/span> los pelda\u00f1os<\/span> de aquel<\/span> diario<\/span> \u00edntimo<\/span> iniciado<\/span> a\u00f1os<\/span> atr\u00e1s<\/span> y que<\/span> llevaba<\/span> consigo<\/span>; junto<\/span> con la m\u00fasica<\/span> y los libros<\/span> como<\/span> el espejo<\/span> vivo de su<\/span>\u00a0 testimonio<\/span>. Despu\u00e9s<\/span> de siete<\/span> a\u00f1os<\/span> retorna<\/span> al Per\u00fa<\/span>. Adaptarse<\/span> al ambiente<\/span> le fue<\/span> dif\u00edcil<\/span> y no consigui\u00f3<\/span> trabajar<\/span> como<\/span> profesor<\/span> universitario<\/span>. Apoyado<\/span> por<\/span> una<\/span> beca<\/span> viaja<\/span> nuevamente<\/span> a Par\u00eds<\/span>. Dejados<\/span> de lado<\/span> los trabajos<\/span> manuales<\/span> redacta<\/span> y traduce para<\/span> la agencia<\/span> France-Presse<\/span>: trabajo<\/span> agotador<\/span> del que<\/span> ten\u00eda<\/span> que<\/span> sacar<\/span> fuerzas<\/span> para<\/span> encausar<\/span> su<\/span> proyecto<\/span> literario<\/span>; entonces<\/span> la escritura<\/span> latinoamericana<\/span> explotaba<\/span> como<\/span> un boom con su<\/span> laboratorio<\/span> en Par\u00eds<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tJulio Ram\u00f3n<\/span> Ribeyro<\/span> sin embargo, le apostaba<\/span> al cuento<\/span>. A Los gallinazos<\/span> sin plumas<\/span><\/em> (1955), que<\/span> hab\u00eda<\/span> sido<\/span> recibido<\/span> con asombro<\/span> por<\/span> la cr\u00edtica<\/span>, se sum\u00f3<\/span> la publicaci\u00f3n<\/span> de otra<\/span> serie<\/span> de cuentos<\/span> titulados<\/span> Las botellas<\/span> y los hombres<\/em> y el conjunto<\/span> de relatos<\/span> Tres<\/span> historias<\/span> sublevantes<\/span><\/em>. (1964) Retrataba<\/span> con facilidad<\/span> a personajes<\/span> marginales<\/span>, perdedores<\/span> de barrio, o de alg\u00fan<\/span> pueblo andino<\/span>, bautiz\u00e1ndolos<\/span> con la limitaci\u00f3n<\/span> de quien<\/span> decae<\/span> en su<\/span> propia<\/span> miseria<\/span>. En sus<\/span> obras<\/span> se registran<\/span> las<\/span> marcas<\/span> territoriales<\/span> de la desdicha<\/span>, de lo que<\/span> se estuvo<\/span> a punto<\/span> de alcanzar<\/span> o de lo alcanzable<\/span> apenas<\/span> pero<\/span> a destiempo<\/span>, pues<\/span> \u00e9l<\/span> escrib\u00eda<\/span> con la certeza<\/span> de que<\/span> todas<\/span> las<\/span> palabras<\/span> al final de cuentas<\/span> se derraman<\/span> juntas en el vac\u00edo<\/span> de una<\/span> catarata<\/span> impostergable<\/span>. Gran anfitri\u00f3n<\/span> para<\/span> los amigos cercanos<\/span> y tambi\u00e9n<\/span> para<\/span> quienes<\/span> interesados<\/span> por<\/span> \u00e9l<\/span> llamaban<\/span> a su<\/span> puerta<\/span> de la Place Falguiere<\/span>, en Par\u00eds<\/span>. Si buscaba<\/span> la soledad<\/span> bastaba<\/span> una<\/span> terraza<\/span> callejera<\/span>. Miraba<\/span> atento<\/span> el paso<\/span> de las<\/span> multitudes, aferr\u00e1ndose<\/span> al detalle<\/span> de lo visto<\/span> sorb\u00eda<\/span> lentamente<\/span> el vino como<\/span> cuando<\/span> se abandonaba<\/span> al placer de la lectura<\/span> de Ch\u00e9jov<\/span> o Maupassant<\/span>. A mediados<\/span> de los sesenta<\/span> se public\u00f3<\/span> su<\/span> segunda<\/span> novela<\/span>, Los geniecillos<\/span> dominicales<\/span><\/em>, donde<\/span> narra<\/span> la vida<\/span> de un grupo<\/span> de j\u00f3venes<\/span> de la burgues\u00eda<\/span> lime\u00f1a<\/span>. No obstante<\/span>, sab\u00eda<\/span> que<\/span> lo suyo<\/span> era el cuento<\/span>. Consciente<\/span> de sus<\/span> limitaciones<\/span> aseguraba<\/span> que<\/span> su<\/span> estilo<\/span> literario<\/span> “era apto<\/span> para<\/span> lo min\u00fasculo<\/span> pero<\/span> in\u00fatil<\/span> para<\/span> lo grandioso”. Se cas\u00f3<\/span> en 1966 con la peruana<\/span> Alida<\/span> Cordero<\/span>. Ella le dar\u00eda<\/span> su<\/span> \u00fanico<\/span> hijo<\/span>. Vi\u00e9ndolo<\/span> crecer<\/span>, corretear<\/span> y jugar<\/span>, Ribeyro<\/span> a menudo<\/span> se preguntaba<\/span> si<\/span> no es<\/span> la escritura<\/span> acaso<\/span> la prolongaci\u00f3n<\/span> de los juegos<\/span> de infancia<\/span>. Fueron<\/span> a\u00f1os<\/span> muy<\/span> productivos<\/span>, aunque<\/span> en un arranque<\/span> de iron\u00eda<\/span> aseguraba<\/span> jugar<\/span> en tercera<\/span> divisi\u00f3n<\/span> pues<\/span> hab\u00eda<\/span> metido<\/span> sus<\/span> mejores<\/span> goles<\/span> “en una<\/span> cancha<\/span> polvorienta<\/span> de los suburbios<\/span>, ante cuatro<\/span> hinchas<\/span> borrachos<\/span> que<\/span> no se acuerdan<\/span> de nada”. Esos<\/span> hinchas<\/span> a\u00fan<\/span> lo leen<\/span> en estadios<\/span> semivac\u00edos<\/span> como<\/span> quien<\/span> se deleita<\/span> con los goles<\/span> del mundial<\/span>. De testimonios<\/span> similares<\/span> est\u00e1<\/span> hecho<\/span> su<\/span> diario<\/span>. Un lado<\/span> visceral e ir\u00f3nico<\/span> y otro<\/span> noble y perturbador<\/span> donde<\/span> m\u00e1s<\/span> que<\/span> solicitar<\/span> rescate<\/span> a trav\u00e9s<\/span> del argumento<\/span>, aseguraba<\/span> tambi\u00e9n<\/span> llegar<\/span> hasta<\/span> las<\/span> \u00faltimas<\/span> consecuencias<\/span>. Fue<\/span> en el a\u00f1o<\/span> 1972 cuando<\/span> lo eligen<\/span> consejero<\/span> de la delegaci\u00f3n<\/span> peruana<\/span> ante la UNESCO; en ese<\/span> mismo<\/span> a\u00f1o<\/span> dos s\u00fabitas<\/span> operaciones<\/span> pusieron<\/span> en riesgo<\/span> su<\/span> vida<\/span>. Ribeyro<\/span> se deterioraba<\/span> justo<\/span> cuando<\/span> la imposible<\/span> voz<\/span> parad\u00f3jicamente<\/span> empezaba<\/span> a escucharse<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tLas reflexiones<\/span> en su<\/span> diario<\/span> en torno<\/span> a la vida<\/span>, el destino<\/span> y el inter\u00e9s<\/span> por<\/span> las<\/span> cosas<\/span>, por<\/span> los halagos<\/span> innecesarios<\/span> y por<\/span> la importancia<\/span> que<\/span> se le otorga<\/span> a sucesos<\/span> intrascendentes<\/span>, se reflejan<\/span> en cada<\/span> p\u00e1gina<\/span> como<\/span> una<\/span> confesi\u00f3n<\/span> honesta<\/span>. Recuperado<\/span> pero<\/span> consciente<\/span> de que<\/span> con la salud<\/span> no se juega<\/span>, nost\u00e1lgico<\/span> regres\u00f3<\/span> al Per\u00fa<\/span> para<\/span> celebrar<\/span> la Navidad<\/span> en familia<\/span>. Por<\/span> entonces<\/span> su<\/span> nombre<\/span> volv\u00eda<\/span> a escucharse<\/span> con la reedici\u00f3n<\/span> de sus<\/span> cuentos<\/span> bajo<\/span> el t\u00edtulo<\/span> de La palabra<\/span> del mudo<\/span><\/em>; tradujeron<\/span> sus<\/span> obras<\/span> y le publicaron<\/span> tambi\u00e9n<\/span> en Espa\u00f1a<\/span>, en Lima se reeditaron<\/span> sus<\/span> dos anteriores<\/span> novelas<\/span> y Cambio<\/span> de guardia<\/span><\/em>, tercera<\/span> y \u00faltima<\/span> novela<\/span> escrita<\/span> a mediados<\/span> de los sesenta<\/span> y que<\/span> es<\/span> un fiel<\/span> reflejo<\/span> de la dictadura<\/span> militar<\/span> y la corrupci\u00f3n<\/span> pol\u00edtica<\/span> pero<\/span> que<\/span> en ese<\/span> entonces<\/span> la coyuntura<\/span> local no permiti\u00f3<\/span> \u00a0sacar<\/span> a la luz<\/span>. Prosas<\/span> ap\u00e1tridas<\/span>, de 1975, alterna<\/span> a su<\/span> diario<\/span>, conforma<\/span> una<\/span> traves\u00eda<\/span> entre<\/span> el ensayo<\/span> y la confesi\u00f3n<\/span>; profundiza<\/span> como<\/span> fil\u00f3sofo<\/span> en quehaceres<\/span> diarios<\/span>, bajo<\/span> la lupa<\/span> del elegante<\/span> ejercicio<\/span> de la palabra<\/span> con sarc\u00e1stico<\/span> placer. “Si alguna<\/span> certeza<\/span> adquir\u00ed<\/span>, fue<\/span> que<\/span> no existen<\/span> certezas<\/span>. Lo que<\/span> es<\/span> una<\/span> buena<\/span> definici\u00f3n<\/span> del escepticismo”<\/span>, remata<\/span>. A su<\/span> definitivo<\/span> retorno<\/span> al Per\u00fa<\/span> encontr\u00f3<\/span> la tranquilidad<\/span> en esa<\/span> casita frente<\/span> al malec\u00f3n<\/span> de Miraflores<\/span>. Desde<\/span> su<\/span> ventana<\/span> atisbaba<\/span> la grisura<\/span> del cielo<\/span> y las<\/span> aguas<\/span> melanc\u00f3licas<\/span> de la Costa Verde. No le incordiaba<\/span> estrechar<\/span> la mano<\/span> a los ajenos<\/span> que<\/span> se acercaban<\/span> a saludarlo<\/span> en la calle<\/span> y aunque<\/span> ya<\/span> no daba<\/span> entrevistas<\/span>, pues<\/span> lo hab\u00eda<\/span> dicho<\/span> todo<\/span>, fue<\/span> corta<\/span> la entrega<\/span> a la felicidad<\/span> merecida<\/span>. Se fue<\/span> a los 65 a\u00f1os<\/span> en 1994, como<\/span> una<\/span> historia<\/span> que<\/span> se corta<\/span> de cuajo<\/span> al cerrar<\/span> un libro<\/span> o al terminar<\/span> de escribir<\/span> un breve<\/span> texto<\/span>. Y es<\/span> cierto<\/span> que<\/span> habita<\/span> en las<\/span> p\u00e1ginas<\/span> de su<\/span> gran<\/span> amigo Alfredo Bryce, en el recuerdo<\/span> fotografiado<\/span> de quienes<\/span> estuvieron<\/span> a su<\/span> lado<\/span> y en cada<\/span> principio<\/span> o arrollador<\/span> final de sus<\/span> cuentos<\/span>. L\u00e1stima<\/span> que<\/span> no haya<\/span> podido<\/span> asistir<\/span> a la entrega<\/span> del premio<\/span> Juan Rulfo<\/span>, lo habr\u00edamos<\/span> visto<\/span> pacato<\/span> e inofensivo<\/span>, seguramente<\/span> sonriendo<\/span>. No obstante<\/span>, logr\u00f3<\/span> ver<\/span> en vida<\/span> el \u00faltimo<\/span> tomo<\/span> de La palabra<\/span> del mudo<\/span><\/em>, la edici\u00f3n<\/span> de La tentaci\u00f3n<\/span> del fracaso<\/span>, donde<\/span> resalta<\/span> la fidelidad<\/span> a una<\/span> idea con la que<\/span> fue<\/span> capaz<\/span> de remecer<\/span> palabras<\/span> como<\/span> si<\/span> fueran<\/span> monta\u00f1as<\/span>, las<\/span> mismas<\/span> que<\/span> lo impulsaron<\/span> a abrirse<\/span> paso<\/span> y que<\/span> por<\/span> m\u00e1s<\/span> impregnado<\/span> de dudas<\/span> que<\/span> estuvo<\/span>, es<\/span> evidente<\/span> que<\/span> en algunos<\/span> p\u00e1rrafos<\/span> magistrales<\/span> resulta<\/span> notable el alma inmoladora<\/span> de su<\/span> obra<\/span>; las<\/span> escrituras<\/span> que<\/span> cualquier<\/span> Dios<\/span> desear\u00eda<\/span> para<\/span> un mundo<\/span> incomprensible<\/span>.<\/p>","protected":false},"excerpt":{"rendered":"

En caso de fracasar advert\u00eda que vivir\u00eda como personaje en los libros de Alfredo Bryce Echenique; su mejor amigo. Al ritmo de los boleros de Agust\u00edn Lara constru\u00eda meticulosamente su literatura \u00a0<\/p>","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[60],"tags":[],"class_list":["post-4734","post","type-post","status-publish","format-standard","hentry","category-libros"],"yoast_head":"\nJULIO RAM\u00d3N RIBEYRO: LA VOZ DE LA PALABRA IMPOSIBLE. - Revista Rambla<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.revistarambla.com\/en\/julio-ramon-ribeyro-la-voz-de-la-palabra-imposible\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"JULIO RAM\u00d3N RIBEYRO: LA VOZ DE LA PALABRA IMPOSIBLE. - Revista Rambla\" \/>\n<meta property=\"og:description\" content=\"En caso de fracasar advert\u00eda que vivir\u00eda como personaje en los libros de Alfredo Bryce Echenique; su mejor amigo. 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