{"id":4908,"date":"2014-02-28T10:58:58","date_gmt":"2014-02-28T10:58:58","guid":{"rendered":"https:\/\/www.revistarambla.com\/los-dias-de-lenin\/"},"modified":"2014-02-28T10:58:58","modified_gmt":"2014-02-28T10:58:58","slug":"los-dias-de-lenin","status":"publish","type":"post","link":"https:\/\/www.revistarambla.com\/en\/los-dias-de-lenin\/","title":{"rendered":"LOS DIAS DE LEN\u00cdN"},"content":{"rendered":"

\t\"alt\"El pasado<\/span> 20 de febrero<\/span> se present\u00f3<\/span> en la Librer\u00eda<\/span> Taifa<\/span> de Barcelona la novela<\/span> Los d\u00edas<\/span> de \u00abLen\u00edn<\/span>\u00ab,<\/em> original de Ignacio Gonz\u00e1lez<\/span> Orozco<\/span> y publicada<\/span> por<\/span> el sello<\/span> madrile\u00f1o<\/span> Izana<\/span> Editores<\/span>. Narra<\/span> el reencuentro<\/span> de un anciano<\/span> escritor<\/span> con el lugar<\/span> donde<\/span> casualmente<\/span> asisti\u00f3<\/span> al estallido<\/span> de la Guerra Civil,<\/p>\n

\t\u00a0<\/p>\n

\t\u00a0<\/p>\n

<\/p>\n

\tEl pasado<\/span> 20 de febrero<\/span> se present\u00f3<\/span> en la Librer\u00eda<\/span> Taifa<\/span> de Barcelona la novela<\/span> Los d\u00edas<\/span> de \u00abLen\u00edn<\/span>\u00ab,<\/em> original de Ignacio Gonz\u00e1lez<\/span> Orozco<\/span> y publicada<\/span> por<\/span> el sello<\/span> madrile\u00f1o<\/span> Izana<\/span> Editores<\/span>. Narra<\/span> el reencuentro<\/span> de un anciano<\/span> escritor<\/span> con el lugar<\/span> donde<\/span> casualmente<\/span> asisti\u00f3<\/span> al estallido<\/span> de la Guerra Civil, por<\/span> lo que<\/span> la acci\u00f3n<\/span> se desdobla<\/span> entre<\/span> el presente<\/span> y el pasado<\/span> para<\/span> reflejar<\/span> dos formas<\/span> diferentes<\/span> de entender<\/span> la vida<\/span> e interpretar<\/span> aquellos<\/span> acontecimientos<\/span> luctuosos<\/span> de la historia<\/span> espa\u00f1ola<\/span>. Una<\/span> historia<\/span>, como<\/span> el mismo<\/span> autor<\/span> indica<\/span>, que<\/span> aborda<\/span> los mecanismos<\/span> de la memoria<\/span>, el prejuicio<\/span> y la perplejidad<\/span>.<\/strong><\/p>\n

\t\u00a0<\/p>\n

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

\t\u00a0<\/p>\n

\t\u00bfQu\u00e9<\/span> hay de autobiogr\u00e1fico<\/span> en Los d\u00edas<\/span> de “Len\u00edn”<\/span><\/em>?<\/strong><\/p>\n

\t\u00a0<\/p>\n

\tEn rigor, nada… Pero<\/span> tampoco<\/span> es<\/span> as\u00ed<\/span>. La acci\u00f3n<\/span> est\u00e1<\/span> jalonada<\/span> por<\/span> cu\u00f1as<\/span> de reflexi\u00f3n<\/span> sobre<\/span> situaciones<\/span> y preocupaciones<\/span> m\u00e1s<\/span> o menos<\/span> cotidianas<\/span> que<\/span> forman<\/span> parte<\/span> de mi vida<\/span>: el sentido<\/span> del acto<\/span> de escribir<\/span> y el decurso<\/span> de su<\/span> proceso<\/span> creativo<\/span>, a menudo<\/span> tortuoso<\/span>; la espontaneidad<\/span> y parcialidad<\/span> de la memoria<\/span>, tanto<\/span> en la recreaci\u00f3n<\/span> del pasado<\/span> como<\/span> en la conformaci\u00f3n<\/span> del presente<\/span>; la diatriba<\/span> eterna<\/span> entre<\/span> el proyecto<\/span> y la realidad<\/span>, sobre<\/span> todo<\/span> en el \u00e1mbito<\/span> ideol\u00f3gico<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\t\u00bfTe<\/span> identificas<\/span> con alg\u00fan<\/span> personaje<\/span> o te<\/span> sientes<\/span> pr\u00f3ximo<\/span> a alguno<\/span> de ellos<\/span>?<\/strong><\/p>\n

\t\u00a0<\/p>\n

\tC\u00f3mo<\/span> no, me siento<\/span> muy<\/span> pr\u00f3ximo<\/span> a la familia<\/span> protagonista<\/span>, puesto<\/span> que<\/span> en origen<\/span> se trata<\/span> de mi propia<\/span> familia<\/span> paterna<\/span>. Los sentimientos<\/span> de miedo<\/span>, desaz\u00f3n<\/span> e incertidumbre<\/span> que<\/span> les provoca<\/span> el estallido<\/span> repentino<\/span> de la guerra<\/span> son universales<\/span>, cualquier<\/span> persona en la misma<\/span> tesitura<\/span> podr\u00eda<\/span> experimentarlos<\/span>, pero<\/span> a m\u00ed<\/span> se me figuran<\/span> m\u00e1s<\/span> intensos<\/span> por<\/span> el parentesco<\/span> y el cari\u00f1o<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tTambi\u00e9n<\/span> me identifico<\/span> de alg\u00fan<\/span> modo<\/span> con los dos muchachos<\/span>, Antonio y Satur<\/span>, que<\/span> enfrentan<\/span> sus<\/span> modos<\/span> antag\u00f3nicos<\/span> de entender<\/span> la realidad<\/span>. Ambos<\/span> encarnan<\/span> elementos<\/span> que<\/span> anidan<\/span> en mi interior, o mejor<\/span> dicho<\/span>, en tantos<\/span> de nosotros<\/span>: la educaci\u00f3n<\/span> tradicional<\/span> recibida<\/span> y una<\/span> visi\u00f3n<\/span> del mundo<\/span> heterodoxa<\/span> con respecto<\/span> a la primera<\/span>, fraguada<\/span> m\u00e1s<\/span> tarde<\/span>. Ahora<\/span> bien<\/span>, hace<\/span> tiempo<\/span> que<\/span> la dial\u00e9ctica<\/span> entre<\/span> ambas<\/span> se decant\u00f3<\/span> en favor de la segunda<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tHay otra<\/span> identificaci\u00f3n<\/span> m\u00e1s<\/span> sutil<\/span>, por<\/span> tratarse<\/span> solo de una<\/span> aspiraci\u00f3n<\/span>: si<\/span> llego<\/span> a octogenario<\/span>, me gustar\u00eda<\/span> afrontar<\/span> la vida<\/span> con la misma<\/span> pasi\u00f3n<\/span> que<\/span> el protagonista<\/span> de mi novela<\/span>, y los recuerdos<\/span> con pareja<\/span> capacidad<\/span> reflexiva<\/span>. Tampoco<\/span> me sobrar\u00eda<\/span> a ninguna<\/span> edad<\/span> la fuerza<\/span> natural de Nadia, la camarera<\/span> rumana<\/span>, fortalecida<\/span> en las<\/span> peores<\/span> vivencias<\/span> sin haber<\/span> perdido<\/span> la capacidad<\/span> de encantamiento<\/span> ante el mundo<\/span> (creo<\/span> que<\/span> comparto<\/span> en alguna<\/span> medida<\/span> esa<\/span> facultad<\/span>, aunque<\/span> sea poco<\/span> modesto<\/span> decirlo<\/span>).<\/p>\n

\t\u00bfQu\u00e9<\/span> te<\/span> inspir\u00f3<\/span> a la hora<\/span> de escribir<\/span> el libro<\/span> y cu\u00e1nto<\/span> tardaste<\/span> en tenerlo<\/span> listo<\/span>?<\/strong><\/p>\n

\t\u00a0<\/p>\n

\tTal como<\/span> se lee en la nota previa<\/span>, Los d\u00edas<\/span> de “Len\u00edn”<\/span><\/em><\/strong> tiene<\/span> una<\/span> base real: mi familia<\/span> paterna<\/span> qued\u00f3<\/span> aislada<\/span> por<\/span> simple casualidad<\/span> al comienzo<\/span> de la Guerra Civil, cuando<\/span> estaban<\/span> pasando<\/span> unos<\/span> d\u00edas<\/span> en casa de un amigo de mi abuelo<\/span>, en el pueblo de El Espinar<\/span>, en la sierra de Segovia. La localidad<\/span> est\u00e1<\/span> muy<\/span> cerca<\/span> del Alto de los Leones<\/span>, un punto<\/span> clave<\/span> de las<\/span> comunicaciones<\/span> entre<\/span> las<\/span> dos mesetas<\/span>, en la ruta<\/span> de Madrid, por<\/span> lo que<\/span> el lugar<\/span> se convirti\u00f3<\/span> pronto en campo<\/span> de batalla<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tSe trata<\/span> de un episodio<\/span> escuchado<\/span> muchas<\/span> veces<\/span> en la ni\u00f1ez<\/span>, en boca<\/span> de mi abuela<\/span> y de mi padre; buenos<\/span> narradores<\/span> ambos<\/span> (mi abuela<\/span> ya<\/span> no, ausente<\/span> por<\/span> imperativo<\/span> biol\u00f3gico<\/span>), inclinados<\/span> al detallismo<\/span> y un punto<\/span> dram\u00e1ticos<\/span> en sus<\/span> h\u00e1bitos<\/span> descriptivos<\/span>. Oralidad<\/span>, por<\/span> tanto<\/span>, convertida<\/span> en texto<\/span> impreso<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tEn un principio<\/span> era bastante<\/span> esc\u00e9ptico<\/span> con respecto<\/span> a la posibilidad<\/span> de llevar<\/span> la narraci\u00f3n<\/span> a buen<\/span> puerto<\/span>. No quer\u00eda<\/span> hacer<\/span> ni<\/span> una<\/span> biograf\u00eda<\/span> familiar ni<\/span> una<\/span> novela<\/span> b\u00e9lica<\/span>. Sin embargo, con las<\/span> primeras<\/span> notas<\/span>, la historia<\/span> tom\u00f3<\/span> cuerpo<\/span> por<\/span> s\u00ed<\/span> sola<\/span>. Hasta<\/span> el punto<\/span> de que<\/span> una<\/span> noche<\/span> en vela –o casi–<\/span> bast\u00f3<\/span> para<\/span> cerrar<\/span> el c\u00edrculo<\/span> del argumento<\/span>, que<\/span> a partir<\/span> de entonces<\/span> se convirti\u00f3<\/span> en un relato<\/span> ficticio<\/span>, donde<\/span> solo algunos<\/span> nombres<\/span> y situaciones<\/span> iniciales<\/span> se corresponden<\/span> con la realidad<\/span>. Una<\/span> novela<\/span> de base real y desarrollo<\/span> figurado<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tEn cuanto<\/span> al tiempo<\/span> que<\/span> dediqu\u00e9<\/span> a su<\/span> redacci\u00f3n<\/span>, puedo<\/span> decir<\/span> que<\/span> fueron<\/span> unos<\/span> tres<\/span> meses<\/span>. Luego<\/span> vino la relectura<\/span> y la correcci\u00f3n<\/span>, por<\/span> supuesto<\/span>. Pero<\/span> la coherencia<\/span> del plan inicial<\/span> facilit\u00f3<\/span> mucho<\/span> la labor.<\/p>\n

\t\u00a0<\/p>\n

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

\t\u00a0<\/p>\n

\t\u00bfEn qu\u00e9<\/span> medida<\/span> el hecho<\/span> de adoptar<\/span> el punto<\/span> de vista de un ni\u00f1o<\/span>, junto<\/span> al recurso<\/span> a la nostalgia, es<\/span> una<\/span> especie<\/span> de coartada<\/span> para<\/span> mantener<\/span> la neutralidad<\/span> y no posicionarte<\/span> en ninguno<\/span> de los dos bandos<\/span>?<\/strong><\/p>\n

\t\u00a0<\/p>\n

\tNo hay que<\/span> confundir<\/span> la nostalgia, que<\/span> es<\/span> una<\/span> forma de apego<\/span> (incluso<\/span> de dependencia<\/span>), con la memoria<\/span>, que<\/span> es<\/span> (o debiera<\/span> ser<\/span>) una<\/span> facultad<\/span> reflexiva<\/span> y cr\u00edtica<\/span>, siempre<\/span> necesaria<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tLos procesos<\/span> evolutivos<\/span> psicol\u00f3gico<\/span> y biogr\u00e1fico<\/span> hacen<\/span> que<\/span> no seamos<\/span> siempre<\/span> la misma<\/span> persona, aunque<\/span> la percepci\u00f3n<\/span> del cambio<\/span> pueda<\/span> resultarnos<\/span> dif\u00edcil<\/span>. En la novela<\/span>, entre<\/span> las<\/span> dos edades<\/span> del protagonista<\/span>, anciano<\/span> y ni\u00f1o<\/span>, no hay m\u00e1s<\/span> nexo<\/span> que<\/span> la cadena<\/span> del recuerdo<\/span>, sin que<\/span> por<\/span> ello<\/span> act\u00fae<\/span> esta<\/span> como<\/span> un ligamen<\/span> de esclavitud<\/span>, que<\/span> ser\u00eda<\/span> el caso<\/span> de la nostalgia. El viejo<\/span> escritor<\/span> recuerda<\/span>, no a\u00f1ora<\/span>, y al analizar<\/span> las<\/span> vicisitudes<\/span> de cuanto<\/span> fue<\/span> es<\/span> capaz<\/span> de entender<\/span> lo que<\/span> dej\u00f3<\/span> de ser<\/span>: antes, un chiquillo<\/span> impresionable<\/span> que<\/span> sinti\u00f3<\/span> una<\/span> admiraci\u00f3n<\/span> casi<\/span> religiosa<\/span> por<\/span> quienes<\/span> se arrogaron<\/span> la condici\u00f3n<\/span> de h\u00e9roes<\/span> de una<\/span> nueva<\/span> cruzada<\/span> (es<\/span> lo que<\/span> ocurre<\/span> por<\/span> leer a Toquato<\/span> Tasso<\/span> antes de tiempo<\/span>…); ya<\/span> octogenario<\/span>, un hombre que<\/span> se halla<\/span> en las<\/span> ant\u00edpodas<\/span> de esa<\/span> situaci\u00f3n<\/span>, no por<\/span> simple influencia<\/span> de la cronolog\u00eda<\/span> sino<\/span> por<\/span> el compendio<\/span> y balance de su<\/span> trayectoria<\/span> vital. Ese<\/span> contraste<\/span> –o antagonismo<\/span>, si<\/span> se quiere–<\/span> es<\/span> una<\/span> de las<\/span> claves<\/span> de la novela<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tEste<\/span> personaje<\/span> desdoblado<\/span> en ni\u00f1o<\/span> y anciano<\/span> no es<\/span> neutral en ning\u00fan<\/span> momento<\/span>. Por<\/span> circunstancias<\/span> determinadas<\/span>, su<\/span> favor va<\/span> de un bando<\/span> a otro<\/span> y ello<\/span> queda<\/span> bien<\/span> claro<\/span>: el cr\u00edo<\/span> con sus<\/span> motivos<\/span>, el viejo<\/span> con sus<\/span> razones<\/span>. Ahora<\/span> bien<\/span>, \u00bfdebe<\/span> representar<\/span> ese<\/span> protagonista<\/span> al autor<\/span>? La respuesta<\/span> ser\u00eda<\/span> poco<\/span> concreta<\/span>: s\u00ed<\/span> o no, seg\u00fan<\/span> la intencionalidad<\/span> de quien<\/span> escribe<\/span>, y en este<\/span> caso<\/span> me inclino<\/span> por<\/span> la negaci\u00f3n<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tA\u00fan<\/span> digo<\/span> m\u00e1s<\/span> sobre<\/span> la neutralidad<\/span> que<\/span> citas<\/span> y yo<\/span> no reconozco<\/span>: Los d\u00edas<\/span> de “Len\u00edn”<\/span><\/em><\/strong> no es<\/span> una<\/span> novela<\/span> sobre<\/span> la guerra<\/span>, sino<\/span> en la guerra<\/span>. El conflicto<\/span> supone<\/span> una<\/span> excusa<\/span> para<\/span> acentuar<\/span> los asuntos<\/span> que<\/span> acabo<\/span> de exponer<\/span>. No ten\u00eda<\/span> intenci\u00f3n<\/span> de redactar<\/span> una<\/span> proclama<\/span>; por<\/span> el contrario<\/span>, los dos personajes<\/span> principales<\/span>, que<\/span> tambi\u00e9n<\/span> son uno<\/span>, deb\u00edan<\/span> manifestar<\/span> la diversidad<\/span> de una<\/span> vida<\/span> que<\/span> han<\/span> compartido<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\t\u00a0La sensaci\u00f3n<\/span> que<\/span> da<\/span>, sobre<\/span> todo<\/span> por<\/span> una<\/span> frase<\/span> del final del libro<\/span>, es<\/span> que<\/span> no te<\/span> implicas<\/span>, lo resuelves<\/span> en un diplom\u00e1tico<\/span>: \u00abhubo<\/span> violencia<\/span> en todos<\/span> los bandos<\/span>\u00ab, pero<\/span> todos<\/span> sabemos<\/span> que<\/span> hubo<\/span> un bando<\/span> antidemocr\u00e1tico<\/span> que<\/span> cometi\u00f3<\/span> un golpe<\/span> de Estado<\/span>, un bando<\/span> que<\/span> en el libro<\/span> sale indemne<\/span> de toda<\/span> cr\u00edtica<\/span>. \u00bfPor<\/span> qu\u00e9<\/span>?<\/strong><\/p>\n

\t\u00a0<\/p>\n

\tMe remito<\/span> a lo reci\u00e9n<\/span> explicado<\/span>. No se trata<\/span> de una<\/span> proclama<\/span> b\u00e9lica<\/span>, sino<\/span> de una<\/span> novela<\/span> de personajes<\/span>. Por<\/span> supuesto<\/span>, la aparici\u00f3n<\/span> de la guerra<\/span> genera mucho<\/span> dolor, incluso<\/span> tragedia<\/span>, y en este<\/span> sentido<\/span> creo<\/span> que<\/span> el compromiso<\/span> del escritor<\/span>, como<\/span> tal<\/span>, debe<\/span> proyectarse<\/span> sobre<\/span> la dimensi\u00f3n<\/span> universal de ese<\/span> drama.<\/p>\n

\t\u00a0<\/p>\n

\tTe<\/span> pongo<\/span> un ejemplo<\/span>. Como ciudadano<\/span> estoy<\/span> dispuesto<\/span> a firmar<\/span> con mi nombre<\/span> y n\u00famero<\/span> de DNI<\/span> cualquier<\/span> manifiesto<\/span> en contra de la pena<\/span> capital. Pero<\/span> la labor de un escritor<\/span> es<\/span> diferente<\/span>, sin que<\/span> impida<\/span> lo anterior; su<\/span> cometido<\/span> estriba<\/span> en reflejar<\/span> con destreza<\/span> los pensamientos<\/span> y emociones<\/span> de ese<\/span> sujeto<\/span> a quien<\/span> apunta<\/span> el fusil<\/span>, asomado<\/span> al abismo<\/span> de la muerte<\/span>, se cual<\/span> sea su<\/span> ideolog\u00eda<\/span>. El autor<\/span> debe<\/span> buscar<\/span> la conmoci\u00f3n<\/span> del lector, esta<\/span> es<\/span> su<\/span> mejor<\/span> herramienta<\/span> contra aquello<\/span> que<\/span> rechaza<\/span> y condena<\/span>.\u00a0<\/p>\n

\t\u00a0<\/p>\n

\tEn cuanto<\/span> a mi pronunciamiento<\/span> personal propiamente<\/span> dicho<\/span>, no tengo<\/span> problema<\/span> en manifestarme<\/span> republicano<\/span> –tambi\u00e9n<\/span> en 2014– y socialista<\/span> en el sentido<\/span> hist\u00f3rico<\/span> del t\u00e9rmino<\/span>, condici\u00f3n<\/span> esencialmente<\/span> humanista<\/span> que<\/span> exige<\/span> libre<\/span> cr\u00edtica<\/span> racional<\/span> y aversi\u00f3n<\/span> a todo<\/span> dogmatismo<\/span>. Por<\/span> supuesto<\/span>, en 1936 hubiera<\/span> tomado<\/span> partido<\/span> por<\/span> la Rep\u00fablica<\/span>. Pero<\/span> ello<\/span> no me impide<\/span> condenar<\/span> los cr\u00edmenes<\/span> que<\/span> se cometieron<\/span> en nombre<\/span> de ideales<\/span> que<\/span> los verdugos<\/span> dec\u00edan<\/span> compartir<\/span> conmigo<\/span>, lo cual<\/span> yo<\/span> niego<\/span>. Del mismo<\/span> modo<\/span> ensalzo<\/span> la voluntad<\/span> de humanizar<\/span> la guerra<\/span> de personajes<\/span> republicanos<\/span> como<\/span> Manuel Aza\u00f1a<\/span> o Juli\u00e1n<\/span> Zugazagoitia<\/span> (los esfuerzos<\/span> del segundo<\/span> fueron<\/span> recompensados<\/span> por<\/span> el criminal Francisco Franco con el pelot\u00f3n<\/span> de fusilamiento<\/span>).<\/p>\n

\t\u00a0<\/p>\n

\tMe gusta<\/span> recordar<\/span> en estos<\/span> casos<\/span> que<\/span> la Causa<\/span> General de 1940, instruida<\/span> por<\/span> el reci\u00e9n<\/span> estrenado<\/span> r\u00e9gimen<\/span> franquista<\/span>, elev\u00f3<\/span> a 63.000 el n\u00famero<\/span> de asesinados<\/span> por<\/span> los “rojos”<\/span>, y en muchos<\/span> casos<\/span> con pruebas<\/span> bastante<\/span> deficientes<\/span>. Una<\/span> cifra<\/span> que<\/span> no llega<\/span> ni<\/span> a la mitad<\/span> de las<\/span> 150.000 personas asesinadas<\/span> en las<\/span> primeras<\/span> semanas<\/span> de la guerra<\/span> en territorio<\/span> “nacional”<\/span>, por<\/span> simple odio<\/span> ideol\u00f3gico<\/span>: aun<\/span> suponiendo<\/span> que<\/span> todos<\/span> esos<\/span> rojos<\/span><\/em> represaliados<\/span> hubieran<\/span> sido<\/span> gentes<\/span> abyectas<\/span>, no habr\u00edan<\/span> tenido<\/span> tiempo<\/span> de dar<\/span> rienda<\/span> suelta<\/span> a su<\/span> perversidad<\/span>, ya<\/span> que<\/span> la guerra<\/span> los sorprendi\u00f3<\/span> en el peor<\/span> de los lugares<\/span> posibles<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tEsas<\/span> 150.000 personas –que<\/span> no son, ni<\/span> de lejos<\/span>, todas<\/span> las<\/span> v\u00edctimas<\/span> del franquismo–<\/span> siguen<\/span> esparcidas<\/span> por<\/span> cunetas<\/span>, pozos<\/span> y fosas<\/span> an\u00f3nimas<\/span>. Una<\/span> verg\u00fcenza<\/span> nacional<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tEl fracaso<\/span> de la ley<\/span> de memoria<\/span> hist\u00f3rica<\/span>, la falta<\/span> de una<\/span> condena<\/span> del franquismo<\/span> por<\/span> parte<\/span> del gobierno<\/span>, el hecho<\/span> de que<\/span> el r\u00e9gimen<\/span> se est\u00e9<\/span> juzgando<\/span> en el extranjero<\/span>… \u00bfCrees<\/span> que<\/span> Espa\u00f1a<\/span> ha aprendido<\/span> la lecci\u00f3n<\/span> de la Guerra Civil y la dictadura<\/span>?<\/strong><\/p>\n

\t\u00a0<\/p>\n

\tEstrab\u00f3n<\/span> ya<\/span> destac\u00f3<\/span> el car\u00e1cter<\/span> belicoso<\/span> de las<\/span> tribus<\/span> ib\u00e9ricas<\/span>, as\u00ed<\/span> como<\/span> su<\/span> propensi\u00f3n<\/span> al enfrentamiento<\/span> entre<\/span> s\u00ed<\/span>. No creo<\/span> que<\/span> exista<\/span> un intr\u00ednseco<\/span> y tr\u00e1gico<\/span> “talante<\/span> secular de los pueblos hispanos”<\/span> (S\u00e1nchez-Albornoz<\/span>), pero<\/span> la lucha<\/span> cainita<\/span> es<\/span> una<\/span> tendencia<\/span> recurrente<\/span> en la historia<\/span> de la Espa\u00f1a<\/span> contempor\u00e1nea<\/span>, incluso<\/span> en el siglo<\/span> XX, cuando<\/span> otros<\/span> pa\u00edses<\/span> (Gran Breta\u00f1a<\/span>, Francia<\/span>, Estados<\/span> Unidos<\/span>) ya<\/span> hab\u00edan<\/span> resta\u00f1ado<\/span> hac\u00eda<\/span> tiempo<\/span> las<\/span> heridas<\/span> ideol\u00f3gicas<\/span> y sociales<\/span> que<\/span> en otro<\/span> tiempo<\/span> los escindieron<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tAunque<\/span> las<\/span> situaciones<\/span> siempre<\/span> evolucionan<\/span>, no hay que<\/span> olvidar<\/span> que<\/span> ganaron<\/span> la guerra<\/span> los partidarios<\/span> de la reacci\u00f3n<\/span>, cuyos<\/span> sectores<\/span> m\u00e1s<\/span> inteligentes<\/span> tutelaron<\/span> posteriormente<\/span> la Transici\u00f3n<\/span>, que<\/span> supuso<\/span> democracia<\/span> formal a cambio<\/span> de olvido<\/span>. En ese<\/span> sentido<\/span>, creo<\/span> que<\/span> seguimos<\/span> arrastrando<\/span> un lastre<\/span> de oscurantismo<\/span> y caciquismo<\/span> adaptado<\/span> a los nuevos<\/span> tiempos<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tLos d\u00edas<\/span> de “Len\u00edn”<\/span><\/em> es<\/span> una<\/span> novela<\/span> muy<\/span> bien<\/span> escrita<\/span>, con un estilo<\/span> culto<\/span> y palabras<\/span> elevadas<\/span>, incluso<\/span> da<\/span> la sensaci\u00f3n<\/span> que<\/span> te<\/span> recreas<\/span> en ello<\/span>, consciente<\/span> de tu<\/span> habilidad<\/span>. \u00bfEs<\/span> as\u00ed<\/span>?<\/strong><\/p>\n

\t\u00a0<\/p>\n

\tA m\u00ed<\/span> no me interesan<\/span> esas<\/span> peleas<\/span> que<\/span> peri\u00f3dicamente<\/span> abren<\/span> trincheras<\/span> entre<\/span> distintas<\/span> tendencias<\/span> estil\u00edsticas<\/span>. Mi escritura<\/span> es<\/span> sint\u00e9tica<\/span>, en tanto<\/span> que<\/span> sujeta<\/span> a muchas<\/span> influencias<\/span>, y persigue<\/span> una<\/span> realizaci\u00f3n<\/span> arm\u00f3nica<\/span> tanto<\/span> en el desarrollo<\/span> narrativo<\/span> como<\/span> en el \u00e1mbito<\/span> formal. Busco<\/span> la musicalidad<\/span> del p\u00e1rrafo<\/span>, eso<\/span> es<\/span> cierto<\/span>, e intento<\/span> que<\/span> su<\/span> logro<\/span> no merme<\/span> ni<\/span> el sentido<\/span> ni<\/span> la claridad<\/span> de la lectura<\/span> (que<\/span> no siempre<\/span> cabe<\/span> identificar<\/span> con facilidad<\/span><\/em>). Pero<\/span> no entiendo<\/span> de palabras<\/span> elevadas<\/span>,<\/em> todas<\/span> est\u00e1n<\/span> en el diccionario<\/span> y yo<\/span> soy el primero<\/span> que<\/span> cotidianamente<\/span> aumento<\/span> mi registro<\/span> ling\u00fc\u00edstico<\/span> con vocablos<\/span> antes desconocidos<\/span>. No hay ning\u00fan<\/span> arcano<\/span> en mi escritura<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tOtro<\/span> aspecto<\/span> que<\/span> procuro<\/span> cuidar<\/span> es<\/span> la caracterizaci\u00f3n<\/span> de los personajes<\/span>, la cual<\/span> tiene<\/span> doble<\/span> dificultad<\/span>: en primer lugar<\/span>, la propiamente<\/span> t\u00e9cnica<\/span>, que<\/span> como<\/span> todo<\/span> en esta<\/span> vida<\/span> se adquiere<\/span> y pule con el trabajo<\/span>; en segundo<\/span> lugar<\/span>, la autonom\u00eda<\/span> de que<\/span> se dotan<\/span> conforme<\/span> avanza<\/span> el relato<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tCon respecto<\/span> al segundo<\/span> aspecto<\/span>, no digo<\/span> en broma<\/span> que<\/span> de alg\u00fan<\/span> modo<\/span> toman<\/span> existencia<\/span> propia<\/span>. Entend\u00e1monos<\/span>: no pretendo<\/span> convencer<\/span> a nadie<\/span> de que<\/span> el escritor<\/span> es<\/span> una<\/span> suerte<\/span> de m\u00e9dium<\/span> rodeado<\/span> por<\/span> los ectoplasmas<\/span> que<\/span> surgen<\/span> de su<\/span> pluma<\/span> y le chillan<\/span>, exigen<\/span>, esclarecen<\/span> o ruegan<\/span> acerca<\/span> de su<\/span> destino<\/span> novelesco<\/span>. Pero<\/span> s\u00ed<\/span> cabe<\/span> decir<\/span> que<\/span> se adquieren<\/span> compromisos<\/span> de coherencia<\/span> y respeto<\/span> hacia<\/span> los personajes<\/span> conforme<\/span> la escritura<\/span> acent\u00faa<\/span> sus<\/span> rasgos<\/span>. El personaje<\/span> se enriquece<\/span> de modo<\/span> insospechado<\/span> con las<\/span> nuevas<\/span> situaciones<\/span> planteadas<\/span> por<\/span> su<\/span> creador<\/span>, quien<\/span> elige<\/span> un modelo<\/span> de humanidad<\/span> a trav\u00e9s<\/span> de ellos<\/span>, tanto<\/span> para<\/span> lo bueno<\/span> como<\/span> para<\/span> lo malo<\/span>. En tal<\/span> \u00e1mbito<\/span> s\u00ed<\/span> poseen<\/span> vida<\/span> propia<\/span>,<\/em> a menudo<\/span> insospechada<\/span> cuando<\/span> empieza<\/span> la escritura<\/span>.<\/p>\n

\t\u00bfQu\u00e9<\/span> tal<\/span> ha ido<\/span> la recepci\u00f3n<\/span> del libro<\/span>, qu\u00e9<\/span> te<\/span> dice la gente<\/span>?<\/strong><\/p>\n

\t\u00a0<\/p>\n

\tLas editoriales<\/span> peque\u00f1as<\/span> tienen<\/span> menor<\/span> presencia<\/span> que<\/span> las<\/span> grandes<\/span> en los principales<\/span> medios<\/span> de comunicaci\u00f3n<\/span>. Por<\/span> suerte<\/span>, existen<\/span> publicaciones<\/span> digitales<\/span> como<\/span> Revista<\/span> Rambla<\/span>, en las<\/span> que<\/span> se puede<\/span> hacer<\/span> tambi\u00e9n<\/span> una<\/span> buena<\/span> promoci\u00f3n<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tHasta<\/span> ahora<\/span> he tenido<\/span> buenas<\/span> cr\u00edticas<\/span> de los lectores<\/span> que<\/span> han<\/span> querido<\/span> comunic\u00e1rmelo<\/span>. Entre<\/span> ellos<\/span>, dicho<\/span> sea sin desmerecer<\/span> a nadie<\/span>, figuran<\/span> personas cuyo<\/span> criterio<\/span> tengo<\/span> en alta<\/span> consideraci\u00f3n<\/span> desde<\/span> mucho<\/span> antes de publicar<\/span> esta<\/span> novela<\/span>. Y si<\/span> un d\u00eda<\/span> llegan<\/span> zurras<\/span>, que<\/span> sean<\/span> razonadas<\/span> y tambi\u00e9n<\/span> tendr\u00e1n<\/span> buena<\/span> acogida<\/span> por<\/span> mi parte<\/span>. Las cr\u00edticas<\/span> bien<\/span> argumentadas<\/span> pueden<\/span> contribuir<\/span> a que<\/span> el escritor<\/span> se desprenda<\/span> de su<\/span> ropaje<\/span> de obsesiones<\/span> y taras<\/span>, evitando<\/span> que<\/span> estos<\/span> lastres<\/span> condicionen<\/span> sus<\/span> futuros<\/span> trabajos<\/span>, porque<\/span> el oficio<\/span> de escribir<\/span> es<\/span>, o as\u00ed<\/span> me lo parece<\/span>, un proceso<\/span> de mudanza<\/span> continuo tanto<\/span> en los intereses<\/span> como<\/span> en la forma de expresarlos<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tEl aumento<\/span> del IVA en la cultura<\/span>, la mercantilizaci\u00f3n<\/span> de la literatura<\/span> con los best seller<\/em> y las<\/span> editoriales<\/span> que<\/span> conciben<\/span> la literatura<\/span> exclusivamente<\/span> como<\/span> un negocio<\/span>… \u00bfC\u00f3mo<\/span> ves<\/span> el panorama literario<\/span> actual?<\/strong><\/p>\n

\t\u00a0<\/p>\n

\tLos impuestos<\/span> indirectos<\/span> son una<\/span> forma de exacci\u00f3n<\/span> muy<\/span> controvertida<\/span> en su<\/span> aplicaci\u00f3n<\/span>, a menudo<\/span> perversa<\/span>. Paga<\/span> el mismo<\/span> impuesto<\/span> indirecto<\/span> quien<\/span> consume gasolina<\/span> con su<\/span> utilitario<\/span> para<\/span> ir<\/span> al trabajo<\/span>, que<\/span> quien<\/span> sale a correr<\/span> kil\u00f3metros<\/span> con su<\/span> Porsche<\/em> sin m\u00e1s<\/span> fin que<\/span> lucirlo<\/span>. A ello<\/span> se suman<\/span> los dislates<\/span> de criterio<\/span>: las<\/span> entradas<\/span> del teatro<\/span>, los libros<\/span> de texto<\/span> y los pa\u00f1ales<\/span> de beb\u00e9<\/span> tienen<\/span> un IVA del 21 %; las<\/span> revistas<\/span> pornogr\u00e1ficas<\/span>, un 4 % (no tengo<\/span> nada contra ellas<\/span>, simplemente<\/span> me parecen<\/span> menos<\/span> necesarias<\/span> en el \u00e1mbito<\/span> social que<\/span> los tres<\/span> primeros<\/span> art\u00edculos<\/span>). El abusivo<\/span> IVA cultural impuesto<\/span> por<\/span> la secci\u00f3n<\/span> chulapona<\/span><\/em> del actual gobierno<\/span> postfranquista<\/span> no solo empobrece<\/span> la creatividad<\/span> del pa\u00eds<\/span>, tambi\u00e9n<\/span> lamina una<\/span> industria<\/span> que<\/span> en ciertos<\/span> sitios<\/span> tiene<\/span> respetable<\/span> importancia<\/span> en t\u00e9rminos<\/span> cuantitativos<\/span>, como<\/span> es<\/span> el caso<\/span> de Catalu\u00f1a<\/span> o Madrid. As\u00ed<\/span> que<\/span> mi opini\u00f3n<\/span> es<\/span> negativa<\/span>, por<\/span> supuesto<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tEn cuanto<\/span> a esa<\/span> literatura<\/span> de gran<\/span> consumo<\/span> que<\/span> citas<\/span>, siempre<\/span> ha existido<\/span>. Pi\u00e9nsese<\/span> en el g\u00e9nero<\/span> folletinesco<\/span> del siglo<\/span> XIX<\/span> y primer tercio<\/span> del siglo<\/span> XX, cultivado<\/span> incluso<\/span> por<\/span> autores<\/span> de val\u00eda<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tNo creo<\/span> que<\/span> se ajuste<\/span> mi estilo<\/span> literario<\/span> al gusto de cierto<\/span> lector, al parecer<\/span> muy<\/span> numeroso<\/span>, que<\/span> sacrifica<\/span> el inter\u00e9s<\/span> formal y conceptual al solo fin de distraerse<\/span> (objetivo<\/span> l\u00edcito<\/span>, pero<\/span> insuficiente<\/span> en mi concepci\u00f3n<\/span> de la literatura<\/span>). En esas<\/span> lecturas<\/span> de vag\u00f3n<\/span> de metro han<\/span> ca\u00eddo<\/span> por<\/span> inter\u00e9s<\/span> comercial<\/span> sellos<\/span> de prestigio<\/span>, descuidando<\/span> otros<\/span> tipos<\/span> de narrativa<\/span>. La situaci\u00f3n<\/span> ideal estribar\u00eda<\/span> en un incremento<\/span> tanto<\/span> cualitativo<\/span> como<\/span> cuantitativo<\/span> de los lectores<\/span>, para<\/span> que<\/span> hubiera<\/span> una<\/span> demanda<\/span> ingente<\/span> de todo<\/span> tipo<\/span> de obras<\/span>. Mientras<\/span> las<\/span> cosas<\/span> sigan<\/span> as\u00ed<\/span>, la apuesta<\/span> de Javier Gil Carmona<\/span>, <\/strong>director de Izana<\/span> Editores<\/span><\/strong> (la editorial madrile\u00f1a<\/span> que<\/span> ha publicado<\/span> Los d\u00edas<\/span> de “Len\u00edn”<\/span><\/em><\/strong>), resulta<\/span> mucho<\/span> m\u00e1s<\/span> arriesgada<\/span>, porque<\/span> busca<\/span> la calidad<\/span> dentro<\/span> de la diversidad<\/span> formal y tem\u00e1tica<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tExpl\u00edcame<\/span> tus<\/span> proyectos<\/span> futuros<\/span>.<\/strong><\/p>\n

\t\u00a0<\/p>\n

\tTengo<\/span> concluida<\/span> otra<\/span> novela<\/span>, Orfeo<\/span> se muda<\/span> al infierno<\/span>,<\/em> una<\/span> recreaci\u00f3n<\/span> del mito<\/span> de Orfeo<\/span> en ambientes<\/span> marginales<\/span> contempor\u00e1neos<\/span> que<\/span> a la postre<\/span>, m\u00e1s<\/span> all\u00e1<\/span> de la propia<\/span> historia<\/span> narrada<\/span>, constituye<\/span> una<\/span> reflexi\u00f3n<\/span> sobre<\/span> c\u00f3mo<\/span> se imbrican<\/span> realidad<\/span> y fantas\u00eda<\/span> en nuestra<\/span> vida<\/span> cotidiana<\/span>. Una<\/span> narraci\u00f3n<\/span> en la que<\/span> he asumido<\/span> riesgos<\/span> formales<\/span> y estructurales<\/span> de los que<\/span> personalmente<\/span> estoy<\/span> satisfecho<\/span>.<\/p>\n

\t\u00a0<\/p>\n

\tEntre<\/span> tanto<\/span>, y con alg\u00fan<\/span> nuevo<\/span> proyecto<\/span> ya<\/span> esbozado<\/span>, espero<\/span> seguir<\/span> trabajando<\/span> en la difusi\u00f3n<\/span> de Los d\u00edas<\/span> de “Len\u00edn”<\/span><\/em><\/strong> y en mis<\/span> colaboraciones<\/span> habituales<\/span> en revistas<\/span> como<\/span> Revista<\/span> Rambla<\/span> y Culturamas<\/span>, adem\u00e1s<\/span> de ejercer<\/span> mi profesi\u00f3n<\/span> de editor en Grupo<\/span> Oc\u00e9ano<\/span>, de Barcelona, que<\/span> es<\/span> la ocupaci\u00f3n<\/span>, junto<\/span> con el trabajo<\/span> de mi mujer<\/span>, que<\/span> actualmente<\/span> da<\/span> de comer a mis<\/span> dos chavales<\/span>.<\/p>\n

\t\u00a0<\/p>\n

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

\t\u00a0<\/p>","protected":false},"excerpt":{"rendered":"

El pasado 20 de febrero se present\u00f3 en la Librer\u00eda Taifa de Barcelona la novela Los d\u00edas de \u00abLen\u00edn\u00ab, original de Ignacio Gonz\u00e1lez Orozco y publicada por el sello madrile\u00f1o Izana Editores. Narra el reencuentro de un anciano escritor con el lugar donde casualmente asisti\u00f3 al estallido de la Guerra […]<\/p>\n","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-4908","post","type-post","status-publish","format-standard","hentry","category-libros"],"yoast_head":"\nLOS DIAS DE LEN\u00cdN - 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\/los-dias-de-lenin\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"LOS DIAS DE LEN\u00cdN - Revista Rambla\" \/>\n<meta property=\"og:description\" content=\"El pasado 20 de febrero se present\u00f3 en la Librer\u00eda Taifa de Barcelona la novela Los d\u00edas de \u00abLen\u00edn\u00ab, original de Ignacio Gonz\u00e1lez Orozco y publicada por el sello madrile\u00f1o Izana Editores. Narra el reencuentro de un anciano escritor con el lugar donde casualmente asisti\u00f3 al estallido de la Guerra […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.revistarambla.com\/en\/los-dias-de-lenin\/\" \/>\n<meta property=\"og:site_name\" content=\"Revista Rambla\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/revistarambla\/\" \/>\n<meta property=\"article:published_time\" content=\"2014-02-28T10:58:58+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/i0.wp.com\/www.revistarambla.com\/wp-content\/uploads\/2014\/02\/escritor_rambla_01.jpg?fit=682%2C450&ssl=1\" \/>\n\t<meta property=\"og:image:width\" content=\"682\" \/>\n\t<meta property=\"og:image:height\" content=\"450\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"admin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@revistarambla\" \/>\n<meta name=\"twitter:site\" content=\"@revistarambla\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"admin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"14 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/los-dias-de-lenin\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/los-dias-de-lenin\\\/\"},\"author\":{\"name\":\"admin\",\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/#\\\/schema\\\/person\\\/4a5652fc8c82df1f8593002d038cd79e\"},\"headline\":\"LOS DIAS DE LEN\u00cdN\",\"datePublished\":\"2014-02-28T10:58:58+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/los-dias-de-lenin\\\/\"},\"wordCount\":2881,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/los-dias-de-lenin\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.revistarambla.com\\\/wp-content\\\/uploads\\\/2014\\\/02\\\/escritor_rambla_01.jpg\",\"articleSection\":[\"Libros\"],\"inLanguage\":\"en-GB\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/www.revistarambla.com\\\/los-dias-de-lenin\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.revistarambla.com\\\/los-dias-de-lenin\\\/\",\"url\":\"https:\\\/\\\/www.revistarambla.com\\\/los-dias-de-lenin\\\/\",\"name\":\"LOS DIAS DE LEN\u00cdN - 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