{"id":8063,"date":"2015-10-26T16:28:11","date_gmt":"2015-10-26T16:28:11","guid":{"rendered":"https:\/\/www.revistarambla.com\/talar-madera\/"},"modified":"2021-04-13T17:31:09","modified_gmt":"2021-04-13T15:31:09","slug":"talar-madera","status":"publish","type":"post","link":"https:\/\/www.revistarambla.com\/en\/talar-madera\/","title":{"rendered":"Talar madera"},"content":{"rendered":"

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

Holzf\u00e4llen<\/span><\/i> termina<\/span> con una<\/span> cr\u00edtica<\/span> interna<\/span>: \u00e9l<\/span> mismo<\/span> (la voz<\/span> que<\/span> mira<\/span> y reflexiona<\/span> y no participa<\/span> m\u00e1s<\/span> que<\/span> a rega\u00f1adientes<\/span>) es<\/span> tan hip\u00f3crita<\/span> y abyecto<\/span> como<\/span> aquello<\/span> y aquellos<\/span> que<\/span> observa<\/span> con n\u00e1usea<\/span>. Otro<\/span> narrador<\/span> en esta<\/span> l\u00ednea<\/span>, el Ecce<\/span> Homo,<\/i> tambi\u00e9n<\/span> sab\u00eda<\/span> que<\/span> ganar<\/span> un espacio<\/span> para<\/span> maldecir<\/span> la decadencia<\/span> no nos libra<\/span> de la decadencia<\/span>; que<\/span> s\u00f3lo<\/span> en la lucha<\/span> por<\/span> ese<\/span> espacio<\/span> y en la esforzada<\/span> guarda<\/span> del mismo<\/span> podemos<\/span> superar<\/span> la decadencia<\/span> (s\u00f3lo<\/span> as\u00ed<\/span> puede<\/span> ocurrir<\/span> que<\/span> uno<\/span>, que<\/span> es<\/span> decadente<\/span>, no sea decadente<\/span>). La Viena<\/span> odiada<\/span> es<\/span> a la vez<\/span> la Viena<\/span> amada<\/span>; la bajeza<\/span> es<\/span> a la vez<\/span> la propia<\/span> bajeza<\/span>; la distancia<\/span> es<\/span> distancia<\/span> interna<\/span>.<\/p>\n

La disposici\u00f3n<\/span> misma<\/span> de la trama<\/span> expresa<\/span> distancia<\/span>: un narrador<\/span> originario<\/span> de Viena<\/span> se ha marchado<\/span> de Viena<\/span> para<\/span> volver<\/span> a Viena<\/span> y criticar<\/span> Viena<\/span> despiadadamente<\/span>. (Este<\/span> es<\/span> tambi\u00e9n<\/span> el modelo<\/span> de Alte<\/span> Meister<\/span><\/i>). Y por<\/span> supuesto<\/span> tambi\u00e9n<\/span> el contenido<\/span>, la substancia<\/span> de lo que<\/span> el narrador<\/span> tiene<\/span> que<\/span> decir<\/span>, es<\/span>, fundamentalmente<\/span>, expresi\u00f3n<\/span> de esa<\/span> distancia<\/span> a la que<\/span> el narrador<\/span> dice haberse<\/span> obligado<\/span> a s\u00ed<\/span> mismo<\/span> una<\/span> vez<\/span>: es<\/span> preciso<\/span> estar<\/span> muy<\/span> alerta<\/span> si<\/span> no se quiere<\/span> caer<\/span> en las<\/span> mil trampas<\/span> que<\/span> nos tienden<\/span> siempre<\/span>, es<\/span> preciso<\/span> estar<\/span> en guardia<\/span> para<\/span> no arruinarnos<\/span> de la peor<\/span> de las<\/span> maneras<\/span>. La sociedad<\/span> como<\/span> trampa<\/span>, el Estado<\/span> como<\/span> trampa<\/span>, el amor y el matrimonio<\/span>, los oficios<\/span> y las<\/span> profesiones<\/span> como<\/span> trampas<\/span>. Uno tiene<\/span> que<\/span> romper con todo<\/span> eso<\/span> si<\/span> quiere<\/span> mantenerse<\/span> a la altura<\/span> de la tarea<\/span> propia<\/span><\/i>. Mantenerse<\/span> en un consciente<\/span> y fr\u00edo<\/span> apartamiento<\/span> respecto<\/span> a ese<\/span> mundo<\/span> que<\/span> de otro<\/span> modo<\/span> no ser\u00eda<\/span> solamente<\/span> degenerado<\/span> sino<\/span> tambi\u00e9n<\/span> degenerante<\/span>. Como en Nietzsche la enfermedad<\/span> es<\/span> en Bernhard m\u00e9todo<\/span> de ruptura<\/span> y de defensa<\/span>; y la suprema<\/span> arrogancia<\/span> nada m\u00e1s<\/span> que<\/span> una<\/span> expresi\u00f3n<\/span> de la necesidad<\/span> constante<\/span> de conquistar<\/span> distancia<\/span>.<\/p>\n

La distancia<\/span> es<\/span> pues<\/span> lo que<\/span> mantiene<\/span> al narrador<\/span> de Holzf\u00e4llen<\/span><\/i> sentado<\/span> en su<\/span> sill\u00f3n<\/span> de orejas<\/span> durante<\/span> una<\/span> \u00abcena<\/span> art\u00edstica<\/span>\u00bb (su<\/span> participaci\u00f3n<\/span> en la cena<\/span> consiste<\/span> b\u00e1sicamente<\/span> en su<\/span> observaci\u00f3n<\/span> de la misma<\/span>). Ah\u00ed<\/span> est\u00e1<\/span> el narrador<\/span>, sentado<\/span> a rega\u00f1adientes<\/span>, sin deseo<\/span> alguno<\/span> de levantarse<\/span> y participar<\/span>, sabiendo<\/span> bien<\/span>, a pesar<\/span> de todo<\/span>, que<\/span> su<\/span> existencia<\/span> como<\/span> escritor<\/span> y, por<\/span> tanto<\/span>, su<\/span> estar<\/span> ahora<\/span> mismo<\/span> ah\u00ed<\/span> sentado<\/span> en el sill\u00f3n<\/span>, hunde<\/span> sus<\/span> ra\u00edces<\/span> en cenas<\/span> como<\/span> \u00e9sa<\/span> y en el trato<\/span> con gentes<\/span> como<\/span> \u00e9sas<\/span> (sus<\/span> anfitriones<\/span> los Auersberger<\/span> han<\/span> sido<\/span> para<\/span> \u00e9l<\/span> algo<\/span> as\u00ed<\/span> como<\/span> mecenas<\/span>), de modo<\/span> que<\/span> ese<\/span> espacio<\/span> que<\/span> detesta<\/span> no deja<\/span> pues<\/span> de ser<\/span> su<\/span> propio<\/span> espacio<\/span>, si<\/span> bien<\/span> ah\u00ed<\/span> el narrador<\/span> est\u00e1<\/span>, como<\/span> hemos<\/span> dicho<\/span>, sin estar<\/span> totalmente<\/span>: est\u00e1<\/span> apartado<\/span>, est\u00e1<\/span> solo, observando<\/span> desde<\/span> la distancia<\/span>. Pues<\/span> bien<\/span>, esta<\/span> distancia<\/span>, contenido<\/span> esencial<\/span> de todo<\/span> el libro<\/span> ya<\/span> en la medida<\/span> en que<\/span> la escritura<\/span> del mismo<\/span> tiene<\/span> origen<\/span> en una<\/span> excitaci\u00f3n<\/span> (Eine<\/span> Erregung<\/span><\/i> es<\/span> el subt\u00edtulo<\/span> de obra<\/span>), y uno<\/span> se excita<\/span> s\u00f3lo<\/span> con aquello<\/span> que<\/span> le toca<\/span> de cerca<\/span> y tiene<\/span> cerca<\/span> y frente<\/span> a lo que<\/span>, precisamente<\/span> como<\/span> excitado<\/span>, reacciona<\/span>, lo cual<\/span>, en ciertos<\/span> casos<\/span>, significa<\/span> que<\/span> se aparta<\/span>; esta<\/span> distancia<\/span> \u2013digo\u2013<\/span> se expresa<\/span> hacia<\/span> el final de la cena<\/span> art\u00edstica<\/span> en los gestos<\/span> y las<\/span> palabras<\/span> del hombre por<\/span> el cual<\/span> todo<\/span> se ha organizado<\/span>: el actor del Burgtheater<\/span> de Viena<\/span>, invitado<\/span> de honor de los Auersberger<\/span>, se ha excitado<\/span> sobremanera<\/span> a consecuencia<\/span> de la impertinencia<\/span> de quien<\/span> est\u00e1<\/span> ah\u00ed<\/span> como<\/span> recuerdo<\/span> de esas<\/span> mil trampas<\/span> de las<\/span> de una<\/span> y otra<\/span> forma y una<\/span> y otra<\/span> vez<\/span> se nos dice que<\/span> hemos<\/span> de guardarnos<\/span>, que<\/span> necesitamos<\/span> todo<\/span> lo que<\/span> tenemos<\/span> para<\/span> poder<\/span> guardarnos<\/span>. La pseudo-artista<\/span> Jeannie Billroth<\/span> le ha hecho<\/span> una<\/span> pregunta<\/span> tan tonta<\/span>, tan indecorosa<\/span><\/i> que<\/span> el actor del Burg se excita<\/span> y explota<\/span> y le dice la verdad<\/span> a la cara<\/span><\/i>. Sigue<\/span> entonces<\/span> esa<\/span> especie<\/span> de puesta<\/span> en escena<\/span> de la substancia<\/span> misma<\/span> del libro<\/span>, pues<\/span> esos<\/span> gestos<\/span> y palabras<\/span> pronunciadas<\/span> en estado<\/span> de m\u00e1xima<\/span> excitaci\u00f3n<\/span><\/i>, de forma completamente<\/span> inesperada<\/span> y asombrosa<\/span>, no ser\u00e1n<\/span> palabras<\/span> cualesquiera<\/span> sino<\/span> palabras<\/span> fuertes<\/span>, filos\u00f3ficas<\/span><\/i>. El actor del Burg, hasta<\/span> el momento<\/span> nada m\u00e1s<\/span> que<\/span> un personaje<\/span> repulsivo<\/span>, tan repulsivo<\/span> como<\/span> los otros<\/span>, deviene<\/span> de pronto persona<\/i>, persona filos\u00f3fica<\/span><\/i>, y dice algo<\/span> que<\/span> no suena<\/span> est\u00fapido<\/span> sino<\/span> que<\/span> suena<\/span> que<\/span> filos\u00f3fico<\/span><\/i>. Entre<\/span> sus<\/span> palabras<\/span>, sus<\/span> palabras<\/span> tal<\/span> y como<\/span> el narrador<\/span> las<\/span> recibe<\/span>, encontramos<\/span> por<\/span> primera<\/span> vez<\/span> la noci\u00f3n<\/span> que<\/span> da<\/span> t\u00edtulo<\/span> a la obra<\/span>, pues<\/span> varias<\/span> veces<\/span> dice: Wald<\/span>, Hochwald<\/span>, Holzf\u00e4llen<\/span><\/i>. Y antes ha dicho<\/span>: In den Wald<\/span> gehen<\/span>, tief<\/span> in den Wald<\/span> hinein<\/span>, sich<\/span> g\u00e4nzlich<\/span> dem<\/span> Wald<\/span> \u00fcberlassen<\/span>, das<\/span> ist<\/span> es<\/span> immer<\/span> gewesen<\/span>, der<\/span> Gedanke<\/span>, nicht<\/span> anderes<\/span>, als<\/span> selbst<\/span> Natur<\/span> zu<\/span> sein<\/span><\/i>.<\/p>\n

Que<\/span> sea justo<\/span> la figura<\/span> de \u00abarte<\/span>\u00bb la que<\/span> hace<\/span> una<\/span> referencia<\/span> esencial<\/span> a \u00abnaturaleza<\/span>\u00bb obedece<\/span> quiz\u00e1<\/span> a la misma<\/span> raz\u00f3n<\/span> por<\/span> la que<\/span> el personaje<\/span> vulgar deviene<\/span> fil\u00f3sofo<\/span> por<\/span> un instante<\/span> y el narrador<\/span> dice odiar<\/span> y sin embargo amar<\/span> Viena<\/span>: porque<\/span> la distancia<\/span> solamente<\/span> es<\/span> genuina<\/span> si<\/span> es<\/span> interna<\/span>; porque<\/span> para<\/span> criticar<\/span> Viena<\/span> uno<\/span> tiene<\/span> que<\/span> pagar<\/span> el precio<\/span> de pertenecer<\/span> a Viena<\/span>; porque<\/span> Londres<\/span> no es<\/span> otra<\/span> cosa<\/span> que<\/span> estar-lejos-de-Viena<\/span> para<\/span> observar<\/span> bien<\/span> Viena<\/span> y guardarse<\/span> de Viena<\/span>. Filosofamos<\/span> s\u00f3lo<\/span> a veces<\/span>, somos<\/span> l\u00facidos<\/span> s\u00f3lo<\/span> a veces<\/span>, somos<\/span> fuertes<\/span> en un estado<\/span> general de debilidad<\/span>, grandes<\/span> en mitad<\/span> de la decadencia<\/span>. Por<\/span> eso<\/span> es<\/span> alguien<\/span> vulgar quien<\/span> dice algo<\/span> filos\u00f3fico<\/span> en Holzf\u00e4llen<\/span><\/i>, y aunque<\/span> sea cosa<\/span> de un instante<\/span>, eso<\/span> no le quita<\/span> m\u00e9rito<\/span>: es<\/span> verdad<\/span> que<\/span> el estado<\/span> filos\u00f3fico<\/span><\/i> se desvanecer\u00e1<\/span> en cuanto<\/span> llegue<\/span> la ma\u00f1ana<\/span>, pero<\/span> no todo<\/span> el mundo<\/span> puede<\/span> alcanzar<\/span> durante<\/span> una<\/span> cena<\/span>, aunque<\/span> s\u00f3lo<\/span> sea puntualmente<\/span> y en despedida<\/span>, un estado<\/span> filos\u00f3fico<\/span><\/i>.<\/p>\n

Volvamos<\/span> a la frase<\/span> que<\/span> pronuncia<\/span> el hombre de arte<\/span> si<\/span> le sacan<\/span> de quicio<\/span>: Der<\/span> Gedanke<\/span>, nichts<\/span> anderes<\/span> als<\/span> selbst<\/span> Natur<\/span> zu<\/span> sein<\/span><\/i>. Son palabras<\/span> dichas<\/span> en estado<\/span> de excitaci\u00f3n<\/span> y de embriaguez<\/span>. Al fin y al cabo<\/span>, en el simposio<\/span> vien\u00e9s<\/span> el actor del Burg es<\/span> como<\/span> Alcib\u00edades<\/span>, ha bebido<\/span> m\u00e1s<\/span> de lo que<\/span> le conven\u00eda<\/span> y ha dicho<\/span> por<\/span> ello<\/span> unas<\/span> cuantas<\/span> verdades<\/span>, haciendo<\/span> as\u00ed<\/span> emerger<\/span> a trav\u00e9s<\/span> suyo<\/span> ein<\/span> Alt-Philosophisches<\/span><\/i>, volvi\u00e9ndose<\/span> interesante<\/span> justo<\/span> entonces<\/span>, justo<\/span> despu\u00e9s<\/span> de haber<\/span> bebido<\/span> demasiado<\/span>, justo<\/span> despu\u00e9s<\/span> de empezar<\/span> a repetir<\/span> continuamente<\/span> la secuencia<\/span> Wald<\/span>, Hochwald<\/span>, Holzf\u00e4llen<\/span><\/i>. Su embriaguez<\/span> es<\/span> clarividencia<\/span>, el polo opuesto<\/span> de la renuncia<\/span> cognitiva<\/span> de ese<\/span> artista<\/span> fracasado<\/span> y pusil\u00e1nime<\/span> que<\/span> es<\/span> Auersberger<\/span>, quien<\/span> ya<\/span> ha perdido<\/span> la conciencia<\/span> varias<\/span> veces<\/span> y est\u00e1<\/span> completamente<\/span> borracho<\/span>. El narrador<\/span>, quien<\/span> tambi\u00e9n<\/span> ha bebido<\/span> bastante<\/span>, admite<\/span> haber<\/span> sido<\/span> cautivado<\/span>, fascinado<\/span> por<\/span> el actor del Burg, pero<\/span> s\u00f3lo<\/span> a partir<\/span> de su<\/span> excitaci\u00f3n<\/span>, de su<\/span> embriaguez<\/span>, s\u00f3lo<\/span> a partir<\/span> del momento<\/span> en que<\/span> ha empezado<\/span> a decir<\/span> continuamente<\/span> Wald<\/span>, Hochwald<\/span>, Holzf\u00e4lle<\/span><\/i>.<\/p>\n

El deseo<\/span> del artista<\/span> de abandonarse<\/span> completamente<\/span> al bosque<\/span><\/i>, su<\/span> querer<\/span> estar<\/span> en casa<\/i> en la naturaleza<\/span><\/i>, o sea, en lo contrario<\/span> de arte<\/span> y artificio<\/span><\/i>, no puede<\/span> ser<\/span> aqu\u00ed<\/span> nostalgia moderna<\/span> de una<\/span> antigua<\/span> armon\u00eda<\/span>, ni<\/span> siquiera<\/span> queja<\/span> de una<\/span> relaci\u00f3n<\/span> trastornada<\/span>, pues<\/span> eso<\/span> no ser\u00eda<\/span> en ning\u00fan<\/span> caso<\/span> verdad<\/span> moderna<\/span>, sino<\/span> m\u00e1s<\/span> falsedad<\/span>, m\u00e1s<\/span><\/i> pose<\/i> moderna<\/span>, y ahora<\/span> el actor est\u00e1<\/span> filosofando<\/span>, lo sepa<\/span> \u00e9l<\/span> mismo<\/span> o no lo sepa<\/span>. Que<\/span> el actor del Burg se haya<\/span> vuelto<\/span> interesante<\/span> significa<\/span> que<\/span> el narrador<\/span> no oye<\/span> sus<\/span> palabras<\/span> como<\/span> expresi\u00f3n<\/span> de un simple deseo<\/span> de huir<\/span> al bosque<\/span> y refugiarse<\/span> y salvarse<\/span> en el bosque<\/span>, pues<\/span> sabe<\/span> perfectamente<\/span> que<\/span> bosque<\/span> y naturaleza<\/span> hace<\/span> tiempo<\/span> que<\/span> han<\/span> dejado<\/span> de existir<\/span>, incluso<\/span> sabe<\/span> que<\/span> la propia<\/span> \u00abcena<\/span> art\u00edstica<\/span>\u00bb en la que<\/span> pese<\/span> a todo<\/span> participa<\/span> se nutre<\/span> justamente<\/span> de la explotaci\u00f3n<\/span> y destrucci\u00f3n<\/span> sistem\u00e1tica<\/span> de lo que<\/span> pueda<\/span> quedar<\/span> a\u00fan<\/span> en pie de la naturaleza<\/span>. (La b\u00fasqueda<\/span> de calma<\/span> y abrigo<\/span> en la alta<\/span> monta\u00f1a<\/span> es<\/span> desmitificada<\/span>, por<\/span> ejemplo<\/span>, en el relato<\/span> Wiedersehen<\/span><\/i>, como<\/span> en Verst\u00f6rung<\/span> <\/i>se arremete<\/span> contra los t\u00f3picos<\/span> de autenticidad<\/span> y bondad<\/span> campesinas<\/span>). Y si<\/span> no es<\/span> eso<\/span> lo que<\/span> oye<\/span>, \u00bfqu\u00e9<\/span> es<\/span>?<\/p>\n

Que<\/span> un fil\u00f3sofo<\/span> remita<\/span> al bosque<\/span> no es<\/span> nada fuera<\/span> de lo corriente<\/span> si<\/span> \u00abfilosof\u00eda<\/span>\u00bb sigue<\/span> siendo<\/span> a\u00fan<\/span> \u00abvivir<\/span> voluntariamente<\/span> en el hielo<\/span> y la alta<\/span> monta\u00f1a<\/span>\u00bb. (Bosque<\/span> y monta\u00f1a<\/span> son as\u00ed<\/span> nombres<\/span> de la distancia<\/span> de la visi\u00f3n<\/span> y el \u00abm\u00e1s<\/span> all\u00e1<\/span>\u00bb de \u00abmetaf\u00edsica<\/span>\u00bb, nombres<\/span> de aquello<\/span> que<\/span> nos hace<\/span> mantenernos<\/span> a pesar<\/span> de todo<\/span> en el camino<\/span> pedregoso<\/span><\/i>.) Por<\/span> otro<\/span> lado<\/span>, habiendo<\/span> quedado<\/span> descartada<\/span> la lectura<\/span> escapista<\/span> (escapista<\/span> era tambi\u00e9n<\/span> el amueblar<\/span> la casa propia<\/span> estilo<\/span> Imperio<\/span>), la referencia<\/span> a Natur<\/span><\/i> s\u00f3lo<\/span> puede<\/span> ser<\/span> interesante<\/span> como<\/span> lo que<\/span> el narrador<\/span> mismo<\/span> dice que<\/span> es<\/span>: una<\/span> referencia<\/span> filos\u00f3fica<\/span>. No hay alternativa<\/span> frente<\/span> a la farsa<\/span> art\u00edstica<\/span>; el bosque<\/span> no es<\/span> recuperable<\/span> (el \u00abI went to the woods\u00bb ser\u00eda<\/span> hoy<\/span> simplemente<\/span> una<\/span> ilegalidad<\/span>). La referencia<\/span> a Natur<\/span><\/i> es<\/span> interesante<\/span> en cuanto<\/span> expresi\u00f3n<\/span> de un apartamiento<\/span>, no de una<\/span> alternativa<\/span>: si<\/span> el actor del Burg necesita<\/span> ir<\/span> a la Natur<\/span><\/i> es<\/span> precisamente<\/span> por<\/span> mor<\/span> de la Kunst<\/span><\/i>, para<\/span> estudiar<\/span> a fondo<\/span> y preparase<\/span> a fondo<\/span> para<\/span> la Kunst<\/span><\/i> y ser<\/span> as\u00ed<\/span> K\u00fcnstler<\/span><\/i> no en los bosques<\/span>, evidentemente<\/span>, sino<\/span> en Viena<\/span>.<\/p>\n

El camino<\/span> pedregoso<\/span>, camino<\/span><\/i> del genio<\/span> (ese<\/span> camino<\/span> que<\/span> el pseudo-artista<\/span> abandona<\/span> en busca<\/span> de premios<\/span> y esposas<\/span> ricas<\/span>) consiste<\/span> no s\u00f3lo<\/span> en haber<\/span> estado<\/span> lejos<\/span> y al margen<\/span> una<\/span> vez<\/span> (haber<\/span> estado<\/span> en los bosques<\/span> una<\/span> vez<\/span>, haber<\/span> sido<\/span> joven<\/span> una<\/span> vez<\/span>), sino<\/span> (esto<\/span> es<\/span> lo dif\u00edcil<\/span>) en mantenerse<\/span> lejos<\/span> y al margen<\/span> una<\/span> y otra<\/span> y otra<\/span> vez<\/span> (en Londres<\/span>, en el sill\u00f3n<\/span> de orejas<\/span>, a los cincuenta<\/span> a\u00f1os<\/span>). Por<\/span> eso<\/span> bosque<\/span> y naturaleza<\/span> son perspectiva<\/span> y nada m\u00e1s<\/span>, piedra<\/span> de toque y nada m\u00e1s<\/span>, desenmascaramiento<\/span> y nada m\u00e1s<\/span>, si<\/span> bien<\/span> con la ventaja<\/span> de que<\/span> Natur<\/span><\/i> resulta<\/span> ser<\/span> tambi\u00e9n<\/span> el nombre<\/span> de algo<\/span> viejo<\/span> y venerable que<\/span> quiz\u00e1<\/span> no se encuentre<\/span> ya<\/span> en ninguna<\/span> parte<\/span>. El rom\u00e1ntico<\/span> anhelo<\/span> de ser-uno-con-la-naturaleza<\/span> no es<\/span> sino<\/span> eso<\/span>, un anhelo<\/span> rom\u00e1ntico<\/span>, pues<\/span> \u00abuno<\/span> mismo<\/span>\u00bb es<\/span> justo<\/span> lo contrario<\/span> de \u00abnaturaleza<\/span>\u00bb; es<\/span> m\u00e1s<\/span>, la naturaleza<\/span> misma<\/span> no ser\u00eda<\/span> nada \u2013nada m\u00e1s<\/span> que<\/span> silencio<\/span>, opacidad<\/span>, eterna<\/span> noche<\/span>, inexistencia\u2013<\/span> si<\/span> no se hubiese<\/span> apartado<\/span> un \u00abuno<\/span> mismo<\/span>\u00bb \u2013se rompe<\/span> la armon\u00eda<\/span>, se tala<\/span> la madera<\/span><\/i>\u2013 para<\/span> conocerla<\/span>. Y este<\/span> conocimiento<\/span> ya<\/span> no es<\/span>, l\u00f3gicamente<\/span>, naturaleza<\/span>: es<\/span> arte<\/span>.<\/p>","protected":false},"excerpt":{"rendered":"

Holzf\u00e4llen termina con una cr\u00edtica interna: \u00e9l mismo (la voz que mira y reflexiona y no participa m\u00e1s que a rega\u00f1adientes) es tan hip\u00f3crita y abyecto como aquello y aquellos que observa con n\u00e1usea. Otro narrador en esta l\u00ednea, el Ecce Homo, tambi\u00e9n sab\u00eda que ganar un espacio para maldecir […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4,60],"tags":[],"class_list":["post-8063","post","type-post","status-publish","format-standard","hentry","category-cultura","category-libros"],"yoast_head":"\nTalar madera - 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\/talar-madera\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Talar madera - Revista Rambla\" \/>\n<meta property=\"og:description\" content=\"Holzf\u00e4llen termina con una cr\u00edtica interna: \u00e9l mismo (la voz que mira y reflexiona y no participa m\u00e1s que a rega\u00f1adientes) es tan hip\u00f3crita y abyecto como aquello y aquellos que observa con n\u00e1usea. 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