Vestíbulos del hombre público: Prólogos ‘desconocidos’ de Rubén Darío
Keywords:
Rubén Darío, Potcoloniality, Edgar Allan Poe, publicAbstract
Se dice que el cerebro de Darío fue extraído de sus restos para servir de objeto científico y concretizar, en términos materiales/físicos, el genio artístico del poeta. A pesar de la convención científica que esta práctica representa, no deja de ser una situación análoga a lo que sucede cuando, en el siglo veintiuno, se analizan y tratan de desentrañar obras poéticas producidas en el siglo diecinueve. La forma biográfica del escritor queda plasmada en materia gris, propiedad pública. El mismo Darío anticipó este proceso de enajenamiento en su prólogo de una traducción de “El cuervo” de Edgar Allan Poe, donde dice: “Muy en breve se borran las huellas personales y el hombre desaparece detrás de su obra cuando esta subsiste”. En el caso de Darío, estas huellas personales han quedado grabadas además de en las tantas crónicas y misivas, en los prefacios a (sus) obras clásicas.
Aunque en este ensayo me interesan cuatros prólogos dirigidos a otros escritores, cabe recordar aquellos que Rubén Darío escribió para su propia producción artística, como testimonios de un proyecto estético importantes para la crítica cultural, literaria latinoamericanista y postcolonial.
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