La imagen del infierno y la crisis del progreso histórico en <i>El color que el infierno me escondiera</i> de Carlos Martínez Moreno
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Carlos Martínez Moreno, El color que el infierno me escondiera, ficción histórica, Uruguay, tupamarosResumen
La novela El color que el infierno me escondiera del escritor uruguayo Carlos Martínez Moreno, centrada en la época de la dictadura cívico-militar en Uruguay (1973-1985), narra la historia de los abusos de poder del estado y la de la decadencia del Movimiento de Liberación Nacional-Tupamaros (MLN-T) hacia finales de la década de los años sesenta y a principios de la década de los setenta. Los tupamaros eran uno de los grupos guerrilleros más famosos de Hispanoamérica de la segunda mitad del siglo XX, asociados por muchos con Robin Hood, el legendario defensor de los desposeídos. En la novela del autor uruguayo el infierno representa un momento histórico en que los ideales de cambios sociales de los guerrilleros degeneraron en actos de violencia política. Esta imagen del infierno está inspirada en la de Dante Alighieri en su Divina comedia, uno de cuyos versos sirve de título a la obra de Martínez Moreno. Aunque hay similitudes entre el infierno de Martínez Moreno y el de Dante, este estudio examinará cómo el concepto del tiempo en la obra del autor uruguayo difiere del tiempo cíclico y repetitivo de muchas representaciones tradicionales del infierno que muestran pecadores que sufren una condena eterna. En la novela de Martínez Moreno el sufrimiento, además de poner en cuestión la moralidad de la conducta individual, está relacionado con el fracaso político de diferentes visiones de progreso social cuyo concepto del tiempo es lineal. Así, se analizarán dos visiones del progreso en particular que se debaten implícitamente en la novela: una que defiende una política de la no violencia y la reflexión crítica y otra que recurre a la resistencia violenta. Se mostrará cómo la narración subraya la manera en que la decisión de usar la violencia para lograr fines políticos, al destruir o deslegitimizar los proyectos del progreso pacífico, se convierte en uno de los principales contribuidores al infierno que existió en Uruguay.
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