Hacia <em>Los sentidos de la distorsión</em> de Pablo Baler. Reseña de <em>Los sentidos de la distorsión</em> de Pablo Baler (Buenos Aires: Editorial Corregidor, 2008)
Palabras clave:
distorsión, barroco, sentidos, Jorge Luis Borges, Severo Sarduy, Hans Holbein, metáfora, Vicente HuidobroResumen
El escritor y crítico Pablo Baler en su libro Los sentidos de la distorsión: fantasías epistemológicas del neobarroco hispanoamericano, se inserta en esa tradición de estudiosos y pensadores del fenómeno estético de lo barroco. Este libro actualiza muchas de las ideas sobre el tema que para no pocos “estudiosos” ya había quedado obsoleto. Así, la primera virtud del libro descansa en la capacidad intuitiva (imaginativa) de Baler para reactivar conceptos teóricos y retóricos—dígase anáfora, retruécano, hipérbaton, perspectivismo, metáfora…—aparentemente en desuso, con el objetivo de trazar las coordenadas de su mapa analítico. Cartografía que tiene de principal territorio al espacio latinoamericano, y a figuras capitales como Vicente Huidobro, Jorge Luis Borges y Severo Sarduy como habitantes/actuantes de esa zona de investigación. Por poner un ejemplo de esa capacidad de intuición de Baler, tenemos en la Introducción el famoso cuento de Borges “Tlön, Uqbar, Orbis Tertius” (1940) actuando como una especie de traducción del cuadro Los embajadores (1533) de Hans Holbein. Para el autor de Los sentidos de la distorsión todas las manifestaciones estéticas y artísticas devienen en escrituras/textos en constante plegar(se) y replegar(se). De ahí que, gracias al impulso generador de lo barroco, un relato llegue a convertirse/metamorfosearse en traducción de un lienzo o de un principio matemático o filosófico.
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