Manuela Distancia, por Luis Miranda Echeverry

Manuela Distancia, por Luis Miranda Echeverry


En una época en que “la guerra fría entre las naciones más poderosas del mundo se calienta bajo los trópicos” nace una farsa de imaginación cínica y carnavelesca, Manuela Distancia del escritor Juan Sebastián Rojas Miranda (Fóllale, manco, 2018; Diana o ¡Qué viva el reggaetón!, 2016). Esta novela no es una máscara tras la cual una voz nos revela la verdad de nuestra realidad, no es un mundo al revés que nos muestra lo absurdo de nuestra civilización, sino que es nuestra civilización sin eufemismos. 

Cali es la capital del país; Medellín es el campo de batalla de la guerra contra Venezuela y Brasil, el aliado evangélico-militar que se apodera todo. En ese mundo ultra policiaco, la BrigaLit Manuela Distancia, una agente encargada de salvaguardar el capital literario de la Nación, debe resolver el hurto del original de María, perpetrado por un ser aparentemente invisible que resulta ser un profesor de literatura comparada que ha hecho bien su tránsito por la transculturación narrativa, lo que le ha dado poderes provenientes de la santería, de la cosmogonía indígena y del panteón popular colombiano: Pablo Mohán.

La búsqueda es cínicamente ineficaz y una de las teorías que se plantean para explicar la misteriosa desaparición del manuscrito es que algunos grupos narcotraficantes han encontrado la forma de transportarse a las novelas naturalistas para fabricar cocaína, convertir a todos los personajes en raspachines y a todas esas novelas en narco-novelas.

En un mundo en el que la fe es un redbull, el habla corriente está plagada de proverbios de reggaetón y a todos la guerra les ha dejado un recuerdo, Pablo Mohán es el héroe perseguido, cuya filosofía es alejarse del deseo, que alimenta la civilización enferma, y acercarse al goce, que se puede resumir en un vivir el presente simple y puntual, sin antes ni después. En realidad, el delito de Pablo es ser un romántico en una época en que serlo es tan criminal como ser mamerto.

Esta es una obra llena de pasadizos, sobre la necesidad humana de ser otros, de vivir otras vidas. Posee una lengua particular, fruto de la densidad caricaturesca de la farsa, en el que todo es superfluo y los personajes, grotescos e infantiles, parecen burlarse de los recursos novelísticos, hasta que, en el capítulo final, la aventura de Manuela Distancia revela su verdadero sentido.

Finalista del V Premio internacional de narrativa “novelas ejemplares” y ganadora de la beca de Estímulos 2019 de la Alcaldía de Cali, esta obra solo tiene un tropiezo: en este universo distópico y carnavelasco, reencaucha la sentencia de Víctor Hugo según la cual Francia es la capital de la civilización porque es la capital de la revolución, cosa que parece más un homenaje personal que un trayecto lógico del universo de Manuela Distancia. 

Juan Sebastián Rojas Miranda
Ediciones ElSilencio y USC
104 pags.

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