DAÑOS COLATERALESPEPO PÉREZ
PEPOPEREZ@ELPERIODICO.COM
METRALLA
Autora: Rutu Modan
Traducción: Eulália Sariola y Bárbara Virgil
Editorial: Sins Entido
Páginas: 168
Precio: 18 €
Sinopsis: dos jóvenes israelíes buscan al padre desaparecido de uno de ellos, que podría ser la víctima no identificada en un atentado.
Metralla se gana al lector por varias razones. Principalmente, por ofrecer una panorámica razonablemente realista, cercana en ocasiones a la textura documental, de la vida cotidiana en Israel. No pretende evitar el ruido de fondo que todos sabemos, el conflicto con los palestinos, pero tampoco convertirlo en el centro de la obra precisamente porque se quiere mostrar el punto de vista de la gente corriente que, a fuerza de convivir con la violencia, se ha acostumbrado a ella e incluso –algún momento hay de eso- se la toma ya con humor negro. Sí, es un atentado suicida lo que pone en marcha la historia, pero se trata sólo de la excusa argumental, no el tema del
libro. Una chica avisará a un joven taxista de que su padre, al que no ve el pelo hace años, podría haber muerto en la explosión, y sobre la búsqueda que ambos emprenden se construye la trama. Pero ni las consecuencias de esa búsqueda ni los daños colaterales del atentado serán los que podrían imaginarse.
En realidad, la israelí Rutu Modan (Tel Aviv, 1966), ilustradora, editora y profesora de Bellas Artes en su país, ha querido construir algo que, para entendernos, tiene más el tono de una road movie independiente que de un docudrama político. A la autora le interesa mostrar conflictos familiares larvados, escenificar relaciones amorosas de manera desmitificada y, en suma, captar la ambivalencia y complejidad de los sentimientos humanos. Es indudable que Modan tiene talento y sensibilidad para escribir escenas convincentes –los personajes hablan y actúan sin explicarse jamás directamente-, y también para resolverlas con soluciones sofisticadas que escapan al cliché. Su tratamiento narrativo es oblicuo y neutro; su ritmo, pausado. El acertado dibujo también aporta distanciamiento, un grafismo de línea clara muy sintética que recuerda al de los manuales de instrucciones, aunque sin renunciar al naturalismo en los gestos y escenarios. No deja de ser significativo que el libro esté siendo un éxito en Italia y España, pero permanezca inédito en su país de origen.—-
En realidad, la israelí Rutu Modan (Tel Aviv, 1966), ilustradora, editora y profesora de Bellas Artes en su país, ha querido construir algo que, para entendernos, tiene más el tono de una road movie independiente que de un docudrama político. A la autora le interesa mostrar conflictos familiares larvados, escenificar relaciones amorosas de manera desmitificada y, en suma, captar la ambivalencia y complejidad de los sentimientos humanos. Es indudable que Modan tiene talento y sensibilidad para escribir escenas convincentes –los personajes hablan y actúan sin explicarse jamás directamente-, y también para resolverlas con soluciones sofisticadas que escapan al cliché. Su tratamiento narrativo es oblicuo y neutro; su ritmo, pausado. El acertado dibujo también aporta distanciamiento, un grafismo de línea clara muy sintética que recuerda al de los manuales de instrucciones, aunque sin renunciar al naturalismo en los gestos y escenarios. No deja de ser significativo que el libro esté siendo un éxito en Italia y España, pero permanezca inédito en su país de origen.—-
Una reseña que publiqué en El Periódico de Catalunya en febrero de 2007.
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