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Reflexiones Críticas Sobre Ficción Especulativa Hélice Volumen II. Nº 2 · Junio 2013 Reflexiones críticas sobre ficción especulativa REFLEXIONES Fernando Ángel Moreno Hayley Keight Cornel Robu CRÍTICA Santiago L. Moreno Mariano Martín Alberto García-Teresa TEXTOS RECUPERADOS Leimar Garcia-Siino DOBLE HÉLICE Laura Luna Inés Arias de Reyna Sumario Editoria3 Acogida Reflexión «Hard y Prospectiva: Dos poéticas de la ciencia ficción»: Desarrollo del contrato 5 ficcional en dos subgéneros de la ciencia ficción Fernando Ángel Moreno Reflexión «Drinking up green matter»: Ray Bradbury: The Proto-environmentalist in 17 Farenheit 451. Hayley Keight Reflexión «Time paradoxes in science fiction» 23 Cornel Robu Textos «Teitan the Proud – Tale of Things to Come» by Nilo María Fabra and recuperados «Future Time» by Leopoldo Alas «Clarín» 40 Leima Garcia-Siino Crítica Fluyan mis lágrimas, dijo el policía. Philip K. Dick 59 Santiago L. Moreno Crítica Steampunk: Antología retrofuturista. Félix J. Palma [ed.] 64 Mariano Martín Rodríguez Crítica La nave. José Pablo Barragán 73 Alberto García-Teresa Doble Hélice Cenital. Emilio Bueso Doble Hé 77 Inés Arias de Reyna 80 Laura Luna 82 Normas de publicación. 83 Submission rules. ISSN: 1887-2905 Revista Hélice. Número 2. Volumen II: junio de 2013. Elaborada por la Asociación Cultural Xatafi: Santiago Eximeno, Juan García Heredero, Alberto García-Teresa, Natalia Garrido, Ignacio Illarregui, Fidel Insúa, Iulius, Alejandro Moia, Fernando Ángel Moreno, Antonio Rómar, Natividad Sánchez, Juan Manuel Santiago, Eduardo Vaquerizo, Javier Vidiella y Mariano Martín Rodríguez. Colaboradores: Elia Barceló, Gabriella Campbell, Pablo Capanna, Óscar Casado Díaz, Elena Clemente, Gabriel Díaz López, Eva Díaz Riobello, Julián Díez, Iván Fernández Balbuena, David G. Panadero, Pedro Pablo García May, Ana González-Rivas, Ignacio Illarregui Gárate, David Jasso, Santiago L. Moreno, Eduardo Martín Larequi, Mariano Martín Rodríguez, Ismael Martínez Biurrun, Pablo Mazo Agüero, Alfonso Merelo, Darío Miramón, Terri Ochiagha, Steve Redwood, Ana Sánchez Hijosa, Susana Vallejo, Mariano Villarreal y Arturo Villarrubia. Corrección y maquetación: www.koine.es [email protected] | [email protected] www.revistahelice.com Todos los derechos reservados. Disposiciones legales en www.revistahelice.com 2 • JUNIO 2013 Acogida a en el primer número de Hélice presentábamos una declaración de principios sobre la crítica literaria, hermana académica y social de la historia y la teoría literarias, y prima lejana de la creación. Como sabemos, si la historia estudia la evolución del fenómeno literario en Yrelación con su contexto y la teoría pretende explicar la naturaleza y el funcio- namiento de dicho fenómeno, la crítica literaria profundiza en el análisis de obras concretas. Esta división se radicalizó a lo largo del siglo XX hasta crear en ocasiones bloques estancos. Sin embargo, según fuimos avanzando y según entrábamos en el siglo por el que viajamos ahora, los tres campos se fueron fundiendo con la creación literaria. Nos encontramos así con un aumento de la metaliteratura, de los cuentos que reflexionaban sobre literatura, de la teo- ría que se fundía con la historia, de la historia que se disolvía en la crítica… Siempre habíamos encontrado estas contaminaciones, pero parecen haberse convertido hoy en un ejercicio usual que a nadie llama la atención. Entre los diferentes motivos, se encuentra desde luego la velocidad de la información y las facilidades de interacción entre escritores, críticos, teóricos e historiadores, no solo a nivel personal, sino en cuanto a la posibilidad de lectura entre unos y de otros. Por otra parte, como defendió con tanto ahínco Roland Barthes, la crítica deviene hacia la creación y toda interpretación ter- mina por transformarse en nueva literatura. No aspiramos a tanto en Hélice. Pese a ciertas maldicientes y desinforma- das voces sobre los críticos literarios, mantenemos aún en un pedestal a los autores y no nos atrevemos a invadirlos. Pero sí es cierto que, tras muchos debates, lecturas, reflexiones…, los críticos sí terminan por fundir historia, crítica y teoría. Ésta es la escotilla por la que nos introducimos hoy en un nuevo número de Hélice. Cada vez más, nuestros críticos desarrollan sus propias teorías litera- rias a partir de las críticas sobre textos concretos. En primer lugar, tenemos a tres doctores en literatura que han trabajado en esta línea sobre la ciencia ficción y sobre la ficción prospectiva. Mariano Martín Rodríguez, al hilo de la crítica de la antología Steampunk, editada por el escritor Félix J. Palma, diferencia este célebre subgénero del retrofuturismo, para proponer interesantes métodos de lectura. Fernando Ángel Moreno nos trae un artículo publicado previamente en la revista Interlitteraria, de la Universidad de Tartu, sobre la diferencia entre ciencia ficción hard y ficción prospectiva. Para ello se centra en The Road de Cormac McCarthy y en Distress de Greg Egan. Este artículo quedó semifina- lista en la última edición del Jamie Bishop Memorial Award, otorgado por la Universidad de Iowa. El reciente doctor Alberto García-Teresa desgrana las posibilidades de una poesía de ciencia ficción desde el análisis del poemario La nave, de José Pablo Barragán. Esta vieja polémica entre poetas, aficionados y académicos es afronta- da con su característico buen juicio y rigor, por un poeta, aficionado y académico. 3 • JUNIO 2013 Por otra parte, la investigadora Hayley Keight realiza un acercamiento cultural, respecto a las re- laciones entre la naturaleza y la literatura median- te la cuidadosa lectura de Farenheit 451, de Ray Bradbury. Este trabajo fue presentado en el congre- so internacional de la SFRA celebrado en 2011 en la Universidad de Lublin, en Polonia. En segundo lugar, desde fuera de la academia, Santiago L. Moreno dialoga con la célebre obra de Philip K. Dick Fluyan mis lágrimas, dijo el policía desde un ejercicio crítico que contiene en sí una re- flexión literaria. El responsable del muy recomen- dable blog Literatura en los talones problematiza con la excusa de la crítica literaria los límites que esta debe tener en el lenguaje, la figura del autor y la tradición que dicha figura crea para el lector. En cuanto a la «Doble Hélice», hemos dado la vuelta al problema y presentamos en este núme- ro a dos escritoras que se acercan por primera vez a la crítica literaria. Para ello, han diseccionado el último éxito de la editorial Salto de Página: Ceni- tal, de Emilio Bueso. Inés Arias de Reyna es desde hace años, además, profesora de escritura creativa película Looper, de Rian Johnson, disfruta aquí de en la Escuela de Escritores y Escuela de Fantasía. un cuidadoso acercamiento. Nos ofrece, por consiguiente, un acercamiento des- Presentamos, por consiguiente, un número don- de una doble perspectiva creativa. Por su parte, la de teoría, historia y crítica viajan juntas entre las escritora Laura Luna realiza un acercamiento más lágrimas de Dick, los árboles y los libros de Brad- positivo y personal. Entre las dos ofrecen visiones bury, los viajes en el tiempo, las Teorías del Todo muy diferentes de esta novela apocalíptica y posta- de Egan, la infinita carretera de McCarthy, el apo- pocalíptica a un tiempo. calipsis energético de Emilio Bueso, el vapor del Traemos también relatos de ficción. Presentamos steampunk y los versos del futuro. en este número dos clásicos cuentos españoles de Recuerda, amable lector, que todos hablan del ciencia ficción, en esta ocasión traducidos al inglés presente. para los lectores que no puedan disfrutarlos en su lengua original. Se trata de «Cuento futuro», de Clarín y «Teitán el soberbio», de Nilo María Fabra. Por último, es un placer para nosotros cerrar la presentación de la teoría literaria de Cornel Robu sobre ciencia ficción. El doctor Cornel Robu, pro- fesor durante años de Teoría de la Literatura en Bienvenidos a bordo. la Universidad de Cluj, en Rumanía, es uno de los más importantes especialistas del mundo en cien- cia ficción. Sus teorías merecen una mayor difusión que la que hasta ahora han tenido. Por desgracia, sus escritos no han sido traducidos al español. En el número anterior, presentamos su formidable en- sayo sobre lo sublime en la ciencia ficción. A raíz de las conclusiones de aquel trabajo, el profesor Robu escribió más tarde el ensayo sobre paradojas tem- porales en la ciencia ficción que presentamos aquí. Este viejo tema del género, tan inteligentemente atacado hace sólo unos meses por la extraordinaria 4 • JUNIO 2013 «Hard y Prospectiva: Dos poéticas de la ciencia ficción» Desarrollo del contrato ficcional en dos subgéneros de la ciencia ficción Fernando Ángel Moreno cional no encuadrable en la literatura «realista»2. Profesor de Teoría del lenguaje literario Por lo general, dado el desafortunado nombre Universidad Complutense de Madrid del género3, siempre se ha entendido como «cien- cia ficción» aquella narrativa que emplea futuros avances científicos como novum de los esquemas 4 1. Los contratos de ficción proyectivos narrativos . No obstante, la importancia de la ciencia empírica como principio narrativo ha de- crecido con las sucesivas décadas y con los dife- menudo el estudioso de los géneros na- rentes movimientos literarios5. Algunos autores rrativos choca con los diversos proble- incluso han descalificado las líneas más «duras», mas de la literatura de ciencia ficción. Uno de esos problemas es la pluralidad 2. Por «realista», evidentemente, no refiero al movimiento deA subgéneros que la constituyen, pluralidad que literario decimonónico, sino a la literatura
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