La Espada Libros En Los Tiempos De Grossman El Día En Que Robert

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La Espada Libros En Los Tiempos De Grossman El Día En Que Robert Revista trimestral gratuita edición Junio - Agosto número 1 Revista de divulgación e intercambio cultural en lengua española Madrid 2009 Más pegado al suelo, cuando me hice con mi primer OK, así de primeras, suena un poco esnob y sectario. reproductor de CD, tardé poco en completar la colec- Cuando me hice con el disco, sentí lo mismo que años ción de discos de King Crimson. Aún hoy no deja de sor- atrás con el I Advance Masked: perplejidad, ansiedad prenderme la distancia que hay entre los pasajes líri- y, finalmente, la hipnosis. Treinta guitarristas tocando cos, en todas sus etapas, incluido el «Walking On Air» las mismas notas al mismo tiempo en una cadencia re- del disco Thrak, con sus fogonazos instrumentales, tam- petitiva y, en ocasiones, una guitarra solista marcando El día bién en todas las etapas. Leí que Fripp afirmaba que la una melodía: Fripp. Libros en los energía de la banda era fruto de la frustración creativa. Un vecino que me desafió con el volumen de su equipo Finalmente, durante uno de mis pasatiempos en de música pudo comprobar que Fripp no bromeaba youtube probé a buscarlo en imágenes. En efecto, son cuando coloqué el Thrakattak contra su pared. Y es que treinta tíos sentados dispuestos como los tres lados de en el recorrido de cuarenta años de King Crimson está un rectángulo que completa el público. Y sí, resultan lú- en que toda la música que puedas imaginar, de lo más delicado gubres e inquietantes tocando todos al mismo tiempo, a lo más disociado. como un monstruo sin cabeza, hasta que la guitarra so- lista alcanza el clímax y toda la emoción contenida se tiempos de Así, fui descubriendo que Fripp era uno de los hé- libera con un simple gesto: Robert se levanta pulsando roes que estaba detrás del Bowie berlinés, que con sus las cuerdas de su guitarra, incapaz de mantenerse sen- llamados Frippertronics fue uno de los adelantados en tado, doblándose, retorciéndose, disfrutando, contán- Robert procesar electrónicamente la música de sus instrumen- donos su historia de trastornos psicológicos o fobias so- tos, que en su disco Exposure se atreve a introducir en ciales, perdiéndose en su maelstrom. uno de los temas una discusión grabada en su vecinda- rio, que no ha dejado de realizar colaboraciones con Para la edición de estos discos, Fripp creó su propio Peter Gabriel, Brian Eno o David Sylvian, que siempre sello discográfico con el nombre de Discipline. No es ca- Grossman ha estado a la cabeza de la música de vanguardia. Con sual. Es lo que hay detrás de años de dedicación, de es- Fripp se focos o sin ellos. Recuerdo el relato de un músico local fuerzos, de convicción, lejos de los focos, lejos del mains- que había estado en Nueva York a principios de los no- tream, por la simple necesidad de contar… lo que se venta, supongo que de turismo, en el que tachaba de quiera contar. Lo ha hecho y aún sigue haciéndolo. ¡Qué esnob y sectaria a la gente que acudía a unos conciertos más da lo que digan los turistas! Todos los días habrá un Edith Grossman ha «reimaginado» la literatura en español para que Fripp daba entonces junto a un grupo de guitarris- Robert Fripp levantándose de su silla. Olé sus huevos. tas. Yo había escuchado una grabación de esos concier- lectores de inglés, convirtiéndose en una de las más renombradas levantó tos. Era The League of Crafty Guitarists. traductoras del mundo. Estos conciertos formaban parte de una serie de cursos que, bajo el nombre de Guitar.Craft, Robert Fripp se en- cargó de dirigir, entendién- dolos como un desarrollo Por Adriana V. López de su silla en la relación con la gui- La oficina de Grossman se encuentra escondida Ilustración Didaç Pérez tarra, con la música en una esquina lejana del apartamento, cerca de la y con uno mismo. La cocina. Adentro tiene una pared llena de fotos de son partícipes, he disfrutado de unos coleguillas que Edith Grossman vive en un clásico aparta mento sus músicos favoritos y confiesa que si el mundo li- Por Wolfeimer vive se marcan un cover del «Sketch for Summer» de la de techos altos del Upper West Side de Nueva York. terario no la hubiese cautivado le habría gustado ser Durutti Column de Vini Reilly que suena mejor Ilustración Ernesto Ramírez Cuando entras al centro del recibidor, no sabes muy una cantante de blues. Las estanterías de Grossman que el original, y me he quedado acojonado bien en cuál de los seis cuar tos, con paredes blancas van desde el piso hasta el techo y las divide en «re- viendo lo que hace Adrian Bellew con su y ubicuas estanterías de madera, centrar tu aten- pisas para libros que he leído y repisas para libros Vuelvo de un festival de animación en la República guitarra en un «Elephant Talk» para otro ción. Conversamos un rato paradas firmes en la en- que he traducido y que por lo tanto puedo regalar». Checa, donde he tenido la oportunidad de ver un mon- programa de la tele… Los King Crimson trada. Noto unas familiares reproducciones de Pi- Me da una copia de La edad de oro: Poemas del Re- tón de cortometrajes a cuál mejor, y no solo por habili- de los ochenta. Sí, lo admito; por un lado o espada casso y Goya sobre las paredes, mientras Grossman nacimiento Español, recopilación que hizo para la dad técnica ni por narrativas complacientes y fáciles de por otro, vuelvo siempre a King Crimson. sostiene su mentón tratando de recordar dónde nos editorial Norton. «No te puedo hacer una recopila- ver, sino por la frescura de las propuestas. Vale, al final Vuelvo siempre a Robert Fripp. conocimos. ción académica –le dijo al editor –. Tienen que ser casi todas son metáforas de algún tipo de trastorno psi- poemas de poetas que me gusten». La recopilación cológico o alguna fobia social, pero ¿no va de eso toda He de confesar que yo llegué al maelstrom del Rey Por Elisa Puerto Aubel No tardé mucho en darme cuenta de que Gross empieza con Coplas de Jorge Manrique y termina esta mierda? Pienso en la entrega minuciosa que hay Carmesí a través del mainstream, exactamente con man aún no tenía planeado el itinerario que se- con Sor Juana Inés de la Cruz. Cuando le hago un detrás de cada trabajo, de cada segundo filmado, en el disco I Advance Masked que mi policía favorito, Ilustración Ernesto Jaramillo guiríamos por la vida interior de las estanterías comentario sobre la repisa llena de trabajos de la ocasiones, años de esfuerzos guiados solo por la con- Andy Summers, editó con otro tío en 1982, un tal de su apartamento en el que ha vivido los últimos escritora cubana Mayra Montero, Grossman me vicción y por la necesidad de contar… lo que se quiere Robert Fripp. Escuché una y otra vez aquella ca- veintinueve de sus setenta y dos años; ella es así dice con gusto: «¡Ah, mi querida Mayra, es una contar. Veo el resultado y me digo: «¡Hostias!, lo han sette quedando al principio un tanto abrumado por Todo el barrio sabía que Eugenio había estado en la guerra, de de relajada. escritora con tanto talento!». La última novela de hecho. Olé sus huevos y sus ovarios». las cadencias repetitivas, esperando más cambios joven, cuando aún quería ser alfarero y tenía una novia en Alicante Montero, Almendra, traducida por Grossman, llegó de tercio en las melodías, pero finalmente fui ab- que había conocido en un tren. Por otro lado, me abrumaba la sola idea de cómo a la lista «Notable Books» de The New York Times No hay ningún foco que apunte, señale e identifique ducido por completo por la hipnótica combinación Cada tarde se sentaba en la barra del Umbral y saludaba a Ca- absorber en un par de horas una colección consti- en 2007. Ese fue un buen año: Grossman también a ninguno de esos artistas. Cuando era más joven esto de aquellos dos tipos. Todavía considero entre los marero, que le ponía un café solo y un chupito de coñac. «El coñac, tuida por cinco décadas de ficción internacional y tuvo Nada, escrita por la catalana Carmen Laforet, era algo que me frustraba al compararme con los músi- temas más preciados que he escuchado nunca Imágenes para la tensión», decía Eugenio. nor teamericana, materiales académicos para el es- en la lista del «Best-of» del Washington Post, y La cos, ya que coges un instrumento, interpretas algo con cortes como «Girl On A Swing» o «Painting tudio de literatura clásica y contemporánea en cas- niña mala de Vargas Llosa apareció en las dos listas. él y puedes obtener una respuesta de empatía inme- and Dance». Recuerdo que años después le Era un ser apacible que, a diferencia del resto de los presentes, tellano, y su obra de traducciones. Debo admitir que diata de quien te escucha. Siempre he pensado que el ofrecí esa cassette a un buen amigo del insti- no se metía en ninguna de las conversaciones. Miraba un punto fijo Edith («Llámame Edie, por favor»), ha sido como Cruzamos un amplio comedor que albergaba a exceso de ego de los músicos tenía que ver con ese reco- tuto ya entonces guitarrista. Me dijo: «Joder, entre las patatas fritas y la bollería industrial, parpadeaba de vez en una estrella del rock para mí desde que empecé en escritores rusos y alemanes en una estantería, y bri- nocimiento inmediato, algo aún más acusado, pero más qué curioso. De toda la gente que conozco cuando, y le daba un sorbo a su chupito.
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