Cosas Que Leo #107: EL HOMBRE QUE VOLVIÓ A LA CIUDAD, George Pelecanos

“- Thaddeus y yo vamos a llevar a cabo un allanamiento de morada en una vivienda situada fuera de esta ciudad. Sus ocupantes robaron unas joyas de gran valor en una fiesta y violaron a la chica adolescente que vive allí. Son supremacistas de la raza blanca, gente mala se mire por donde se mire.

– Phil, no juegue conmigo.

– Te necesito. Condujiste muy bien aquel Impala cuando la ocasión lo requería. No conozco a nadie que sea capaz de hacer lo que haces tú.

– Siempre coaccionando. ¿Qué va a hacer ahora, amenazar con encerrarme de nuevo?

– No creo que tenga necesidad de hacerlo.

Michael mantuvo la vista fija al frente.

– ¿Cuándo?

– Pronto.

– No vuelva a acercarse a la casa de mi madre, ¿entendido?

Michael se apeó del Ford. Ornazian arrancó y se alejó en dirección a Petworth. Quería ver a sus hijos antes de que se fueran a la cama.”

El hombre que volvió a la ciudad

GEORGE PELECANOS

RBA, 2019 (publicado originalmente como The man who came uptown en 2018)

297 págs.

Traducción de María Cristina Martín Sanz

Cosas Que Leo #68: UNA OBRA MAESTRA, Charles Willeford

“En cuanto el surrealismo nihilista se estableció como corriente artística independiente, se empezó a requerir la presencia de Debierue como ponente. Él rechazaba esas propuestas, por supuesto…

– ¿Por supuesto? ¿No suelen pagar a los ponentes?

– Sí, y le habrían pagado bien, pero un artista no se pone a la defensiva. Y eso es lo que le pasa a todo ponente. Se supone que un crítico habla, agradece las preguntas porque su labor consiste en explicar lo que hace el artista, pero el artista no está formado para esa clase de cosas y lo único que hace es debilitar su postura. Hoy en día, algunos artistas recorren el país dando conferencias, cargados con montones de diapositivas de su obra, y no son más que un grupo de personajes tímidos con dificultades para expresarse. Supongo que cuesta rechazar el dinero, pero si así terminan derrotándose a sí mismos y negando su obra. Un artista creativo no pinta nada delante de un atril de conferenciante, y esto es aplicable a los poetas y a los novelistas tanto como a los pintores”.

Una obra maestra

Charles Willeford

RBA, 2020 (publicado originalmente en 1971 como The Burnt Orange Heresy)

206 págs.

Traducción de Pilar de la peña Minguell

Cosas Que Leo #49: MY DARK PLACES, James Ellroy

“I hijacked popular culture and furnished my inner world with the clutter. I spoke my own specialized language and viewed the outside world with x-ray eyeglasses. I saw crime everywhere.

CRIME linked my worlds -inside and outside. Crime was clandestine sex and the random desecration of women. Crime was as banal and rarefied as a Young boy’s brain perk-perk-perking.

I was a committed anti-Communist and somewhat more tenuous racist. Jews and Negroes were pawns in the world-wide Commie Conspiracy. I lived by the logic of sequestered truth and hidden agendas. My inner world was obsessively realized and as curative as it was debilitating. It rendered the outside world prosaic and made my daily transit in that world passably bearable.

The old man ruled my outside world. He ruled permissively and kept me in line with occasional outbursts of scorn. He thought I was weak, lazy, slothful, duplicitous, fanciful and painfully neurotic. He was unhip to the fact that I was his mirror image.

I had his number. He had mine. I started shutting him out. It was the same extrication process I utilized with my mother.

Some neighborhood kids got my number and let me into their clique. They were outcasts with Good social skills. Their names were Lloyd, Fritz and Daryl.

Lloyd was a fat boy from a broken home. His mother was a Christian wacko. He was as foulmouthed as I was and loved books and music just as much. Fritz lived in Hancock Park. He dug movie soundtracks and Ayn Rand novels. Daryl was an ass-kicker, athlete and borderline Nazi of half-Jewish parentage.

They let me into their clique. I became their subaltern, court jester and stooge. They thought I was a big-time laugh riot. My raunchy home life shocked and delighted them.

We rode our bikes to movies in Hollywood. I always lagged a hundred yards behind -my Schwinn Corvette was just that heavy and hard to propel. We listened to music and spritzed on sex, politics, books and our preposterous ideas.

I couldn’t hold my own intellectually. My sense of discourse was internally directed and channelled into narrative. My Friends thought I wasn’t as smart as they were. They teased me and ragged me and made me the butt of their jokes.

I took their shit and kept coming back for more. Lloyd, Fritz and Daryl had a keen instinct for weakness and were skilled at male one-upmanship. Their cruelty hurt -but not enough to make me drop their friendship.

I was resilient. Small slights would make me cry and undergo intense grief for ten minutes maximum. Emotional thrashings left my wounds cauterized and ready to be reopened.

I was a case study in teenage intransigence. I held and iron-clad, Steel-buffed, pathologically derived and empirically valid hole card: the ability to withdraw and inhabit a world of my own mental making.

Friendship meant minor indignities. Raucous laughs with the guys meant assuming a subservient role. The cost felt negligible. I knew how to reap profit from estrangement.

I didn’t know that costs accrue. I didn’t know that you always pay for what you suppress.”

My dark places

JAMES ELLROY

Windmill Books, 2010 (publicado originalmente en 1996)

407 págs.