Anagram. Barcelona. 2009. P. 173. 7.5 € If the recent review of Climaxes saw how the characters in Azua were puzzled and hesitant, non-working to opt for an alternative, lost in the capsizing of a distressing and inevitably becomes relegated deliberation in inaction, now, in these twelve stories of Vila-Matas, find a legion of individuals with integrity who takes the momentous decision, one that is not exhausted in a sterile debate on options hesitant and more or less trivial, but jeopardizes the life and continuity through the completion of a voluntary act: suicide. Not in the mind of the author to undertake an ethical judgments about the purpose of suicide, but rather to show, from a moral position aseptic, the intrinsic value and legitimacy of the personal disposition consisting abandon life - making life bearable is the idea that we can choose when to escape - and therefore no exaggeration to say that, although the final solution necessarily mean the annihilation of the late arbitrary categorical The fact of suicide, even though it has not been consummated and remains in the plane of the possibility, is a plea for the ultimate freedom to decide what to do with our lives (or perhaps with our death.)
seem especially bright three stories: Death saudade, Kiss the storms and Schwarzer Rosa back to life.
Death In saudade, the author addresses one of the obsessive and recurring themes in literature: the impossibility of art. On the same topic, making a gino the clerk of Melville, I had tried Villa-Matas and company Barthleby . And it appears later in El mal de Montano (see entry of 20 August 2010) when referring to agraphic writer. In this case, the protagonist, affected by wind Bay, wander Lisbon with the intention of suicide haunted by his inability to paint a picture, but finally forgotten art, is able to reconcile with life and awaiting the final trance that slight sadness settled in the Portuguese Atlantic christened with the name saudade.
storms The collector is a Gothic-inspired tale in which the dramatic elements appear lightened by irony, and where self-immolation is fatally supplanted by natural death.
Rosa Schwarzer comes alive is in my opinion the most interesting story, not only because it contains an existential and aesthetic reflection on the reasons of life (and death) of the protagonist, but because it addresses the act of suicide, paradoxically, from the consideration of its reversibility. Rosa, a guard at a museum, apparently decided to eat the poisonous content of a capsule, and immediately transports in a dreamlike state, within one of the paintings hanging in the room - black Prince Paul Klee -. From the time the action takes place inside the box, so that to leave and return to life, the main character is in the position again to commit suicide by inhaling a toxic gas. If the poison moved to Rosa from life to death (from life table), the gas kills in death back to life (the life table). Suicide return ...
The text that closes the work is not, like the rest, a fictional story about what might have happened, but the letter that Mario de Sá-Carneiro sent his friend Fernando Pessoa, dated March 31, 1916, in which he announces what would happen shortly thereafter.
But no longer do more literature. For the same email (or tomorrow) I send, certificate, my book of poems, which will keep, and you can have for all purposes as if it were me. (...) Bye. If tomorrow I do not get sufficient doses of strychnine, throw me to the subway ... Do not be angry me. Finally
seems it was not to be exposed to public scrutiny in a Paris metro station, because it got strychnine that ended his life in the privacy of the Hôtel de Nice, in Montmartre, on 26 April 1916, a few days after signing the letter reproduced Vila-Matas. He was twenty years.
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