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Mundo del fin del mundo<\/span>
\nLuis Sep\u00falveda<\/span>
\nNovela<\/span>
\nTusquets. M\u00e9xico. 1994, 146 p\u00e1gs.<\/span><\/div>\n

\n<\/strong><\/span><\/div>\n
\n
En su und\u00e9cimo libro, Luis Sep\u00falveda (Chile, 1949), experimenta una transformaci\u00f3n gigantesca. Sep\u00falveda cuenta su historia en primera persona. La trama se centra en el intento de un periodista free-lance, relacionado con Greenpeace, de rescatar a las ballenas australes de la cacer\u00eda pirata de un barco japon\u00e9s. El protagonista comienza con la evocaci\u00f3n de la legendaria caza de la ballena en los mares del Sur, que presenci\u00f3 en su primera aventura de juventud, como un mundo rom\u00e1ntico que se ha perdido con la caza comercial. El final, m\u00e1s que sorprendente, puede desencantar o confundir, pero de ning\u00fan modo dejar la impresi\u00f3n de haber le\u00eddo una novela m\u00e1s.
\nSu anterior novela, Un viejo que le\u00eda novelas de amor puede describirse como una novela cerrada. El narrador ofrec\u00eda una versi\u00f3n lujuriante y claustrof\u00f3bica de la amazonia peruana; da la sensaci\u00f3n de que la selva devora a los hombres. Mundo del fin del mundo, en cambio es una novela abierta. Los hombres se encuentran en sus paisajes como en el infinito. Se trata, pues, de dos novelas formalmente distintas, pero con un mismo tema de fondo: la apolog\u00eda ecologista. La asfixiante atm\u00f3sfera de la selva se convierte en inmensos espacios de mar. La narraci\u00f3n misma sufre un cambio: los personajes rudimentarios e inmediatos que habitan \u201cEl idilio\u201d \u2013pueblo donde vive el viejo que lee novelas de amor\u2013, son sustituidos por unos protagonistas reflexivos, casi cerebrales, que obedecen a ideales m\u00e1s o menos abstractos, m\u00e1s o menos objetivados en una situaci\u00f3n (la defensa de la naturaleza, la caza comercial, el comercio). Lo \u00fanico que no cambia es la divisi\u00f3n de las facciones: el buen salvaje contra la barbarie civilizada, personificada esta vez en el capit\u00e1n Tanifuji.
\nMundo del fin del mundo se lee con m\u00e1s gusto. Sep\u00falveda deja brotar el lirismo escondido en el retrato de costumbres que practica en Un viejo\u2026; quiz\u00e1 porque abandona el elemental naturismo (realismo extremo) en el vocabulario y en algunas situaciones de su novela anterior.
\n<\/span>
\n $\"\"$ <\/div>\n<\/div>\n
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