Teoria Estética do Choque (mais uma narrativa sobre a boneca de Kafka)
Autor: Guido Arosa | Publicado: 2015-09-05T10:46:00-07:00

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Walter Benjamin disse que os soldados que voltavam da
Primeira Grande Guerra já não mais o faziam heroicamente, como em Tróia, mas
sim carregando consigo o silêncio, o grande vazio que só o grande trauma é
capaz de produzir. O choque do homem, da humanidade, diante do que não se
consegue traduzir em linguagem, resulta nesta morte do sujeito em sua
capacidade de autonomia.&nbsp;





Franz Kafka, contemporâneo dos conceitos de Benjamin, quis para
sua história o silêncio. Morto em 1924, tuberculoso, solicitou já em seus
últimos anos que seus escritos não fossem publicados. Tal solicitação foi feita
para Max Brod, seu melhor amigo, e uma de suas tantas (algumas) noivas, Dora
Diamant. Caso ambos houvessem atendido aos apelos legítimos de Kafka, nunca a
experiência do século XX teria como base textos tão importantes como foi “O
processo”, por exemplo. Apesar de ter escolhido o silêncio, não permitiram-no
calar-se propagando-se então em sua voz muda que ressoa no abissal choque da
modernidade.



Caso não houvesse morrido em 1924, de tuberculose, com
certeza teria morrido em um campo de concentração da Segunda Guerra Mundial, ao
lado de suas três irmãs. Não há escapatória para a morte, para o fim. Ou ele
teria morrido tal qual Bruno Schulz, ou teria se exilado e provavelmente
perdido sua essência. Kafka é, então, o maior escritor do século XX sem em vida
ter sido escritor – em vida tendo vivido este silêncio de Benjamin.&nbsp;



Sem filhos e sem estabilidade emocional em casa, no trabalho
e com as mulheres, foi com a menina que chora a maior perda de sua vida até então
que Kafka intervém e afirma entender daquela dor. A boneca que foi perdida não volta:
Kafka diz isso. Infelizmente, não há outra resposta. Mas ele diz à menina: a
boneca produz um texto que pode te salvar. E ele, de fato, salvou a menina.



Quem sabe este foi seu maior sucesso editorial, pelo menos
enquanto vivo: a história da boneca. Nunca veremos esse livro, assim como nunca
teríamos visto toda sua obra: ele assim o quis. A boneca é a única que seguiu
sua vontade: é sua maior obra, pois nunca ninguém – além de quem importava, a
menina – a leu.