PEDRA SÓ: ABRIGO E SANTUÁRIO
Autor: Ana Maria Rosa | Publicado: 2012-12-16T18:07:00-08:00

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&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 



&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;



&nbsp;PEDRA SÓ: ABRIGO E SANTUÁRIO










&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Ana Maria Rosa


&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <!--[if gte mso 9]>
 
  
  
 
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“Percebo que, em toda criação
artística, se insinua uma infância única e intransferível”.

Bartolomeu Campos
de Queirós



O livro Pedra
Só, desde sua capa, uma bela fotografia de Ricardo Prado, fornece ao
leitor, mesmo ao mais desavisado, uma deixa de que o poeta José Inácio Vieira
de Melo pretende conduzi-lo às terras agrestes do Sertão – seja esse dentro ou
fora – pois, ali, estão seus signos: o mandacaru, o espinheiro e a lua cheia.
Na folha de rosto, eis o lajedo: a pedra em sua solidão imemorial. Depois do
belíssimo poema-epígrafe de Roberval Pereyr – povoado de camelos e cavalos – o
poeta JIVM nos abre um portal, de onde se descortina a sede da fazenda Pedra Só, obumbrada pelo lajedo negro
que se projeta sob o céu sem nuvens, e, ali mesmo, nos adverte fazendo suas as
palavras do poeta Geraldo Mello Mourão: “Essas terras são minhas/ sobre elas
hei lavrado a escritura de meu canto”. Avisado pela epígrafe e ofuscado pela claridade
do céu, o leitor-viajante-convidado começa a pisar o couro do país, onde reina
o Cavaleiro de Fogo.

&nbsp;Entrar nesse misterioso
território é adentrar “nos emaranhados da memória” de onde o poeta traz à luz,
com seu verbo encantado, as origens de sua poesia telúrica, visceral e
apaixonada. Porque esse é o tema principal do livro: a poesia, sua origem e
suas fontes primevas. Chamo a atenção para o uso constante de palavras que
remetem a início, primordial, fundamental, em construções como “o nome
primeiro à luz do sol”, “O sertão
encourando os primeiros saberes”, “E
na penumbra, as primitivas galas”,
“No Sertão, o princípio do enigma”,
“Na Pedra Só, a fonte desse poema” Esses
“versos sertânicos” não deixam dúvida de que o poeta precisou buscar “Outra vez
as águas antigas,/ravinas na memória do tabuleiro” e retornar à “província
sagrada” para escutar o “boi das algorabeiras/ que muge a solidão” e, assim,
poder revelar os segredos fundamentais de sua lírica que estão codificados em
seus poemas. Adiante, nova revelação descortina-se ao leitor, quando o poeta se
define afirmado nos últimos versos do cântico II: “E eu regresso e lembro que
fui, que sou e serei: um cavaleiro cozido nas brasas do Sertão,/dentro dos
couros, com o sol no espinhaço,/ no meio do tempo, no meio dos tempos”.

Não é difícil ao leitor, que como eu, traz no âmago
do Ser, os sons, os sabores e perfumes do Sertão, ouvir o aboio, atender ao
chamado do poeta e acompanhá-lo por esse sertão de terra vermelha, povoado de
bois-onças-pássaros-leopardos-cantadores-profetas-vaqueiros-cavalos e éguas. Às
vezes, eu, leitora, sou ferida por um espinho de mandacaru ou perco-me no
labirinto de minha própria memória (Não se lê poesia impunemente.) noutras,
refresco-me à sombra das algarobeiras e, dali, também posso contemplar “a paz
dos lajedos e das serras”. Mas, mesmo para o leitor que não carrega consigo
esses signos sertânicos, não é difícil empreender essa odisseia, guiado pelo
som do galope do centauro que partiu do Olho d’água, apeou por uns tempos na
fazenda Ribeira do Traipu, no sertão das Alagoas, levantou rancho para a cidade
de Troia, passou por Ítaca e desembestou-se por desertos bíblicos até chegar à
fazenda Cerca de Pedra, de onde empreendeu nova viagem, até alcançar as terras da
fazenda Pedra Só, na Chapada
Diamantina, sertão da Bahia. Ali, o vaqueiro fundou seu reino, o “país do
couro”, onde o Cavaleiro de Fogo, finalmente, pode repousar e, como um
demiurgo, criar delírios de metáforas, deslumbrado com a “chã que se abre” aos seus
“olhos pasmos diante da imensidão do Cosmo”.

Mas, um outro aspecto me chamou a atenção: nesse
livro, mais do que nos anteriores, é possível sentir a presença iniludível da
infância a perpassar quase todos os cânticos do poema Pedra Só. Desde o início, percebo que, além do boi de campina, anda
com o vaqueiro um menino moreno de cabeleira encaracolada e senho franzido. Ele
está montado num cavalo em pelo e, protegido por “uma legião de vaqueiros e
pelas sete peles do gibão de couro”, segue o outro que galopa, veloz, a
chicotear o cavalo arisco. Qualquer leitor, informado de que JIVM é o cavaleiro
de fogo, o centauro escarlate, o demiurgo, o poeta baiano das Alagoas, sabe que
ele não careceria de tanta proteção, ao desembestar pelo sertão de dentro, se não
fosse por causa do “menino todo diferente dos outros” que viaja com ele e do
qual não pode apartar-se. 

Ninguém consegue olvidar a infância e, talvez,
nenhum outro artista além do poeta, consiga presentificá-la de forma tão bela. 

Tenho certeza de que muito do que o poeta José
Inácio vaticina é soprado aos seus ouvidos pelo menino, a criança que o habita
e o preside. A criança é a essência do ser humano, a sua alma, o seu coração
sagrado, a infância de que não se pode apartar, ainda que, em alguns momentos,
seja difícil a ela retornar.

É isso. Nesse livro, José Inácio, corajosamente, acolhe
a criança-menino-bezerro sem a qual sua arte não seria possível. Nesse sentido,
o livro Pedra Só é prova inconteste
de seu amudurecimento como poeta. Creio que sua poesia, as toadas e os aboios brotam
de dentro dela e são cantados pelo poeta, primeiramente, para ela e, só então, são
lançados nos espaços-tempos do Infinito, transmutados pela experiência e pelos
saberes do homem-pai-amante-vaqueiro-poeta que José Inácio encarna.

E parece que, somente, na fazenda Pedra Só – pela mágica da fantasia, transfigurada num reino encantado, chã,
abrigo e santuário – José Inácio pode retornar ao paraíso perdido: o sertão
mítico, território sagrado da sua infância, onde é possível a fusionar a
trindade: homem-menino-poeta.

&nbsp;Aqui, apeio
do cavalo que me levou à beira da “inesgotável jazida”, onde quase vislumbrei o
“rubi” que habita o poeta. E, ainda enredada nas infinitas teias orvalhadas das
metáforas e dos signos míticos de Pedra
Só, eu penso que, talvez, essa catedral seja simplesmente a infância e o
rubi apenas o menino.














[i]
Ana Maria Rosa é professora graduada
em Língua Portuguesa e Literatura, publica crônicas e contos em revistas
eletrônicas e no blog oolhardapequenaespiã.blogspot.com. Em setembro, terminou
o primeiro livro de contos que está em fase de revisão.



Artigo publicado no Portal de Poesia Iberoamericana (http://www.antoniomiranda.com.br/index.html), editado por Antonio Miranda, poeta, escritor e artista plástico radicado em Brasília.



&nbsp;Republicado no blog http://jivmcavaleirodefogo.blogspot.com.br/2012/11/pedra-so-abrigo-e-santuario.html