A devassidão de Jeito de matar lagartas, de Antonio Carlos Viana 
Autor: Paulo André Correia | Publicado: 2015-03-16T21:25:00-03:00


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O Jeito
de matar lagartas (2015, Companhia das Letras) de Antonio Carlos Viana nos
arrebata pelos “sentimentos radicais” encenados nos contos: como a consciência da
morte, da ruína do corpo ou o erotismo, destituído quase sempre da noção de prazer.&nbsp; Os personagens &nbsp;– velhos, sobretudo –, são&nbsp; marcados pela aguda consciência da passagem
do tempo, representada pela cruel decadência dos corpos.





Jeito de matar lagartas revela que a literatura – a autêntica – não é inocente. Ele
nos provoca e nos contamina, desnudando a pequena miséria humana. O livro nos
põe diante de contos que reverberam a crueldade da vida humana. Ao devassar a
vida das personagens das narrativas que o compõe, o livro nos põe diante de
nossa própria devassidão. É aí que está o seu valor, pois nos permite tomar
consciência de nossa condição.





Diferente dos livros anteriores em
que a infância, associada à descoberta tumultuada de algum aspecto da realidade,
ganha maior destaque. Jeito de matar
lagartas dá ênfase ao mundo adulto,&nbsp; em alguns textos ao universo da velhice.





Em um mundo marcado pelo “culto
solitário do corpo” e pela recusa desesperada recusa de si, o livro de Viana
nos deixa diante da certeza de que “cada dia, a cada hora, cada minuto, [é] uma
derrota garantida, um passo em direção ao próprio desastre” (Carrière, 2007).&nbsp;





É o que acontece, por exemplo, em
“Dona Katucha” que narra a história de uma velha que tenta fugir da consciência
de que seu corpo envelheceu e já não atiça os olhares dos homens. A solução
para ela é: “depois de beber, [passar] batom nos lábio e se [ir] trôpega pelos
corredores, evitando as vitrines espelhadas”. Ou em “Professor Locarno” que
conta a história de um velho professor de quem a família comemora mais um
aniversário. No momento da festa, seu desejo era que “o coração afrouxasse de
vez e nunca mais ele soubesse o que significava outro dia”. Mas o outro dia
chega com a enfermeira que vem trocar sua fralda e que, a ele, parece Carmen
Miranda.&nbsp;





Ainda nessa linha “Florais” com
história de Dona Delfina, que, mesmo com a decadência do corpo, ainda vislumbra
a possibilidade do prazer, pois “tudo com Alan Delon se desenrolara com tanta
naturalidade que ela não se assustou com nada, e só mesmo a Fúcsia da
Califórnia para lhe dar aquela coragem de dizer que ainda havia um território
em seu corpo que nunca fora explorado”.





Na outra ponta da vida, a da
infância, no conto que empresta título ao livro, Jeito de matar lagartas, o menino-narrador faz uma associação entre
as formas com que matava as lagartas e o jeito como a tia se contorcia embaixo
de seu Laurentino.&nbsp; Uma precisa
associação entre prazer e morte. Em “Muralha da china”, a perspectiva infantil nos
coloca diante da cena que dois irmãos, entre eles o narrador, montam para que
os pais contem à vizinha a morte de seu esposo e de seu filho. O anúncio se
transforma em um baquete desesperado até o momento em que a vizinha intui pelos
implícitos e vazios da fala da mãe dos meninos a desgraça que lhe havia
acontecido. Em “Cara de Boneca” a perspectiva infantil encena um erotismo
cruel. Neste conto, o menino-narrador e seus colegas se dividem entre o ódio a
dona Glorita e suas aulas de Camões e as experiências eróticas e o exercício da
crueldade com seu Lilá – Cara de boneca. O menino-narrador no clarão de lucidez
chega a afirmar que “[...] o mundo se dividia entre os de coração aflito e os
de maldade extrema”.





O sentido dessas histórias não estão
só nos temas, mas também na linguagem com que são construídas. A linguagem de
Antônio Carlos Viana caracteriza por uma economia verbal marcada pelo uso
direto das frases, por uma sintaxe enxuta e por uma extrema precisão vocabular.
Muitos dos contos já começam buscando nocautear o leitor, como em “Cremação”:
“Dona Deusinha sempre teve horror a morto”.&nbsp;


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<![endif]--><!--[if gte mso 10]>

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Jeito de matar lagartas nos põe diante de situações em que os personagens vão
despertando para a consciência da presença iminente da morte, da decadência do
corpo, para o despertar do erotismo, cada vez mais dissociado da ideia de
prazer. Como nos livros anteriores, a epígrafe apresenta a tônica do livro. E o
verso de Wislawa Szymborska, sinaliza bem para o que é esse Jeito de matar lagartas:&nbsp; “Não há devassidão maior que o pensamento”. &nbsp;&nbsp;&nbsp;&nbsp;