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      "body": "![fitzcarraldo.jpg](https://steemitimages.com/DQmR2CudDLc5NPqoWnEJGRdpmsbCjoTLVA1GuKw2FpeXo4V/fitzcarraldo.jpg)\n\n\"Y entonces, en plena vida, es cuando el sueño tiene grandes funciones de cine.”\nFernando Pessoa, Libro del desasosiego.\n \n\nLas imágenes de rieles me han hecho pensar, cada vez que las encuentro en los libros, las películas o las fotografías, que esa determinación de una barra metálica que atraviesa la distancia entre montañas, desiertos, un bosque o la nada, es también como un trazo impreciso de un loco sobre el agua: un riel abandonado, un riel que no conduce a ninguna parte, o que en un punto distante ya no tiene manera de mostrarme un regreso, porque el recorrido que prescribía desaparece en cada instante. 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Un comerciante de caucho, cuyo nombre es Carlos Fermín Fitzcarrald, había encontrado un itsmo, entre el margen del río Serjali, el margen izquierdo del río Mishagua y el río Caspajali, afluente del Alto Manu, un lugar de encuentro para la actividad comercial. Su empeño dio como resultado, muchos años después, la construcción de un camino, donde operaba un tren, para unir dos ríos en su punto más próximo en la amazonía peruana. Una historia narra cómo en su último viaje, Carlos Fermín Fitzcarrald, a bordo de un barco que transportaba rieles para la construcción de las vías férreas, con la intención de salvar a su socio que había caído al agua después de que el barco perdiera el control tras romperse la cadena del timón y de chocar contra las rocas, murió ahogado. Fitzcarraldo no muere ahogado, pero debe cargar con la reputación de un hombre que perdió su fortuna por perseguir un sueño imposible. Siempre he apreciado la belleza de las ruinas. Y el sueño de Fitzcarraldo es una ruina que recobra su vitalidad bajo la espesura de la selva, aunque se pierde en la conciencia posterior de que debe perseguir otro sueño: llevar a su hogar, en medio de la selva, una ópera que interprete o que traduzca un mundo más elevado.\n\nCustodiado por un personaje singular, quien había sido fiel a la locomotora y a los rieles por tantos años que se podría decir de él que surgió de un sueño selvático, el ferrocarril de Fitzcarraldo es el emblema de la locura: la estación luce en letras oxidadas la grandilocuencia de su pretensión. El custodio de la estación del ferrocarril también es un personaje irreal, como Fitzcarraldo: espera el momento en que la maleza se desprenda del metal para continuar un viaje improbable a través de la selva y de las montañas. En contraste, Fitzcarraldo presencia, desapasionadamente como un “conquistador de lo inútil”, una obra que en realidad posee una gran belleza como ruina. Tanto en el cine como en la literatura abundan estos personajes. \n\nMe gustaría sólo recordar a uno de ellos, un ser arrancado de la fantasía o del sueño: el Sr. Rail era un comerciante de cristal que amasó una gran fortuna, y que era capaz de intuir que era posible hacer cosas antes de que a alguien se le ocurriera necesitarlas. La extravagante idea que lo obsesionó fue el tendido de una vía férrea desde la imaginaria ciudad de Quinnipak hasta un lugar cerca de la costa llamado Morivar. El recorrido del ferrocarril de Fitzcarraldo se pierde en la espesura de la selva; la única estación del ferrocarril del Sr. Rail lo llevaba hasta un lugar del recuerdo, el sitio en donde había conocido a Jun, su esposa. Aunque esto parece irrelevante porque el Sr. Rail, al comienzo de esta aventura, “intentó pensar en un tren en marcha, sólo en eso, dejarse llevar por esa idea, un tren en marcha, como una herida a lo largo de los campos de Quinnipak, siempre en línea recta hacia adelante, hasta quién sabe dónde, hasta donde los raíles desaparecieran en la nada”. El único propósito de este plan era sentir la velocidad, poder mirar por la ventanilla cómo el paisaje se difumina, como los objetos se suceden a través del recuadro mientras el tiempo se disuelve. Más que la idea de transporte, lo apremiante era la idea de movimiento: “aquella máquina no producía fuerza, sino algo conceptualmente todavía difuso, algo que no existía: velocidad. No era una máquina que hacía lo que mil hombres podrían hacer. Una máquina que hacía lo que nunca había existido. La máquina de lo imposible”. Pero esta máquina jamás se movería ni un centímetro. Porque un buen día el dinero se acabaría y ocurriría una tragedia, una muerte innecesaria, como consecuencia de la estupidez humana. \n\nLa excepción dicta que mientras unos piensan en la posibilidad de movimiento, otros se aterran con la sensación de que un tren viene hacia ellos. La imagen de la llegada del tren de los hermanos Lumière, ¿no podría suscitar, por ejemplo, un encuentro entre desconocidos como en las primeras páginas de  Extraños en un tren, de Patricia Highsmith? En la novela uno debe preguntarse de dónde vienen y a dónde van los personajes; la respuesta está en el entramado de relaciones y en la historia individual de cada uno de ellos: el asunto de la novela es enfocar lo que ha quedado por fuera de la narración, aunque más adelante se cuente. De dónde viene el tren y a dónde va, es un asunto cinematográfico, debido a que la mirada queda circunscrita al recuadro de la pantalla, y sólo la elección indica qué nos es dado mirar. Pero, frente a una locomotora inmóvil, inutilizada, ¿qué podría desatarse, qué encuentros se propiciarían? Lo que sugieren las imágenes de Fitzcarraldo y las imágenes de Tierra de cristal es que detrás de esta inmovilidad debe existir algo así como una imaginación del movimiento. Algo que no se movió nunca, estuvo moviéndose sin cesar a cada instante. En todo caso, la idea de que los rieles se pierden más allá de donde nos es posible mirar (el follaje de la selva en la película, la nada entre las dos ciudades en la novela) nos sugiere que no es el movimiento lo que importa, sino la posibilidad de que algo haya podido moverse o de que algo se mueva en el futuro. ¿No es el territorio del cine el reino de lo posible?",
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