Muchos han le\u00eddo el Infierno de Dante, pero pocos su Para\u00edso, que, al contrario de lo que uno podr\u00eda creer, no describe una nada inmaculada. El para\u00edso dantesco es m\u00e1s diverso y violento que su infierno. Beatriz le dice al poeta: \u201cSi vieras mi risa, quedar\u00edas reducido a cenizas\u201d. Por eso ponemos el para\u00edso en la puerta: le tenemos miedo a su alegr\u00eda. Y nos fabricamos peque\u00f1os para\u00edsos artificiales y tranquilizadores\u2026 que acaban convirti\u00e9ndose en infiernos. No se trata, ciertamente, de huir a un cielo imaginario, ni de regresar a aquel para\u00edso terrenal que, seg\u00fan el G\u00e9nesis, se perdi\u00f3 definitivamente. A la idea de \u201cm\u00e1s all\u00e1\u201d muchos le oponen, acertadamente, la exigencia de vivir aqu\u00ed y ahora. Pero nunca llegan a estar realmente en el \u201caqu\u00ed y ahora\u201d. Ah\u00ed es donde el verdadero para\u00edso revela su paradoja y se defiende contra sus parodias: no es una evasi\u00f3n hacia el m\u00e1s all\u00e1, sino la gracia desgarradora de estar presente en todos y cada uno, en una apertura sinf\u00f3nica y en una creatividad coral. Este libro es un itinerario a trav\u00e9s de la filosof\u00eda, la teolog\u00eda y las artes \u2014de Nietzsche a Bonnefoy, de Baudelaire a Bernini, de Sade y Proust a Mozart\u2014 para acercarse a lo que el para\u00edso tiene de terrible y de bello: a la abertura de la beatitud. No se trata de consolar, sino de convocar a esa alegr\u00eda que debe hacernos perder toda compostura \u2014como un payaso\u2014 y destruir en nosotros todo contentamiento \u2014como un r\u00edo, que no cesa de recibirse y ofrecerse sin fin\u2014.<\/p>\n","protected":false},"excerpt":{"rendered":"
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