“Eu queria ser, ao mesmo tempo, a Justiça, o amor e a ira de Deus”. 

Em sua obra, absolutamente autobiográfica, a jovem cartunista iraniana Marjane Satrapi (1969-2026) articulou uma educação geopolítica para as multidões, moldando essa aula magna quadrinho a quadrinho, página a página, frame a frame. Não existem até hoje equivalentes ficcionais ao seu Persépolis, álbum em quadrinhos lançado na entrada do ano 2000, pelo que o livro cristalizou de consciência feminina, desmistificação política, potência narrativa, invenção formal. Uma história em quadrinhos que ela transformou, sete anos mais tarde, em um filme univitelinamente impressionante, tornando-se cineasta apenas com o intuito de transplantar suas ideias para uma espécie de teatro de sombras do coração.

Marjane deu conta não apenas de relatar como o coração iraniano (o seu e o dos seus) bate, mas também como pensam e agem os agregados (indianos e turcos, britânicos e norte-americanos, franceses e austríacos, entre outros), e qual é a atitude do colonialista face à barbárie. Mas não fez isso de forma professoral, e essa é sua herança maior: como personagem de sua própria história, ela buscou descrever o equilíbrio delicado das demandas da existência individual em uma balança de violências. A naturalidade com que o Estado se arroga o direito de promover intervenções no ritmo de vida das pessoas, das escolhas e da imaginação, e quais as estratégias de resistência possíveis, tudo isso está perfeitamente alegorizado na obra de Marjane. 

Ela nos mostrou que a ideia de uma civilização totalmente repreensível em termos de cultura, modos, comportamento e religião, isso não existe. É ignorância nossa, fruto de uma estratégia cruel do imperialismo. Todos somos iguais, em qualquer parte do mundo e sob qualquer rotina religiosa, social ou política. Dessa forma, todos estamos sujeitos a violentos consensos repentinos, e também à mudança de nossos paradigmas de vida e sentimentos.

Marjane inicia sua obra-mestra, Persépolis, esquadrinhando seu próprio batismo existencial. Ela tinha 10 anos em 1979, o ano da revolução iraniana (uma monarquia autocrática pró-Ocidente comandada pelo Xá Mohammad Reza Pahlavi, que foi derrubada para a instauração da república islâmica sob a liderança do aiatolá Khomeini, igualmente autoritária e, pavor, extremista). Nessa transição, Marjane vivia em Teerã em uma família que não acreditava ser possível viver sem fazer algo em relação ao destino, sem lutar. “A Revolução é que nem uma bicicleta. Se as rodas não giram, ela cai”.

Na repressão de Reza Pahlavi, um fantoche das ambições externas, seus agentes chegaram a incendiar cinemas com espectadores dentro. E a polícia ficava na porta para impedir os moradores de prestar socorro. 400 pessoas morreram nesse episódio. Quem se opunha a esse estado de coisas, era moído pelo regime. Que tinha apoio irrestrito de seus clientes. Quase não havia como resistir ao autoritarismo, como ainda é quase impossível nos dias de hoje, já que a “Pérsia dorme num colchão de petróleo”.

Não sei dizer se essa é uma qualidade adicional, mas a gente quase não nota que Marjane está transmitindo sentimentos por meio de desenhos, quadrinhos que, por sua vez, capturam a explosão de mundos – da autocracia dos imperadores aos invasores árabes e mongóis, depois aos imperialistas do capital e os moralistas do extremismo. Nisso, ela demonstrou o rigor de uma historiadora.

Seu avô tinha sido um príncipe herdeiro persa. Um príncipe privado do trono que acabou se tornando leninista. Seus pais, por sua vez, tinham sido educados, em meio à segregação social, com requintes de europeísmo. Portanto, demonstravam pendores de tolerância. Criada nessa gangorra entre privilégio e alvo preferencial, a menina Marjane cresceu como uma mulher de aguda sensibilidade. Nesse mundo de transições violentas, Marjane experimenta, em um período de estudos na Áustria, a equidistância da vida sob os escudos defletores da burguesia europeia, da luta sem riscos, das cartas identitárias. Sua vida e sua ação artística, milimetricamente desenhadas, a levaram muito adiante da sensibilidade de circunstância. Com uma obra inigualável, ela mostrou que o arbítrio não tem como aniquilar a imaginação das infâncias nem a emergência da força do feminino – pintava as mulheres com as cores da paleta de Henri Matisse, tonalidades do fauvismo que o pintor usava para realçar a transição do Oriente para o Ocidente. Os quadrinhos de Marjane inspiraram centenas, talvez milhares, de garotas cartunistas pelo mundo. “A tristeza durará para sempre”, foi a última frase de Van Gogh. A morte de Marjane nesta quinta-feira, 4, decorrente de uma “tristeza profunda”, traz estupefação, assim como, melancolicamente, vem evocar a singularidade de uma artista que viveu completa e sanguineamente o nosso tempo.  

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