“Love moves the world!” How many times have we heard such a phrase? True or not, the truth is that this indescribable feeling we have for someone has caused rivers of ink to flow, from the most logical philosophy determined to give an undeniable definition to the most rigorous biology trying to find relationships between our selfishness. genes and love But above all, it created fictions: I don’t know if love moved the world, but it certainly became the engine of creativity. What’s a movie without a love story? Beyond the romantic genre, falling in love is a mandatory variable in any self-respecting business, from adventure to sci-fi, horror to war, to tradition… Get an easy exercise: do you remember a movie, book, or comic book in there? No love story, no matter how light and superficial, right? In these times when the romantic sentiment expressed by Foucault is embraced by the capitalist, it can be thought that love will only be a kind of registered trademark, a fundamental element in advertising. And it might be, but in these marketing days, I feel like love is more fictional than ever. The philosophical critiques that have accompanied us since Plato seem to have had little effect on an imagination that increasingly idealizes love as a fiction in an inaccessible utopia from which the drama of the impossibility of love derives.
But no, it turns out that love is an emotion that fortunately continues to be something human, polyhedral, internal and indescribable. Swedish artist Anneli Furmark, in Take me with you (Blackie Books, translated Alba Pagan), reflects this true and palpable love, the influence between the unique ideal image that occupies us from the television series and its everyday bubbling polymorphism. He speaks, of course, of the passion captured, of that unpredictable love that invades us until it controls us and takes our breath away: Elise’s love for Dagmar is a painful attraction between women that hurts by the force of attraction. desire and longing for the other. But he also talks about other simultaneous loves: Dagmar for his wife, whom he does not want to leave; For her husband, Elise talks about the trace of love left by sincere, young passion, transforming into a need to be with the other in maturity. A trio of life, not tearful drama. That joy replaces sadness, that the crisis of the 50s is just a way of naming the little crises of each day. Love is no longer inalienable and individual, but we can share it in many ways, without diminishing its power, without acknowledging its characteristics as well as its challenges. Through Elise, Furmark reflects those corners of falling in love, which coexist with compassion, friendship and compassion as well as with infidelity, surrender and revenge, and creates a space where the tension may be unbearable and at the same time the feeling of being is felt. it is alive, pure, and tangible, taking refuge in the very emotion that asks us to take shelter in one of those corners, hand in hand with the person we love, to the slow rhythm of Leonard Cohen, but knowing that tomorrow may be another hand. and another corner, which has a different feeling but also fills us and leaves us with an indescribable feeling called happiness.
Take me with you, free from the simplifications and stereotypes we assume from fiction, at the other end of the imposition of social uses, customs, and rites is the truth of love. It is a medieval pursuit of happiness that presupposes that love can exist as much as we want to accept it, and one that leaves peace and joy to read.