Primera toma de En el cuerpo una voz, de Maximiliano Barrientos

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Mónica Velásquez Guzmán – Fernando van de Wyngard

21 de agosto de 2020

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Compartimos con ustedes la primera entrega de una aguda lectura de la novela En el cuerpo una voz de Maximiliano Barrientos, llevada a cabo por los investigadores y poetas Mónica Velásquez y Fernando van den Wyngard, en el marco del curso Teoría Literaria VIII: asumir y explorar los desafíos teóricos presentes en las obras recientes en Bolivia (Centro Simon I. Patiño La Paz)

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La atmósfera del tiempo actual está colmada de situaciones límite que hacen temer/desear un final para el dilatado tránsito de una larga agonía sin fin.

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Basta una mirada a las noticias, a los análisis de éstas y los documentales que las complementan, durante este extenso confinamiento, para enterarnos (si antes no lo habíamos hecho) del registro de los daños a la naturaleza y al ecosistema, el balance de las economías brutalmente dañadas o la breve incursión en los extremismos políticos para darnos cuenta de que el pesimismo no es ya una actitud entre otras, sino, por el contrario, casi un registro realista de los hechos. Por supuesto, hay desbordes deseantes y fuerzas aferradas a lo vital –allí donde éste resista–, pero esa potencia no pareciera lograr ni un discurso ni unas acciones suficientes para crear una contra-ruta a este destino.

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Booktrailer «En el cuerpo una voz» de Maximiliano Barrientos.

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Si, en momentos variados de la historia humana, la proyección de un deseo hacia una tierra donde comenzar de nuevo, idealmente, un renovado o recobrado paraíso llevó a las utopías; por su parte, el cinismo, la certeza de la persistencia de la barbarie como contraparte de toda cultura, la sensación perenne de acabamiento, ha llevado más bien a la distopía. Sin entrar en la discusión terminológica (ambos conceptos están construidos por una negación), bastará decir, por ahora, que la primera es un sitio inexistente, un no-lugar, pero proyectable, deseable y deseado (ansiado) –desde Thomas Moro, en 1516, hasta hoy–; mientras que la segunda radica, por definición, en un mal-lugar, allí donde todo es peor que lo actual y que lo conocido; más el infierno pagano que el cielo divino, pues consiste en lo resultante del malogro de lo real, antes que en su proyección idealista o su iluso escape.

En las artes, especialmente en la literatura y la cinematografía (muchas veces la una replicada en la otra), se ha instalado hace tiempo ese ‘imaginario del fin’, desde los clásicos de Yevgeni Zamiatan, George Orwell, Aldous Huxley y Ray Bradbury (para no remontarnos tan lejos como durante la misma Revolución Francesa) hasta las series Black Mirror, Los juegos del hambre y El corredor del laberinto, como parte de la vasta área llamada ciencia ficción. Ha penetrado todas las capas de la cultura popular.

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 Estas distopías critican o satirizan sistemas, mecanismos y condiciones del presente, visibilizando sus componentes negativos (cualquiera puede serlo cuando la incrementación de la escala lo vuelve incontrolado) y extrapolando poderes, fracturas, inconsistencias y desastres que cobijamos. Así, se escenifican sociedades (si es que cabe conservar el término) de pesadilla, regidas por variados y arbitrarios autoritarismos; poblaciones que dejan su calidad ciudadana para devenir en masas des-subjetivadas, atemorizadas, manipulables, controladas y sometidas a formas sectarias de articulación irracional. También pueden ser poblaciones asoladas por fenómenos irreversibles de la naturaleza, o por efectos de la sobrepoblación y carencia de recursos alimenticios que condenan a la lucha primitiva por la sobrevivencia. En cualquier caso, un planeta entero expuesto a los acabamientos y a los agotamientos de las formas habituales de una organización cultural.

Ante este panorama, que no está frente a nosotros sino entre nosotros, poblado, habitado por la suma de nuestros actos, hábitos, discursos e instituciones, ¿qué oponemos a lo insoportable de un desboque incontrolado? ¿O es que el cinismo, la certeza de habitar sin opción y sin-salida solo dejan lugar, en el horizonte próximo, para la consumación de la impotencia, la propia autoexplotación para ser eficientes y funcionales, la entrega del deseo y nuestra rendición? Ni la información ni la opinión pública ayudan (pensemos en el ya lejano traspié de Wikiliks), en tiempos de posverdad. Lo devastado/devastador es una de las condiciones de vida del mundo actual.

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Poster «En el cuerpo una voz» de Maximiliano Barrientos.

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¿Fabulación o hipótesis realista del presente?

La novela En el cuerpo una voz, de Maximiliano Barrientos (El Cuervo, 2017), podría leerse, sin reducirse a esa categoría, como una novela donde un dato de la realidad se exacerba (el fantasma del separatismo en Bolivia, aunque Barrientos ha dicho que el que haya ambientado su narración en el contexto referencia boliviano no sea importante ni menos decisivo para la obra) hasta imaginar un potencialmente cercano futuro distópico, lleno de rasgos propios de este subgénero, en el que se habría dividido, de manera cruenta, el actual Estado Plurinacional en, al menos, dos naciones fictivas: la Nación Andina y la Nación Camba. El conflicto de esta hipotética guerra independentista, librada por parte de la segunda en contra del imperialismo de la primera, dura un periodo de aproximadamente seis años y es denominada El Colapso. Todo ello es parcialmente reconstruido por el narrador cediendo voz a los testimonios de los sobrevivientes, que él mismo tiene la mandatada tarea de recopilar.

Estructurada de manera no lineal (sino en varias temporalidades narrativas), la novela cuenta poco de lo ocurrido, más bien silencia las circunstancias en las que se habría concretado el “asesinato del presidente indígena”, para centrarse en cuatro momentos: 1) el Colapso en el que las brigadas del General aterrorizan y dominan a la población (deteniéndose en el asesinato que el hermano del protagonista comete cuando se niega a los requerimientos de la brigada que asalta su hacienda y, luego, contada mucho más adelante, en la muerte de ese hermano); 2) la recopilación de testimonios que hace el protagonista, Rodolfo, años más tarde y por encargo del Ministerio de Cultura de entonces; 3) el secuestro al General que comete junto a Lucio y García, ya retirados del servicio público y que pretende hacer justicia por mano propia, buscando una imposible confesión del dictador y que acaba con la muerte imprevista de aquél en manos de Rodolfo; y 4), la parte final, la más ambigua y lograda, en la que Rodolfo, recluido en el hospital, espera el juicio que los absolverá como asesinos y los dejará como héroes populares. En esta última parte, se descubre que, al matar al General, la voz de éste lo invadió, ocupó su cuerpo –al modo de un trauma, algo abarcante que no puede ser introducido en la experiencia–, y desde allí mira y narra la historia alternándose con la conciencia del propio protagonista. En ello se encarna el desgarro ezquizofrénico del sujeto, que representa el título de la obra; y es, precisamente, lo que deriva en la escena delirante, ambigua, con la que culmina la escritura  y que no deja fácil la legibilidad del desenlace en términos puramente descriptivos.

Si la ambigüedad y el silencio hacen que ni se condene ni se exalte, pero tampoco se tome una posición contra o a favor del asesinado presidente; si, de hecho, nada se dice de las causas de ese asesinato (si es por ser indígena o por detentar el lugar de presidente), lo que se logra es hacer del impase político el escenario para los finales posibles, la deshumanización, la crueldad, el aniquilamiento, la crueldad, etc. En pocas palabras, el declive de una sociedad y su entrega al caos, hasta que recupera el control, se deshace de las brigadas y construye por demanda ministerial una memoria colectiva, “para que no se repita” (aspecto debatible que comentaremos en la segunda parte de esta lectura). No deja de ser tentador el puente con la novela De cuando en cuando Saturnina de Allison Spedding (2003) que también consiste en una distopía (más fabuladora que la de Barrientos, basada en proyecciones científico-ficcionales que comprometen, por ejemplo, las dimensiones del tiempo y la cohabitación intergaláctica). En su caso, situada en la división de la Nación andina, sí existe una ambientación que problematiza la tecnología y los poderes estatales. Curioso, también, que ambas enmarquen lo que fue el Proceso de Cambio en el país, cada una de ellas (2003 y 2017) publicada poco antes de las fechas que fijan la apertura y el cierre del ciclo gubernamental dirigido por el Movimiento al Socialismo. Los mismos catorce años entre una y otra.

Pero más allá de la filiación y de la contextualización, esta obra lanza preguntas al presente que habitamos: ¿basta que algo no haya sucedido para alterar lo real? En otras palabras, si toda literatura consiste en la representación de algo que no ha sucedido “realmente”, ¿será que esta fabulación se limita a extremar un aspecto presente en términos de probabilidad, más que de potencialidad? ¿O, además, explora una lectura de la actualidad hasta llevarla a su delirio, a un extremo de la misma que no habíamos logrado imaginar? ¿Por qué una distopía se escribe con absoluto realismo, como si éste anulara la posibilidad de que se vean alterados la subjetividad y el sentido que organizarían los hechos, cuando en verdad sucede por lo menos una desestablización de lo que se supone es un sujeto entero y vivo en su cuerpo?

La paradoja del deseo/temor de un fin conjura un pasado que no acaba, un colapso que no termina nunca de acontecer, una larga agonía que no parece culminar en ninguna muerte, ni en el planeta ardiendo ni en formas de heroísmo detrás de la cortina de humo. Entonces, ¿cómo interrumpir la repetición del acabamiento sin fin, repartido en pequeños y tremendos pequeños finales? Para unos, lo peor ya pasó (ya ha pasado), está detrás de nosotros; para otros, sin embargo, siempre es posible que todo pueda ser aun peor.

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Portada «En el cuerpo una voz» de Maximiliano Barrientos.

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En el encierro, un cuerpo

Como ya varios autores han planteado, es posible pensar que habitamos una de las formas de distopía menos imaginada, aquella muda, microscópicamente instalada no desde OVNIS ni explosiones nucleares sino apenas desde un virus implacable. ¿Es el COVID nuestra actual distopía, ese mal-sitio encarnado por un tiempo congelado en el que se suspenden las cualidades más humanas como el roce, el lazo, la libertad en aras de una comunicación radicalmente mediada por pantallas o vidas controladas “por el bien de uno”? De ser así, algo del mundo novelesco se confirma, en tanto ya no es tiempo de narrar heroísmos sino apenas sobrevivencias. Ya no cabe ilusión e ideal de escape paradisiaco, sino lo inmanente de los mismos cuerpos donde ya ni sujetos existen, aunque se muestren en esos cuerpos (comentaremos este aspecto en una segunda entrega).

Desde lo que Arendt pensó como la banalidad del mal hasta ahora, ¿es el horror algo todavía visible, discernible y desentrañable a nuestros ojos? ¿Qué “mal” reside en nuestras imágenes de un acabamiento que no llega y una conclusión posibilitadora de reinicio que no se consuma? ¿Es el trauma, el sacrificio, el “capitalismo cognitivo”, el único modo de imaginar/conjurar la muerte y la vida en el inmenso mientras-tanto donde nos hallamos?

Dice Rodolfo, en la novela, que lo que este sitio necesita no es memoria sino olvido. Con ello desmantela la ilusión, tantas veces desmentida en la historia de la humanidad, de que contar sirve para no repetir, ¿será? Un millón de formas de devastarnos, desde guerras hasta genocidios, matizan la esperanza. ¿Las futuras sociedades estarán más cerca de un “retrofuturismo” que de su “cura” o “aprendizaje”?

Mejor la fiebre que la ilusión “de que antes estuvimos protegidos por el afecto”; mejor el cuerpo sin sujeto, vacío o encerrado, antes que un falso sujeto entero, de pie y fabulando su siempre equívoca conquista del paraíso; mejor la imagen sin lenguaje o el lenguaje del delirio, del esquizo, del derrame que no deja refugios a su paso. Así esta escritura nos arroja a lo insoportable, precisamente por su cercanía fictiva con lo real de nuestro presente, aunque no se tenga, aun, ojos para mirarlo o, más complejamente, aún si es el propio mal el que mira desde nuestros ojos.

(¿continuará?)

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Maximiliano Barrientos.

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