EL MUNDO ES UN JUGUETE

Un esfuerzo del asombro

(a propósito de la nota IN MEMORIAM SOCOLOVSKY: ¿POR QUÉ LA GENTE LEE MALA LITERATURA?, de Mina Harker, publicada en esta revista el 2/01/2020)

By Nicolás Jozami /

Me meto de lleno a responder, in(ter)ferir una respuesta, iniciar un diálogo y confrontación con Mina Harker, a partir de su nota publicada en esta revista el 2 de enero (click para leer la nota), donde sondea, arriesga y larga afirmaciones sobre el gusto en la elección de la mala literatura por parte de los ¿abstractos? lectores.

El mercado prefigura gustos de lectura, como señala Harker. Ahí lo tenemos a Pierre Bourdieu con las distinciones del gusto y sus análisis sociológicos sobre el tema. Y a Hans Robert Jauss, con la estética de la recepción, poniendo el dedo en la llaga y haciendo emerger, a partir de los años 50’ del siglo pasado, a uno de los actores relevantes con sus preferencias, aunque largamente sumido en un letargo dentro de la historia de la literatura: el lector. Para el teórico alemán, los textos se sitúan dentro de un horizonte histórico, dentro del contexto de significados culturales que los produjo, donde también se producen a su vez, los horizontes cambiantes de sus lectores históricos.  Jauss enuncia que hay actos pre-reflexivos en cada uno de los lectores de una sociedad, actos que son como colchones de sentido, maneras de reaccionar de la conciencia antes de la reflexión, que delimitan, demarcan, parcelan los modos en los que algo va a ser leído, que fijan límites ante una experiencia digamos “libre” como es la experiencia estética de lectura de un cuento, novela, obra de teatro, etc. Ese acto pre-reflexivo “…es la “recepción” de estructuras, esquemas o señales, que orientan previamente, en cuyo marco de referencia es percibido el contenido del texto y esperada la realización de su significado” (Jauss. El lector como instancia de una nueva historia de la literatura, 1975).  Luego de ello, viene el juicio estético, reflexivo, que hará ese lector sobre eso que ha leído, y que -inevitablemente desde la estética de la recepción- estará monitoreado, basculado por su acto pre-reflexivo. En el acto reflexivo de lectura existe lo intencional. “El lector sólo puede convertir en habla un texto -es decir, convertir en significado actual el significado potencial de la obra- en la medida en que introduce en el marco de referencia de los acontecimientos literarios de la recepción su comprensión previa del mundo” (Ibid, Jauss, 1975). El prolegómeno jaussiano, de recepción lectora, está para decirle a la autora del artículo que los lectores que leen mala literatura, están mediados por un sistema cultural que “hace leer” hasta de cierta manera a las grandes obras (me remito a cuando Harker no querría escuchar la opinión de ese abstracto lector luego de atravesar la obrita de Proust).

Tomo la humorada de Harker, en otro párrafo de su nota, y hasta la acompaño en cierta medida: hay tantos escritores como lectores, se ha ampliado mucho la capacidad escrituraria porque los medios lo hicieron posible. Cualquiera puede escribir y decir que escribe; la cuestión es saber cómo lee eso que está escribiendo. Aquí resuena la frase de William Faulkner, que repetida por Piglia, de no haberla dicho el norteamericano, el autor argentino la habría hecho suya: “Escribí El sonido y la Furia y aprendí a leer”; e ingreso al quid: movería un momento la pregunta que lleva el título de esta nota: en vez de por qué la gente lee mala literatura, preguntaría ¿para qué lee esa literatura? Aclaro antes: sería desviar el eje plantearse si la literatura es solamente en sus versiones canónicas, escolares, vanguardistas, etc. relegando lo demás a un cúmulo de tinta y papel que no logra penetrar en esa condición, adquirir el condimento de la “literaturidad” en cada época, más allá de las proezas narrativas y poéticas de ciertos talentos que sobrepasan épocas, y donde siguen latiendo. El por qué de Harker es como el de los chicos, que no cesan de preguntarse el por qué, y que es “la” verdadera pregunta de la filosofía. Pero acá yo me quedo en el “para qué”. Y respondo: la gente elige leer cierto tipo de textos para salir ilesos, por ahí con ansias de abismo pero con la pretensión de dominio, de una búsqueda a medias, propuesto y alentado por actos pre-reflexivos dominantes, poco incordiosos.

 Retomo el dictamen del viejo Plinio: “no hay libro tan malo que no tenga algo de bueno”, respuesta que podría lanzarme algún ofendido lector de las historias de Gabriel Rolón, Daniel Balmaceda, Florencia Bonelli y hasta de los viejos Sydney Sheldon, Hugo Wast, entre otros. Y así se podría seguir. ¿Y si aplicamos lo de Plinio, siguiendo a Jauss, al lector? No hay lector tan malo que no tenga algún momento de lectura lúcida. Pero ello ya no está en los textos, sino en la capacidad del lector, que, obviamente, si se enfrenta a textos que en cada párrafo o en cada página puedan someterlo a ese esfuerzo del asombro que sobrepasa sus límites, la actividad  se convertirá en una verdadera experiencia artística.

Harker señala que uno lee lo que es; o busca lo que lo identifica y de allí saca sus dictámenes. Craso error: he allí un estatismo, una inmanencia lectora; a medida que los juicios (siempre con marcos, delimitados por lo prereflexivo de una sociedad, ya que la gran Nietzsche de que escribe para generaciones siguientes es una megalomanía tribunera) se emiten sobre textos más complejos, más arrobadores y pretenciosos de la inteligencia del lector, esos juicios cambian y con ello las inquietudes; leer bien es como una picazón en un lugar de la espalda al que no llegamos a rascarnos. Que los autores de ciertos malos libros lean los malos libros de otros autores, sí es una endogamia bastante pelotuda y de camarilla insulsa. Es cuidar la quintita, que daría para que comentara y que se metiera alguien más a opinar sobre esto.

La moral regional, lo políticamente correcto, el “sobre lo que se debe hablar y por lo tanto leer” en la digamos literatura pampeana, salteña, riojana o porteña, no es de límites espaciales, sino especiales; todo transita en el orden del lenguaje, las intensidades y líneas de fuga que un texto permite es lo que lo hace valedero o no, legible o de un cosmos estático, del orden de la reiteración. Las subjetividades de los lectores pelean y raspan con la homogeneidad. Camila Sosa Villada escribe bien, será con temas que garpan, pero escribe belleza; es mi opinión, Harker. Stendhal escribió lo suyo, y para compararlos o cotejarlos, yo dejaría pasar unos 120 años más a o menos para ver qué sucede con la escritura de Sosa Villada, para luego comparar.

Ah, y por último, Enríquez me gusta más que Almada, que no tanto. Y Martínez Estrada es el gran hecho maldito autodidacta de la ensayística argentina.

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