Corrección política En Foco Literatura

Nicolás Mavrakis: “La relevancia del periodismo como discurso sobre la realidad quedó extinguida”

Caracterizada como “la época de la corrección política”, Nicolás Mavrakis publicó una serie de cuentos que recurren a la sátira como herramienta para localizar en qué situaciones lo “correcto” no resuelve nada o, incluso, destruye lo que pretende sanar. “¿Qué pasa cuando “los malos” resultan más nobles que “los buenos”? ¿Qué pasa cuando esos mandatos adquiridos, esas “pieles” que muchas veces se nos obliga a vestir sin la menor libertad de elegir son “rasgadas”?”, se pregunta el autor.

By Juan Terranova /

En guerra con la piel, editado por Azul Francia, reúne siete relatos de Nicolás Mavrakis. El que le da el nombre al libro es una pieza de antología, lúcida y transparente sobre un tema que podría ser escatológico y que Mavrakis opta por hacer lumínico. La prosa precisa y tersa sobre eso que se arruga, se deteriora y se pervierte resulta un acierto que pone en tensión forma y trama. Pero ¿qué narra En guerra con la piel? Ya desde su título no se trata de “contra” sino “con.” La piel es uno, pero al mismo tiempo también es frontera, órgano que se rebela, una especie de doppelgänger con el cual se conversa, se discute y se pelea. ¿Qué es lo que pasa cuando la piel enferma? ¿Somos o no somos la piel? ¿Hasta qué punto es la piel nuestra identidad o su reflejo? Las diferentes respuestas a esa pregunta alcanzan a términos tomados de la práctica bélica y se estira hasta una ácida crítica al sistema de salud contemporáneo. Como título del libro, o sea, como rotulación aglutinante de los otros cuentos, la guerra se vuelve más hacia lo psíquico y deja atrás el dolor físico del fracaso de la farmacopea para avanzar sobre otras obsesiones, no menos recurrentes como la música, el periodismo o la identidad en relación a la política y sus equívocos.

Mavrakis es un prosista galvanizado y un narrador ágil. Pero los relatos de En guerra con la piel revisten aparte lecturas que bien podrían tener versiones de ensayos y artículos. Esa equilibrada mezcla entre ficción, metaficción y hermenéutica no es nueva ni siquiera novedosa en la tradición argentina, pero parece excepcional en relación al género en la actualidad donde los que lo practican parecen más dados a la autonomía o incluso a apoyar el status quo antes que cuestionarlo o problematizarlo.

Si la “corrección política” funciona como una solución cínica de conflictos reales a través de convenciones lingüísticas, la sátira intenta ser una lupa para detectar en qué puntos esta sutura simbólica de lo “correcto” no resuelve nada”

Atendiendo a los usos de la cuarentena, el libro se puede comprar por Mercado Libre (click) o escribiendo a la editorial en sus redes sociales (click).

https://www.facebook.com/azulfranciaeditorial

–¿Cómo elegiste los temas que trata cada cuento? ¿Trabajás diciendo “voy a escribir un relato sobre este tema”? En tu libro hay un relato sobre la identidad de los pibes recuperados que se robaron los militares durante la dictadura, uno sobre un padre e hijo que se dedican a la música, otro sobre la vida en el periodismo, uno más sobre las dudas de un neonazi… Por momentos parece un libro que viene a reponer cuentas pendientes con el campo intelectual argentino.

La única cuenta pendiente de En guerra con la piel es con Tusquets, que después de pagarme un contrato de publicación dejó durmiendo al libro durante dos años hasta cancelar la edición, al parecer, por el desastre de la economía macrista. A la distancia, fue oportuno negarme a hacer una foto de la firma de ese contrato. Hace unos años se estilaba: fotos de firmas de contratos, como si los libros fueran operaciones culturales-financieras al estilo de los jugadores de fútbol. Más allá de esa anécdota, el libro todavía busca discutir con ciertos sentidos predominantes de la época, una época a la que podríamos catalogar, para hacerlo breve, como “políticamente correcta”. A partir de ahí, si la “corrección política” funciona como una solución cínica de determinados conflictos reales a través de ciertas convenciones lingüísticas, la sátira, que es lo que recubre al libro en su totalidad, intenta ser una lupa divertida para detectar en qué puntos esta sutura simbólica de lo “correcto” no resuelve nada, e incluso, a veces, deforma hasta destruir lo que pretende sanar. Para ir a los cuentos, ¿qué pasa cuando lo que debería funcionar como un indiscutible territorio de entereza moral queda trastocado por el más frívolo oportunismo? ¿Qué pasa cuando “los malos” resultan más nobles que “los buenos”? ¿Qué pasa cuando esos mandatos adquiridos, esas posiciones heredadas, esas “pieles” que muchas veces se nos obliga a vestir sin la menor libertad de elegir son “rasgadas”? Todas las historias giran alrededor de este único tema. A veces la piel es política, otras veces es familiar, incluso puede tratarse de la piel real. Desde ya, hay muchos autores pensando y escribiendo libros para confirmar que lo malo es malo y lo bueno es bueno, y para convencerse y convencernos de que la piel que habitamos es “la correcta”. Bueno, En guerra con la piel no es uno de esos libros.

Un periodismo disfrazado de literatura, amparado en figuras literarias zombies y convertido en no mucho más que un club de turistas ridículos”

–Ruido blanco podría haber sido una novela. ¿Cómo sabés cuando es algo más extenso y cuando un relato?

En este libro hay muchas frases sacadas de la obra de Don DeLillo, un novelista de libros largos, bien trabajados y siempre apuntalados sobre cuestiones coyunturales, aunque, circunstancialmente, DeLillo también escribe cuentos. Según él, el método para construir un cuento no es escribir un final sino interrumpirlo. Ruido blanco tal vez podría haber sido una novela, una novela sobre la paranoia, pero creo que todo lo que esa novela podría haber dicho sobre la paranoia está sintetizado en la viñeta esencial del cuento: en el tipo que creía que internet degradaba la vida, hasta que descubrió lo que era la verdadera degradación, una experiencia mucho más allá de los alcances amplios o acotados del wifi.

–En Namibia satirizás el periodismo argentino y sus pretensiones y circuitos. ¿De dónde surge esa idea?

Mi relación con el periodismo siempre fue lateral. Para mis amigos periodistas, que son muchos y que aprecio de verdad, yo nunca fui un verdadero periodista, yo era “otra cosa”, un “visitante”. Es probable que tengan razón. Por otro lado, mi vínculo laboral con el periodismo surgió durante su peor etapa, cuando la expansión de internet ya no tenía vuelta atrás y la función de “contar la realidad”, que era la que el periodismo creía propia e indelegable, ya se había diluido en infinitas plataformas habitadas por infinitos usuarios creando infinitas realidades. A partir de ahí, la relevancia del periodismo como discurso sobre “la realidad” quedó extinguida. Con esto en cuenta, siempre me sorprendió que mientras algunos periodistas intentaban elaborar algo nuevo bajo circunstancias nuevas para tratar de seguir adelante, orientados por la famosa frase de que “en la crisis hay una oportunidad”, otros, en cambio, tomaban una actitud negadora y reactiva, y en esa confusión se refugiaban a veces en un género absurdo como “la crónica periodística”. Esos son los circuitos y el tipo de periodismo concreto que aparecen en “Namibia”. Un periodismo disfrazado de literatura, amparado en figuras literarias zombies y convertido en no mucho más que un club de turistas ridículos. Creo que es un equívoco bastante sintomático para entender la desorientación general del periodismo. Hace unos años, por ejemplo, sugerir que un uso inteligente de internet podía multiplicar la experiencia de la realidad mucho mejor que cualquier mítica “inmersión concreta en los hechos” era una abominación. Después de la pandemia de 2020, hasta el “periodismo narrativo” descubrió YouTube…

Si yo notaba que las discusiones sobre género, moral, política, patriarcado, tolerancia, salud y cuerpos “disidentes” transitaban a la vista de todos el camino de su propia sátira, entonces alguien más tenía que estar viendo lo mismo”

–¿En qué escritores y en qué lectores pensabas mientras escribías En guerra con la piel?

Considerando que el título está sacado de un libro de John Updike y que hay muchos injertos de frases e ideas de DeLillo, un autor que sí merece el premio Nobel, respecto a los lectores solo pensaba que si yo, sin hacer un gran esfuerzo, notaba que buena parte de las discusiones sobre género, moral, política, patriarcado, tolerancia, salud y cuerpos “disidentes” transitaban a la vista de todos el camino de su propia sátira, entonces alguien más tenía que estar viendo lo mismo, y seguramente ese alguien tendría la inquietud suficiente para preguntarse qué es lo que había pasado.

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