Los censores siempre fueron tontos pero ahora son sensibles
Leo un artículo en el país y encuentro una palabra nueva que no entiendo, desminadores. “El premio Goncourt choca con los “lectores sensibles”, desminadores de discursos incorrectos en la industria editorial”.
Resulta que hay lectores que antes de la publicación de un libro se encargan de encontrar campos de minas, buscan “posibles ofensas a minorías, raciales o sexuales”. Lo denuncia un finalista del premio Goncourt de este año, Kevin Lambert.
Leo una entrevista también en El País a Ariana Harwicz promocionando su libro El ruido de una época. En el libro la autora “se opone a los dogmas de corrección política en nombre de la libertad y la integridad del artista”.
Y pienso, por fin. Y pienso además que a lo mejor poco a poco desaparecerá la autocensura cultural, que no tiene nada que ver con la salvación de minorías ni con la salvación del mundo, sino con el control del mercado.
Cuando un lector se retira del mundo, se sienta o se acuesta, se libera del ruido, coge un libro y se mete en él durante horas es porque quiere entrar en un espacio libre. Cuando con catorce años descubrí a Dostoyevski, entonces eso era posible, había mucho menos ruido que sobrepasar, estaba deseando llegar a casa, cerrar la puerta del salón que no se usaba, sentarme en un sillón comprado sin ningún sentido, como adorno, encender la lamparilla que acompañaba a aquel adorno, envolverme como un ovillo y quedarme en aquel mundo libre, libre. El mundo ruso que me contaban era lo opuesto a la libertad, pero la mirada de Dostoyevski era libre. Raskólnikov o Sonia eran personajes que intentaban vivir en un entorno que los ahogaba. La novela te metía en esa verdad, uno quería ser artista, la otra había dejado de ser individual, había llegado a un estado iluminado por el amor. Y yo, que también sufría esa imposibilidad de ser naturalmente la que era, podía vivir en esos personajes la verdad. La verdad era un movimiento, una forma de actuar siguiendo un impulso que nadie podía doblegar, esa era Sonia. El pobre Raskólnikov había caído en la crueldad social y era un asesino, sí, pero Dostoyevski no lo trataba como a un asesino, eso lo hace la ley, lo trataba como a un ser humano que podía ser redimido por la fuerza de Sonia.
Ese libro que hoy podemos leer porque en la gran clasificación tiene denominación de “clásico”, no pasaría la censura de esos lectores sensibles. Qué difícil explicar esto. Tendríamos que llevar a estos lectores a la época de Dostoyevski, en ese momento su sensibilidad se escandalizaría ante el asesinato de una pobre anciana. Eso estaría por encima de todo lo que ese señor autor nos quisiera contar.
Cuando leo el periódico, on line, de arriba abajo, con sus secciones de política, economía, nacional, internacional, deporte, sociedad y cultura, siempre tengo la sensación de que me han metido en un mundo cerrado, hiperdefinido, por lo tanto, irreal.. Mientras miro el mar o me baño en la playa o hablo con mi vecina o paseo con mis amigas ese mundo no existe. Todos esos valores, todos esos miedos que me transmite la lectura del periódico no están. Así que me pregunto si no hay una distancia enorme entre la realidad y la información, entre la vida y la noticia. Yo nunca me he sentido minoría porque cuando estoy fuera, expulsada, no tengo a otros con los que formar una minoría. Y me parece que cuando una persona es tratada con indignidad por su raza o condición sexual, no se siente minoría. Siente ese dolor interno, individual, el miedo, la rabia. Eso es individual y eso es lo real. El dolor de una minoría es un concepto.
Y el territorio de la literatura es el territorio de lo más profundo del ser humano, de todos los seres humanos en un solo ser humano, el protagonista. Raskólnikov era una persona con el impulso de ser creativo incomprendido por el sistema cultural de su ciudad. Habría muchos jóvenes en esa situación, serían una minoría dentro de los jóvenes de su época, pero a Dostoyevski no le interesaba la minoría, le interesaba entrar en un personaje y rasgarlo para contar toda su contradicción, su incapacidad de lucha, su soberbia y a la vez su necesidad de amor, su luz y su sombra. Si lo hubiera tratado como representante de la minoría de jóvenes incomprendidos por el status cultural del momento el libro sería un bodrio, un folleto que no se diferenciaría en nada de un artículo del periódico sobre la dificultad de la minoría de jóvenes de altas capacidades para adaptarse al sistema.
Una vez una amiga me describía cómo algunas personas actúan como vampiros y envuelven con su enorme capa negra a una persona de la que no se despegan. Esa persona ya no puede ser vista por nadie. Y eso es lo que está pasando con la literatura. El periodismo, la información, el arranque subjetivo de las redes sociales envuelven al arte con su enorme capa para volverlo invisible. El arte no entiende de minorías, ni de valores, ni de correcciones. El arte es la mirada que busca la belleza y en esa búsqueda va retirando las convenciones políticas, el pensamiento conceptual y sobre todo cualquier intención, buena o mala. No puede haber intención ni reivindicación en el arte precisamente porque es una mirada que busca entender quién es el ser humano, no una mirada selectiva para decir quién es el ser humano.
El lector sensible que va buscando los campos de minas en un texto como el antiguo censor de las dictaduras resulta que es insensible al arte. El periodista cultural que se enfrenta a un texto como “lector sensible” que no tiene ya que desminar, porque esa labor ya se ha hecho antes de la edición, sino precisamente resaltar los valores que reivindica un texto, es un censor del arte. El editor que busca libros que apoyen los valores, aunque en una lectura superficial esto parezca tan bueno como el antiguo hombre de misa diaria que daba el diezmo a la iglesia, es un censor del arte. La realidad es que está buscando libros que vendan, que pasen la censura de los “lectores sensibles”, de los “críticos sensibles”, de los “libreros sensibles”.
Y vuelve la pregunta fundamental de nuestra época, ¿podemos recordar qué era la sensibilidad? Cuando encuentro libros que son capaces de entrar en la contradicción, justo el espacio de la literatura, a veces me dicen otros, ya, pero la gente no es capaz de ver estos matices. ¿Dónde estamos colocados para no ver los matices, para ser ciegos a los conflictos o las contradicciones? Una vez a Mahler le preguntaron sus hijas si existía Dios y él contestó que porque algo no se vea no quiere decir que no exista. Puso sus ojos en un microscopio y les enseñó las células. ¿Véis? Existen, pero si no tenemos un microscopio, no las vemos.
La literatura ha funcionado siempre como un microscopio, ¿ves cómo funciona la realidad? Y el lector se asombra de no haber caído en cómo funciona nuestra sociedad, nuestra psique, nuestra espiritualidad. Pero ahora la literatura está maniatada por la censura de los “lectores sensibles” que no quieren ver la realidad. Así que se ha convertido en una repetición de las noticias y los discursos, una copia de lo que vemos día a día sin tener capacidad de entrar a lo que hay debajo. Ha olvidado a los personajes.
La censura se vuelve extrema en la autocensura del autor, que sabe ver cuando escribe las minas que encontrará el “lector sensible”. Siente que va a herir sensibilidades, siente que no va a ser publicado, siente que va a ser crucificado en redes sociales o en magazines culturales. Y entonces sus textos vuelven a la superficie para contar lo que ya sabe, alimentando la sombra que un día nos dejará perplejos.
Sí, los “lectores sensibles” mandan y la sensibilidad, que no es otra cosa que la capacidad de conocer, de ir más allá de la apariencia, quedará borrada. Curioso cómo cambia el significado de las palabras a base de usarlas. Nunca llamaría a un lector que no es capaz de profundizar sensible, nunca llamaría defensa de minorías a no escavar en el mundo que los ha convertido en minoría, nunca llamaría literatura a narraciones con una mirada intencionada, dirigida, superficial y efectista.
Y está bien que lo digan autores que ganan premios porque como me dijo una vez otra amiga en la universidad, yo no puedo protestar porque suspendo. Para que te hagan caso tienes que tener credenciales: buenas reseñas, premios, seguidores. Y para llegar a tener premios, seguidores, buenas ventas tienes que ser políticamente correcto y pasar el filtro del lector sensible. Es la rueda perfecta de la censura. Incluso, los pocos que ganan premios y no siguen las pautas de la censura tampoco valen porque no gastan sus fuerzas en luchar contra la estupidez. Una vez escuché decir a Joshua Cohen, no quieres leer clásicos, no los leas. Crees que no es necesario para escribir bien, perfecto. ¡Qué más da!
Y podríamos seguir. ¿crees que un libro bueno es el que te cuenta lo que ya sabes, el discurso admitido, aquello que te hace vibrar ante el reconocimiento de una verdad absoluta? Adelante, tienes libros y libros para elegir. Puedes llenar todo tu tiempo con su lectura y no te va a quedar ni una rendija de duda.
Todavía hay otra vuelta de tuerca. El lector sensible es feliz siendo un lector sensible porque siente esos buenos sentimientos que están del lado de la verdad. El lector sensible confunde la profundidad con la violencia. Cuanto más violenta una escena, más sensación de profundidad, cuánto más truculentos los hechos, más profundamente sentirá que es sensible, que se emociona, que tiene ganas de llorar, que está salvando el mundo. Y con eso juega la industria. ¿Podemos aceptar la palabra industria cuando hablamos de arte? Lo aceptamos. Y no nos sentimos heridos por ser consumidores de productos porque en la incapacidad que se va creando para ver matices, es normal que veamos la contraportada de un libro como la etiqueta de cualquier producto. Con sus ingredientes de violencia, sexo, ternura. Una vez alguien me dio
un manuscrito para ver si me gustaba y me dijo, si tengo que poner un poco más de sexo, no hay problema.
Nunca soñó ningún censor que no haría falta ni mover un dedo para llegar al mayor nivel de control. La clave está en que todos y cada uno de nosotros nos censuremos no por amor a las minorías, sino por miedo al rechazo.
Los censores siempre fueron tontos, gente insensible que no era capaz de ver la genialidad de un texto, gente obsesionada con un discurso sin pensamiento. Pero ahora son los buenos, los llenos de razón, los representantes de la justicia.
Nunca me habría imaginado que justamente la literatura, dentro del arte, sería el lugar perfecto para plantar la censura y el control, pero tiene todo su sentido. Una imagen vale más que mil palabras es una de las frases más dañinas de nuestra época. Desde entonces las palabras quieren ser sólo imagen, no ir más allá.
Celebremos que haya voces que se puedan escuchar reivindicando el fin de la sensiblería. Tengamos sensibilidad.
Todo preparado para la ciénaga del libro “ delicioso “
Qué defensa! Me ha encantado. Ese dolor interno es individual, y eso es lo real. Tanta gente opinando, juzgando, a una velocidad directamente proporcional al olvido (Kundera). Y el lenguaje queda fuera de juego, sin sentido, mediatizado por intereses ajenos. Reconozco que muchas veces el cansancio me puede. Así que gracias.
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