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1 Periodismo De Metaficción. Infiernos Personales PERIODISMO DE METAFICCIÓN. INFIERNOS PERSONALES: EL CASO DE MARTIN PADILLA. JEFFREY DARÍO RAMOS GONZÁLEZ Trabajo presentado para optar al título de Comunicador(a) social – Periodista. Director MIGUEL MENDOZA LUNA PONTIFICIA UNIVERSIDAD JAVERIANA FACULTAD DE COMUNICACIÓN Y LENGUAJE CARRERA DE COMUNICACIÓN SOCIAL BOGOTÁ D.C 2014 1 “La Universidad no se hace responsable por los conceptos emitidos por los alumnos en sus trabajos de grado, solo velará porque no se publique nada contrario al dogma y la moral católicos y porque el trabajo no contenga ataques y polémicas puramente personales, antes bien, se vean en ellas el anhelo de buscar la verdad y la justicia”. Artículo 23: Reglamento Pontificia Universidad Javeriana 2 AGRADECIMIENTOS A mi mamá, quien me apoyó durante toda mi carrera, siendo más que un soporte económico. Es gracias a ella que este trabajo puede ser presentado. A Miguel Mendoza, quien no solo fue un asesor en los aspectos académicos, sino a nivel personal y se interesó desde el principio en la arriesgada propuesta. Gracias a las conversaciones mientras discutíamos con un café fue posible que un producto final que hiciera mérito a todo el trabajo anterior. A tantos amigos que aguantaron que iniciara todas las conversaciones hablando sobre mi proyecto y con paciencia aportaron y ayudaron a construir algunas de las reflexiones que se ven reflejadas más adelante. A la Pontificia Universidad Javeriana, pues sin el apoyo financiero que me da me sería imposible estar en estos momentos presentando un proyecto de grado. Gracias a la oportunidad que dan a jóvenes de bajos recursos es que puedo aspirar con este texto al título de Comunicador Social. 5 TABLA DE CONTENIDOS 1. INTRODUCCIÓN Pág. 8 2. CAPÍTULO 1: ENSAYOS SOBRE FICCIÓN Y REALIDAD. 2.1 El embrujo de la descripción a través del relato. Pág. 12 2.2 Un féretro tallado en tinta. Pág. 15 2.3 Como contar un beso. Pág. 17 2.4 Si Dios fuera novelista Pág. 20 2.5 Todo un personaje de novela. Pág. 22 2.6 El autor, el personaje, el escritor y yo. Pág. 27 2.7 Los borrachos, los niños y los mentirosos siempre dicen la verdad. Pág. 32 2.8 Ideas finales del capítulo 1. Pág. 35 3. CAPITULO 2. 3.1 Operación Masacre. Pág. 35 3.1.1 La historia. Pág. 35 3.1.2 Antes del “fusilado que vive”. Pág. 36 3.1.3 El hombre que nunca regresó del paredón. Pág. 37 3.1.4 El autor en el texto. Pág. 38 3.1.5 El ritmo policiaco de una masacre. Pág. 41 3.1.6 Títulos novelescos. Pág. 44 3.1.7 Las voces: una cuestión de distancia. Pág. 45 3.1.8 Realidad o ficción: el dilema entre dos versiones. Pág. 46 3.2 Satanás Pág. 47 3.2.1 La historia. Pág. 48 3.2.2 Mario Mendoza. Pág. 48 3.2.3 La masacre del Pozzetto. Pág. 49 3.2.4 Violencia y realismo sucio. Pág. 51 3.2.5 Una estética de la ciudad. Pág. 53 3.2.6 Tres Voces que hablan del infierno. Pág. 55 3.2.7 Confesiones al lector. Pág. 57 3.2.8 Leyendas urbanas. Pág. 58 3.3 Al amigo que no me salvó la vida Pág. 60 3.3.1 Hervé Guibert. Pág. 60 6 3.3.2 ¿Diario, memoria o autobiografía? Pág. 61 3.3.3 Vida y narración. Pág. 64 3.3.4 Autobiografía y ficción. Pág. 67 3.4 Ideas finales del capítulo 2 Pág. 89 4. CAPITULO 3: PRODUCTO 4.1 Introducción al producto Pág. 70 4.2 Infiernos personales: El caso de Martin Padilla. Pág. 70 5. CONCLUSIONES. 5.1 Conclusiones capítulo 1 Pág. 89 5.2 Conclusiones capítulo 2 Pág. 89 5.3 Conclusiones capítulo 3 Pág. 91 6. REFERENCIAS Y BIBLIOGRAFÍA Pág. 93 7. ANEXO I: ENTREVISTA A TULIO PADILLA Pág. 95 7 1.0 INTRODUCCIÓN. El presente trabajo fue el producto de una pregunta que surgió mientras ojeaba libros sobre periodismo y literatura en un periodo en el que me encontraba alejado de la universidad por motivos financieros. Era una etapa en la que buscaba encontrar qué me ofrecía el lenguaje periodístico que no pudiera darme el lenguaje literario. ¿Se trataba en últimas de un asunto estético o práctico? En algunos casos parecía ser un problema de gustos, pero entonces me encontré con la encrucijada de estar en medio de dos modos de escribir que me fascinaban por igual. En mi regreso a las aulas me encontré con algunos profesores que escucharon mis dudas y me ofrecieron dedicar esas preguntas a mi proyecto, con la esperanza de encontrar en ese texto una catarsis. Este trabajo aspiró a ser tanto personal como académico. Inicialmente el trabajo estuvo orientado a una monografía que analizara el libro de Germán Castro Caycedo La bruja y realizara un análisis de contenido, que diera cuenta de unas estrategias utilizadas a lo largo de la historia perteneciente a la literatura. Después de una conversación con el asesor de trabajo de grado, Miguel Mendoza Luna, se decidió orientarlo hacia la construcción de un relato que intentara reflejar y romper las barreras entre periodismo y literatura. El tema central del proyecto fue problematizar la delgada y difusa barrera de periodismo y literatura, pero nunca se planteó desde un dilema ético o desde una deontología del oficio de escribir. No porque el tema no fuera importante, sino a raíz de que tales nociones aplican a cuestiones morales del oficio de escribir y no a una posibilidad de encontrar en esos textos una utilidad, tampoco se abordan tales temáticas porque el objetivo final de proyecto fue crear un producto que dentro de su estructura problematizara esas barrera al incluir elementos tanto de ficción como de realidad. El primer capítulo fue realizado a modo una serie de ensayos que giran en torno a siete productos que presentan irrupciones o violentan la forma como se lee la ficción y la realidad. Estos objetos de estudio no pertenecen únicamente al campo de lo escrito, sino que abarcan formatos diferentes incluyendo modelos audiovisuales. Primero se planteó con mi asesor una lista que intentara abarcar un margen amplio, pero en el cual se pudiera diferenciar ciertos elementos particulares de un objeto de estudio a otro. También se evitó a propósito la inclusión de materiales comúnmente utilizados y en exceso analizados con anterioridad como es el caso de a Sangre Fría de Truman Capote, no porque no aportaran 8 elementos que pudieran ser relevantes para el análisis, sino para evitar la repetición que suele encontrarse en los textos académicos sobre estas obras. El proceso de escritura de los ensayos se concentró en textos de cerca de dos o tres páginas que dieran cuenta de cómo a través del producto se problematizaba la barrera entre ficción y realidad y qué elementos utilizaba para generar esa ruptura en la usual lectura que se suele hacer de cada uno de los formatos que disponía. Más que presentar un marco teórico en el que se enunciaran una suerte de teorías acerca del periodismo literario (que en cualquier caso nunca fue el objeto de estudio de este trabajo) se pretendió utilizar el proceso de lectura y luego escritura de un texto para presentar reflexiones y enunciar estrategias concretas que sirvieran para trabajar el producto final. El segundo capítulo se estructuró en el análisis de tres productos: uno de periodismo (Operación Masacre) otro de literatura (Satanás) y un texto que está en medio de los anteriores (Al amigo que no me salvó la vida). A pesar de que se puede definir los dos primeros textos dentro de un género, presentan a su modo ciertos aspectos que rompen con las estructuras formales tanto del periodismo como de la literatura, siendo el primero una investigación periodística narrada a modo de novela en sus tres primeras partes y la segunda una novela que toma como base un hecho altamente conocido para llevarlo a la ficción. El último es un ejemplo más cercano a lo que se pretendía fuera el producto final de este trabajo, pues se trata de un texto difícil de clasificar en el campo periodístico o en el literario por la forma como se escribe y su contenido. Para este capítulo se cambió el formato de ensayo y se trabajó un modelo más cercano al análisis de contenido con un énfasis en descifrar estrategias o métodos narrativos utilizados por el autor para generar una suerte de “confusión” en el lector que trata de descifrar que tipo de texto está leyendo. Una de las claves en el segundo capítulo fue que cuando el relato pretende dar cuenta de una realidad personal, en especial aquella que involucra un sufrimiento silencioso (un infierno personal se puede decir) se presenta una ruptura en los límites entre periodismo y literatura, en especial si el texto pretende no solo develar hechos, sino generar una experiencia estética y emocional. A lo largo del análisis también se hizo visible que el tema de la homosexualidad es con frecuencia problemático, pues involucra un desajuste social y permite integrarse más a lo que piensa el personaje. Se definió la homosexualidad y el bullying, a propósito del caso de Sergio Urrego y el cubrimiento mediático en ese momento, como el tema del producto. 9 La investigación sobre el tema se realizó en las últimos semanas de septiembre, al tiempo que se finalizó el capítulo 2, donde se contactó asociaciones y grupos de la comunidad LGTBI y se tuvo la fortuna de poder contactar a un amigo mío, Tulio Padilla, que ofreció contarme su historia, parecida a la de Sergio. En la primera entrevista se realizó un recorrido por su infancia y se trató de determinar ciertas características que serían definitivas en el proceso de justificar el personaje dentro del texto.
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