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Paradise News O La Difícil Búsqueda Del Paraíso Literario

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Paradise News O La Difícil Búsqueda Del Paraíso Literario PARADISE NEWS O LA DIFÍCIL BÚSQUEDA DEL PARAÍSO LITERARIO MARÍA AÍDA DÍAZ BILD Universidad de La Laguna En una entrevista realizada a David Lodge en julio de 1989 este autor afirmaba: I think that realism is more fashionable and more viable now than it was ten, fifteen years ago. There was a feeling in the nineteen seventies that realism was totally finished and if you wanted to be taken seriously as a novelist you had to be antirealist or irrealist in some way, metafictional or whatever. There are people who still believe that, but I think that in some ways the whole postmodernist experimental movement has lost a certain amount of impetus, particularly in America where it started really. There are a lot of literary novelists now writing books in which the realistic convention is not seriously questioned or undermined1. La razón por la que hemos comenzado nuestro trabajo con estas palabras de David Lodge es porque describen perfectamente el desarrollo que ha seguido su producción creativa. Lodge inicia su carrera literaria en los años cincuenta. La escena narrativa británica está dominada por una serie de autores a los que los críticos definen con el calificativo de «Angry Young Men». La producción litera- ria de esta década se caracteriza, como se sabe, con algunas notables excepciones, por un rechazo de todo tipo de experimentación, como reacción frente al movi- miento modernista, y una vuelta al realismo. Lodge se ve, indudablemente, influi- do por esta tendencia dominante y así define sus primeras dos obras, The Picturegoers y Ginger, You’re Barmy, como «essentially serious works of scrupulous realism»2. Habría que incluir aquí también Out of the Shelter, que, aunque fue publicada en 1970, fue concebida mucho antes. Con su tercera novela, The British Museum is Falling Down se inicia un pro- gresivo alejamiento del realismo tradicional hacia una mayor experimentación Revista de Filología de la Universidad de La Laguna, nº 17, 1999, págs. 301-308 25.pmd 301 11/03/2013, 10:54 302 MARÍA AÍDA DÍAZ BILD formal a través del empleo de técnicas tan distintas como pueden ser la parodia y el pastiche, la intrusión autorial, recurso típicamente postmodernista, los elemen- tos de autoconsciencia narrativa, la yuxtaposición de diversos estilos en una mis- ma obra o la presencia de paralelismos y oposiciones binarias. Se llega en este proceso hasta el cultivo del romance en Small World. El mismo Lodge ha definido este segundo grupo de novelas que marcan un cambio importante en su narrativa como carnavalescas, siguiendo la terminología de Bakhtin. Con la publicación de Nice Work en 1988 se produce, sin embargo, otro giro importante en su produc- ción creativa. Esta obra supone la vuelta a un estilo más tradicional en el que el realismo ocupa nuevamente una posición dominante, sin que por ello el elemento metafórico desaparezca totalmente (éste está presente en el juego intertextual que se establece con la novela victoriana del siglo XIX). Este regreso a lo que podríamos llamar los orígenes literarios de David Lodge es aún más obvio en Paradise News (1991). Aquí el juego intertextual que se produce con The Tempest no es tan manifiesto ni está tan desarrollado cómo el que se da en Nice Work con la novela industrial victoriana, porque David Lodge ha querido ante todo escribir una novela seria y por ello ha huido de todo lo que pudiera minar esta seriedad con la que él desea que el lector asimile la historia central. Y es que aunque es verdad que Paradise News tiene lo que podríamos llamar un final feliz, lo cierto es que tanto la vida de Bernard, el protagonista, como la de aquellos seres más allegados a él, especialmente su tía Ursula, está marcada por el dolor y el fracaso. Bernard tras renunciar a su vocación, el sacerdocio, porque ya no cree en lo que predica, se ve envuelto en una desgracia- da relación sentimental y todo ello hace que este personaje sienta que carga un «baggage of guilt and failure»3 (77). Un día su tía Ursula, que emigró hace años a los Estados Unidos, lo llama por teléfono, le cuenta que se encuentra en estado terminal debido a un cáncer, y le pide que lleve a Jack, su hermano y padre de Bernard, a Hawai, lugar donde reside en la actualidad, para verlo antes de morir. La situación es sumamente patética por el deterioro físico que sufre Ursula y por las circunstancias que la rodean, viviendo en una «nursing home» en condiciones totalmente inhóspitas. Pero lo más triste y desolador de la vida de esta mujer es su pasado, un pasado que la ha marcado para siempre. De pequeña su hermano ma- yor, Sean, la obligó a participar en una serie de juegos sexuales y ello arruinó su existencia, pues destrozó cualquier posibilidad de mantener una relación estable con un hombre y la hizo vivir durante muchos años con un tremendo terror de ir al 1. DÍAZ BILD, A. «On Realistic Fiction and Bakhtin: A Conversation with David Lodge», Revista Canaria de Estudios Ingleses, 19-20, noviembre1989/abril 1990, pp. 265-276. 2. LODGE, D. The British Museum is Falling Down, Penguin, Midlesex, 1985, p. 169. 3. Todas las referencias a la novela corresponden a Paradise News, Secker and Warburg, London, 1991. 25.pmd 302 11/03/2013, 10:54 PARADISE NEWS O LA DIFÍCIL BÚSQUEDA DEL PARAÍSO LITERARIO 303 infierno por lo que había hecho. Las vidas de Bernard y Ursula están, pues, seña- ladas por el sufrimiento. De ahí que cuando Yolande lea el diario de Bernard en el que éste narra su existencia, aquella exclame que es «the saddest story I ever heard» (213) y que cuando más adelante en la novela Bernard le cuente la verda- dera historia de Ursula, diga: «What a sad story,»... «Even sadder than yours» (227). Ambos son las ovejas negras de la familia, el primero por haber dejado el sacerdocio y la segunda por haberse casado y divorciado, hecho inadmisible para una familia católica, y por haber decidido buscar una vida más fácil en los Esta- dos Unidos. Son precisamente las circunstancias vitales de ambos personajes las que permiten al autor tratar temas teológicos serios y profundos, especialmente el concepto del reino de Dios en los cielos. Pero aunque Paradise News suponga un paso más en la vuelta a un estilo más tradicional, tanto por la timidez con que se introduce el juego intertextual como por los temas tan graves que se tratan, no por ello nos encontramos ante un em- pleo inocente y convencional del realismo. David Lodge es un autor que conside- ra que sólo la continua renovación del género permitirá su supervivencia y ello es evidente en esta novela. Es precisamente la introducción de diversos discursos así como la presencia del elemento de intertextualidad lo que evita que Paradise News se convierta en lo que Lodge ha llamado una «cheap victory4». Nuestro interés en este trabajo se centra precisamente en el primer aspecto mencionado, la variedad de discursos presentes en la novela, y que David Lodge ha explicado así: I suppose that because I write realistic fiction which tries to give the illusion of life, convince the reader that a real world is being created, I am anxious that it should not become monotonous, which I think is the big danger of the realistic technique. In order to create the illusion of reality you have to restrain your temptations to write in a very literary way, you cannot indulge in too much stylistic exhibition. Therefore the narrative prose may become rather flat and monotonous, particularly if you are dealing with characters that are not naturally eloquent. So, in order to avoid that effect of monotony and flatness I like to vary the type of discourse5. Este pluralismo formal es un rasgo evidentemente bakhtiniano. Para el crítico ruso la novela es el único género capaz de representar el carácter dialógico del 4. BERGONZI, B. «David Lodge Interviewed», Month, February 1970; cit. por MORACE, R.A. The Dialogic Novels of Malcolm Bradbury and David Lodge, Southern Illinois University Press, Carbondale and Edwardsville, 1989, p. 16. 5. Todos los comentarios de David Lodge sobre su novela Paradise News fueron formula- dos durante una charla-coloquio que tuvo lugar dentro del curso Nueva Novela Euro- pea, organizado por el Vicerrectorado de Extensión Universitaria de la Universidad de La Laguna en el otoño/invierno de 1991. 25.pmd 303 11/03/2013, 10:54 304 MARÍA AÍDA DÍAZ BILD lenguaje a través de su polifonía, que permite la orquestación de diversos discuros procedentes del lenguaje escrito y hablado sin que se produzca el dominio de uno sobre otro. De hecho el propio Bakhtin ha definido la novela como la organiza- ción artística de diversos tipos de hablas sociales (a veces incluso diversas len- guas) y de diversas voces individuales6. La novela no sólo ha de acoger la varie- dad de voces particulares existentes, sino que además ha de representar a todas las voces sociales e ideológicas de su época, ha de ser un reflejo de la heteroglosia imperante en ese momento, es decir, de la estratificación interna de una lengua en dialectos sociales, jergas profesionales, lenguas oficiales, lenguas propias de una determinada edad o generación, etc. Por ello, cuando se habla de la unidad de la personalidad creativa de un autor y de la unidad de estilo no se hace referencia a un sistema lingüístico cerrado, sino a una unidad de diversas lenguas que han entrado en relación dialógica. Así como en los géneros monológicos el escritor subordina las diversas voces que aparecen a sus intenciones, por lo que sólo pue- de hablarse de una verdad, en la novela estas voces retienen su integridad e inde- pendencia y ello evita que el novelista imponga un único criterio al lector: The possibility of employing on the plane of a single work discourses of various types, with all their expressive capacities intact, without reducing them to a common denominator - this is one of the most fundamental characteristic features of prose7.
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