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Los Detectives Salvajes Y El Problema Del Sujeto: Hacia Una Descripción De La Experiencia En El Sistema-Mundo

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Los Detectives Salvajes Y El Problema Del Sujeto: Hacia Una Descripción De La Experiencia En El Sistema-Mundo LOS DETECTIVES SALVAJES Y EL PROBLEMA DEL SUJETO: HACIA UNA DESCRIPCIÓN DE LA EXPERIENCIA EN EL SISTEMA-MUNDO DIEGO ANDRÉS MUÑOZ-CASALLAS TESIS PARA OPTAR AL TÍTULO DE MAGISTER EN ESTUDIOS CULTURALES DIRECTORA: PhD. ALEJANDRA JARAMILLO MORALES UNIVERSIDAD NACIONAL DE COLOMBIA - SEDE BOGOTÁ FACULTAD DE CIENCIAS HUMANAS MAESTRÍA EN ESTUDIOS CULTURALES BOGOTÁ, COLOMBIA 2011 Terminar una novela conlleva algunos, no muchos, placeres, y uno de éstos es empezar a olvidarse de ella, recordarla como un sueño o una pesadilla que se va desdibujando, y que se nos permite enfrentar nuevos libros, nuevos días, sin el lastre de aquello que con toda probabilidad pudimos haber hecho mejor y no hicimos. […] Los detectives salvajes están más o menos olvidados. Apenas puedo aventurar unas pocas consideraciones acerca de ella. Por un lado creo ver en esta novela una lectura, una más de las tantas que se han hecho en la estela del Huckleberry Finn de Mark Twain; el Mississippi de Los detectives es el flujo de voces de la segunda parte de la novela. También es la transcripción, más o menos fiel, de un segmento de la vida del poeta mexicano Mario Santiago, de quien tuve la dicha de ser su amigo. En este sentido la novela intenta reflejar una cierta derrota generacional y también la felicidad de una generación, felicidad que en ocasiones fue el valor y los límites del valor. Decir que estoy en deuda permanente con la obra de Borges y Cortázar es una obviedad. Creo que mi novela tiene casi tantas lecturas como voces hay en ella. Se puede leer como una agonía. También se puede leer como un juego. Roberto Bolaño, Entre paréntesis. Agradezco a aquellas personas que han luchado por la educación pública y aquellas personas que, sujetas a la división social del trabajo, a las instituciones y a las liminalidades, facilitaron la realización de esta “tesis”. Saludo a Alicia Vega por el equilibrio, Alejandra Jaramillo por la libertad crítica, Javier Sáenz por la lucidez dispersa (y rola), Luisa Piedrahita por la apertura, Marta García por la melancolía, Carlo Tognato por el cinismo, Zenaida Osorio por la sospecha en las categorías letradas, Francisco Ortega por abrir ventanas, Marta Zambrano por cerrarlas, Carlos Páramo por abrir puertas, Guillermo Páramo por el chamanismo, Fabricio Cabrera por el pragmatismo, Carlos Sánchez por el materialismo dialéctico, José Darío Herrera por la epistemología (y la hermenéutica), Hildebrando Vélez por la experiencia (y la sabiduría liminal), Julián Ovalle por las prácticas (y la utopía), Andrés Obando por las conversaciones (y las contradicciones interminables), Robert Buitrago por el ruido (y la nobleza), Johny Tinjacá por la evasión (y el anonimato), Irene Vélez por las discusiones (la intensidad y la pasión), mi familia por la paciencia (y el silencio). Dedico a Johny, Julián, Andrés y Robert por Sanchos/Quijotes (compañeros de viaje). Mis familiares por no ser Sanchos/Quijotes (y no saberlo). Diana por la ternura (y los giros inesperados). Irene Velvet por el Amor (y la Utopía). Sandra Viviana Cuellar. RESUMEN Este trabajo constituye una descripción densa que interpreta el problema del sujeto en diálogo con la novela hispanoamericana Los detectives salvajes. Se trata de un experimento inter- disciplinario que señala en una dirección holística y cuya rigurosidad descansa en el fuerte carácter empírico del objeto tratado. La inter-disciplinariedad se entreteje constantemente aunque la estructura del texto plantea algunos énfasis: la introducción justifica esta propuesta investigativa contextualizandola en la tradición de las ciencias humanas, el primer capítulo privilegia la mirada sociológica y antropológica, el segundo capítulo privilegia la mirada histórica, el tercer capítulo privilegia la mirada estética y las conclusiones proponen un flujo no sistemático a partir de la reflexión sobre la autoría. Hay algunos juegos literarios que resuenan con la novela abordada y avanzan hacia una crítica auto-reflexiva de la institucionalidad académica, arriesgando una suerte de hiper-texto orgánico nutrido con referencias audio-visuales. La lectura de éste difícilmente puede ser seguida de forma fragmentaria porque todas sus partes se complementan entre sí. Este trabajo también puede ser leído como un mapa que despliega referencias culturales hacia múltiples resonancias externas. Palabras clave Procesos de subjetivación, procesos culturales, estructura social, liminalidad, experiencia, sistema- mundo, habitar poético, infrarrealismo. ABSTRACT This work is a thick descirption that interprets the problem of the subject in dialogue with the Spanish American novel The Savage Detectives. This is an inter-disciplinary experiment that points in a holistic direction and whose rigor lies in the strong empirical character of the object treated. The inter-disciplinarity is interwoven steadily although the structure of the text suggests some emphasis: the introduction justifies this research proposal placing it in the tradition of the human sciences, the first chapter privileges the sociological and anthropological gaze, the second chapter privileges the historical perspective, the third chapter privileges the aesthetic look and the conclusions suggest an unsystematic flow from reflection about authorship. There are some literary-games that resonate with the novel addressed and advance towards a self-reflexive critique of academic institutionality, risking a kind of organic hyper-text nourished by audio-visual references. Its reading can hardly be followed by a fragmentary form because all its parts complement each other. This work can also be read as a map that displays cultural references towards multiple external resonances. Key words Subjectivation processes, cultural processes, social structure, liminality, experience, world-system, poetic dwelling, infrarealism. -1. PRELUDIO ARRÍTMICO .................................................................................................. 1 0. ENTRADA: LA NOVELA Y LOS PROCESOS DE SUBJETIVACIÓN ........................................ 3 I. DEL LADO DE ACÁ: AL ESTE DEL ATLÁNTICO O EL NUEVO MUNDO: LO LOCAL ............. 21 El DF y las posibilidades del encuentro .................................................................................... 22 El realismo visceral y las instituciones occidentales ................................................................ 28 El realismo visceral y el campo social ...................................................................................... 41 El realismo visceral como proceso cultural liminal .................................................................. 47 El proceso cultural con Ulises Lima y Arturo Belano ............................................................................ 50 El proceso cultural sin los detectives salvajes ...................................................................................... 59 II. DEL LADO DE ABAJO: LA MATRIZ HISTÓRICA Y LA EXPERIENCIA: LO GLOCAL ............. 64 Flash-back en plano secuencia: Hispanoamérica y el mito moderno ....................................... 69 Plano general: la re-significación de la modernidad ................................................................ 81 Primeros planos: la experiencia colonial y la des-naturalización del proyecto moderno ......... 87 El Nuevo Mundo ................................................................................................................................ 90 El Nuevo Mundo y el Viejo Mundo: la diáspora sudaca ..................................................................... 100 El Viejo Mundo................................................................................................................................. 111 III. DEL LADO DE ALLÁ: A CUALQUIER LADO DEL PACÍFICO: LA LIMINALIDAD ............... 116 IV. SALIDA: EL AUTOR COMO SUJETO-LIMINAL ............................................................. 117 V. ANEXOS ..................................................................................................................... 143 Anexo 1. Capítulo 3. Del lado de allá: a cualquier lado del Pacífico: la liminalidad ................ 143 La errancia del poeta adolescente: el ritual de paso hacia la adultez ................................................. 145 Arturo Belano y el Viejo Mundo........................................................................................................ 156 Ulises Lima y el viaje sin retorno ....................................................................................................... 181 Anexo 2. Matriz de personajes .............................................................................................. 204 Matriz de otros personajes significativos (en orden de aparición en la investigación) ........................ 204 Matriz de personajes-narradores (en orden de aparición en LDS) ..................................................... 204 VI. REFERENCIAS ............................................................................................................ 212 Sobre el infrarrealismo, Los detectives salvajes, Roberto Bolaño y su obra .......................... 212 Bibliografía....................................................................................................................................... 212 Filmografía ....................................................................................................................................... 218 Sobre todo lo demás ............................................................................................................
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