3. Sobre la verosimilitud
Escurramos los sesos imaginando recursos para convertir a un personaje en convincentemente transparente. O sea, transparente de verdad. Hay entreverado en este asunto uno bastante enjundioso -y francamente molesto para aquellos que piensan que la narrativa es un arte espontáneo y popular como los maratones neoyorquinos-, como es el de la verosimilitud. Qué cosa es esto y que falta hará. ¿Es que no tenemos ya bastante desgracia con el núcleo y su desarrollo, y lo centrípeto y lo centrífugo, y los personajes incompetentes y el dominio del detalle, y aquello y lo de más allá?
En primer lugar, la verosimilitud de un relato no consiste en que el lector crea que las acciones, los personajes y el argumento existen en la realidad externa, en el estilo de cerrar el libro y encontrarlos en la puerta de casa o en la tetería. Es decir, no se trata de persuadir al lector de una existencia más allá de la narración, sino dentro de la narración. Dentro de las reglas y los propósitos de lo que el narrador cuenta (¿conocemos las diferencias entre narrador y autor?, lo que nos faltaba). García Márquez habla de personajes que tienen rabo, Kafka (y disculpen la vecindad con el anterior) de una especie de escarabajo humano, Dante del infierno, Homero de una ciudad que pudo ser cualquiera de entre unas quince y también ninguna, y la Biblia de un tipo raro que hacía mundos en seis días y descansaba uno. La primera pregunta pertinente que hace la verosimilitud es: ¿semejante cosa cumple las reglas necesarias para actuar como lo que el narrador dice que es? ¿El Infierno es de verdad un infierno, Dios actúa como Dios, y a la gente que se convierte en escarabajo le empiezan a pasar cosas de escarabajo?
Dicho claramente, lo primero que pide el lector es rigor y coherencia. Y este rigor y coherencia se consigue a base de dominar unos materiales y de someterlos a unas reglas. Si Dios es omnipotente, no puede ser derrotado por la gripe. Pero al mismo tiempo el comportamiento de la divinidad ha de seguir unas pautas divinas, que exigen que el narrador pueda dar cuenta de qué es la divinidad. Siguiendo este sencillo principio el lector puede ser convencido de cualquier extravagancia o dislate. Al menos, de momento. Y no hay límite, como es obvio con sólo echarle un vistazo a la historia de la literatura.
Por la misma razón, aunque en sentido inverso, muchas cosas que aparecen en la realidad pueden llegar a no parecer reales. En la medida en que lo real pierde rigor y coherencia, pierde también esa presunta consistencia que le adjudicamos por las buenas. (Hacer la prueba durante la transmisión del Debate sobre el estado de la nación, en los conflictos laborales y amorosos: la realidad se esfuma con rapidez, en cuanto se desmonta la predecibilidad, es decir, en cuanto se esfuma lo que creíamos que era riguroso y coherente).
Supongo que no hará falta decir que toda realidad es construida, tanto la de dentro del texto como la de fuera, y que lo que determina ese atributo es precisamente la construcción. Cuando alguien dice de un relato que “pasa de verdad”, no está diciendo absolutamente nada. Pues “de verdad” es sólo la forma en que el hecho a que se refiere está construido en su imaginación o en su percepción: si es capaz de comunicarlo entonces existe “de verdad”, y si no es capaz de comunicarlo entonces no existe ni de verdad ni de mentira. ¿Existe la lucha de clases, existe el ser humano? ¿O existe la desigualdad natural y la mentalidad colectiva? Hasta las cosas reales más pequeñas precisan de una elaboración de algún tipo (no exclusivamente lingüística, por supuesto, pero siempre con relación a una imagen confeccionada de alguna manera).
En segundo lugar, la verosimilitud sólo se produce cuando lo narrado se dirige a un propósito. Si lo que cuento no va a parte alguna, si no pretendo decir algo más que lo que digo, entonces corro el riesgo de que pueda ser sentido como falso (como cuando decimos: suena a falso, aunque tengamos la sospecha de que puede haber ocurrido). Ya sé que esto parece raro, pero no tanto si uno se fija un poco. Cuando alguien nos cuenta que ha tenido un accidente tráfico o sus vicisitudes con la pareja, sólo consideramos que es verosímil, sólo nos persuade de que lo que dice existe de alguna forma en la medida en que con ello nos quiere decir algo que va más allá de ello. Un accidente de tráfico puede dirigirse a mostrar una experiencia de miedo extremo, o de desamparo o de fragilidad. Una desavenencia conyugal sólo adquiere sentido, es decir, verdad, cuando nos dice algo del amor o del conflicto o de las contradicciones de los corazones enamorados (puaf). Un accidente de tráfico o un problema de pareja contado sólo por y para sí mismo produce el mismo efecto que esa gente que llega de vacaciones y le da una sesión de diapositivas a los amigos, como si las postales encerrasen una emoción propia por haber sido hechas en un lugar real por turistas reales. (Si alguno de vosotros disfruta con esas sesiones, creo que no estoy hablando para él).
En resumen, por raro que sea lo que cuente, por la sola razón de ir hacia una revelación de algo, o por ir hacia algo que está simplemente más allá, el que escucha o el que lee tiene la sensación de hallarse ante una especie de realidad. No es tan extraño si pensamos además que eso que llamamos realidad está compuesto precisamente de intención. A lo que no tiene intención ni sentido no lo llamamos de ninguna manera ni tampoco lo contamos, entre otras cosas porque no se adapta a la gramática del lenguaje, ni las palabras encuentran el modo de relacionarse con ello.
La intención tiene que ver mucho con la emoción y la emoción, como ya se sabe, es un sentido muy intenso de la realidad. Tratad de convencer a un sujeto enamorado o a un enfermo terminal de que exagera su realidad debido a que muchos se han enamorado y muerto antes que él, lo que debiera darle una perspectiva tranquilizadora, ya que en realidad ninguna de esas emociones es verdaderamente significativa desde el punto de vista del cosmos. Intención, emoción y realidad: ojo a este trípode.
Y, por último, y en tercer lugar, lo que quizá podría ser lo más obvio de todo, pero que a la hora de escribir no lo es ni mucho menos (esto lo digo por experiencia propia y ajena), a saber: la vinculación de lo que contamos con un sentimiento compartido, con una realidad compartida de algún modo con aquellos que nos escuchan o leen. Por débil que sea esta relación, y por sutil que sea el vínculo que la teje, debe existir. Una imaginación dejada a su aire o al aire de lo que le salga al autor de la molleja se convierte en fantasía infantiloide, como cuando a los porreros se les ocurre ponerse a discurrir qué pasaría si a todos los perros del barrio los pintaran de fucsia o de verde. Si nos da por pensar en un personaje que se vuelve transparente, es porque la transparencia nos comunica algo a todos, la compartimos en la dosis que sea. A partir de ahí da igual que el personaje se vuelva invisible del todo y que sus peripecias resulten materialmente imposibles.
Creo que si se cumplen estas condiciones se cumple también la condición de verosimilitud del relato. Y por eso, una regla de oro de la composición literaria es la veracidad del sentimiento y de la experiencia desde los que se escribe. De la veracidad a la verosimilitud hay menos distancia de lo que parece. Lo que es sentido profundamente tiene muchas posibilidades de que contenga unas reglas de coherencia y rigor, de que persiga un propósito y de que sea compartido por más de los uno supone.
Continuará…
#1 by Jose on 30/Sep/2012
Todo esto se podía explicar en la mitad de espacio. ¡Que manera de enroyarse que tiene este hombre!
Y fijate, este es el primer comentario que nadie hace, y no hay ningono más en los siguientes post. ¡Es que aburre! ¡Aburre muchísimo! ¡Nadie va a seguir el post, así que podíais dejarlo, o mejor, ¡que vuelva Tomás Blanco!
#2 by José Ibáñez on 27/Nov/2013
Quizás la gente se abstiene de comentar porque prefiere dedicar el tiempo subsiguiente a la lectura a reflexionar sobre lo que acaba de leer, en lugar de hacer críticas poco constructivas, absurdas y pueriles.
#3 by Jose on 1/Dic/2013
Amigo José:
Mi critica puede ser poco constructiva, pero aviso de lo aburrido que resulta el texto, lo cual es constructivo: el texto se podría mejorar haciendolo más ameno.
Mi critica no es absurda. Eso significaría que no tiene sentido, cuando lo tiene. Puedes no estar de acuerdo con mi opinión, pero no he soltado un sinsentido. Mi opinión es coherente en todo momento. Que no te parezca acertada es una cosa, que careciese de sentido sería otra.
Por ultimo, me imagino que la tachas de pueril (o hablando llanamente: infantil) por el lenguaje coloquial que utilizo, tan opuesto a la pedanteria que pareces preferir. Supongo que eres de los que creen que la literatura debe sonar a literatura, y que para ello ha de sonar lo más distinto posible del lenguaje hablado. Y supongo también que te crees muy culto por usar terminos como “subsiguiente”, “absurdo” o “pueril”.
Si los miles de fans incondicionales de este post no hacen comentarios por que dedican el tiempo subsiguiente a reflexionar, es que son un poco lentos. ¿No pueden reflexionar unas horas, o hasta unos días, y comentar despues?
Este post tiene fecha del 2012. Cuando esa legión de cultos y pedantes pensadores se levanten al fin de sus asientos de pensar… Perdon: asientos de reflexionar (”pensar” es demasiado pueril) el pobre Alejandro Gándara puede que esté sirviendo cafés detras de una barra por que nadie dió muestras de interesarse en sus posts.
Habrán resultado más constructivas mis criticas que sus años y años de reflexión.
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