Rodrigo Fluxá y su libro sobre el caso Zamudio: «me sorprendí y me desencajé en el proceso»

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«Solos en la noche. Zamudio y sus asesinos» (2014, Catalonia – UDP) es el libro que más polvareda ha levantado este año.  Es una investigación sobre el asesinato de Daniel Zamudio, quien fue sometido por varias horas a golpes que le costaron la vida. La primera tesis de la policía y los medios es que fue un crimen guiado por el odio, al encontrar cortes en su pecho con forma de esvástica. Su autor, Rodrigo Fluxá (arriba en la foto), periodista de la revista El Sábado, intenta demostrar durante 152 paginas que el asesinato no fue motivado por la orientación sexual de la víctima ni llevado a cabo por un grupo de neo nazis:

«La explicación inicial del crimen es demasiado simplista (…) hay un quiebre social por debajo y estos jóvenes no son fanáticos, ni ideologizados, si no representativos de cierta juventud en Chile» dice el autor en esta entrevista.

Conversamos con Rodrigo por mail para despejar las críticas que andan dando vueltas en columnas y sitios en Internet, y de paso hablar de no ficción y periodismo narrativo, herramientas que Fluxá utiliza para contar sus historias.

Disorder: Hay un artículo que hiciste antes del libro, en el Sábado, donde hablas con una familia que dio los antecedentes para agarrar a los culpables del caso Zamudio. ¿Esta fue la primera vez que te acercaste al tema? ¿Qué te llevó a seguir investigándolo? en vez de otros, como el de los cuerpos encontrados en el Estrecho de Magallanes.

Rodrigo Fluxá: Sí, esa fue mi primera entrada al caso. Me acuerdo que en un artículo en La Tercera salían mencionadas esas hermanas que le habían entregado a la PDI el bolso que traía Pato Core esa noche y que fue al final la prueba clave del caso porque tenía sangre de Daniel. Era bien extraño que fueran mencionadas con nombre en un diario, porque las dejaba súper expuestas, en el caso de, como se decía en ese entonces, fuera una banda de neo nazis. Les fui a tocar el timbre; una pololeaba con Ángulo y la otra conocía a Ahumada y les empecé a preguntar sobre cómo era pololear con un neo nazi y si ellos andaban siempre en barridas y me miraron con cara de: ¿qué estai hablando? Me contaron que iban siempre a la Blondie, que no habían tenido problemas con gays y del mundo del Eurocentro y las tribus urbanas. De hecho, una ubicaba a Daniel, lo había visto antes. Y no era que estuvieran defendiendo a los asesinos; de hecho los estaban condenando, contando cómo les entregaron en bolso esa noche, después del San Borja. Escribí el artículo sobre cómo se resolvió el crimen, pero me quedó dando vuelta la idea de que había mucha caricaturización en cómo se se presentó el crimen. Meses después hice la historia de Fabián Mora, otro de los asesinos, y ahí ya me convencí: era un cabro muy confundido, de 19 años, que llevaba mucho tiempo tratando de pertenecer a algún grupo, que había sido parte como de 10 tribus urbanas en dos años y que esa carrera identitaria terminó de la peor manera.

Sobre por qué esta historia y no por ejemplo esa que dices, es porque me parecía que las vidas de los cinco involucrados retrataba mucho cierta juventud de Chile que nunca había sido abordada en profundidad en los medios, no tenían relato propio. La historia de los chinos, en cambio, hubiese sido solo eso: la historia de cuatro chinos.

Se ha dicho de tu libro sobre Zamudio (por ejemplo Alex Anwadter desliza la teoría en un post) que el extracto publicado por el Sábado es una “confirmación de los valores culturales” del medio. Que mostrando esta faceta de Daniel se puede entender que “se la buscó”. Estas en la mitad de una teoría conspirativa. ¿Te afectó esto? ¿Fue mala elección el extracto?

—O sea, un adelanto es eso, un extracto del libro. Ese adelanto es relevante, primero porque tenía un valor periodístico: nunca se había relatado la historia del único amor de Daniel y segundo porque es muy significativo en biografía. Tras ese quiebre, comenzó el peor periodo en la vida de Daniel, se quedó sin piso. Si se hiciera una película de Daniel, como entiendo se va a hacer, ¿No se narraría ese capítulo? ¿No sería relevante para explicar la vida del personaje? El capítulo descontextualizado quizás pueda llamar a error (aunque yo creo que no, quizás porque conozco lo otros). Y el tema de clases cruza todo el libro. A Daniel no le gustaba la vida que vivía, quería otra. Ahumada, al momento del ataque, debía estar preso por un asalto y golpiza a un homosexual en Providencia. Hablamos con la víctima, esperando encontrar un antecedente de ataque homofóbico, pero nos contó que mientras le pegaba, ni siquiera lo mencionó, si no que se puso a dar un discurso de lucha de clases, de cómo los cuicos se creían los dueños de todo. Esa tensión cruza al libro y tiene que ver con el sistema instalado en Chile. Y claro, no fue agradable que se hicieran lecturas tan simplistas del libro, que se hizo precisamente para complementar visiones simplistas del crimen.

Hay una confusión: yo no hago juicios del tren de vida que llevaba Daniel. Tres días después del ataque, con Daniel aún vivo, el OS9, tras entrevistar a la familia y pareja de Daniel, llegó a esas conclusiones. Y es un informe técnico. Eso ayuda a entender la vida de Daniel, pero en ningún caso justifica el crimen ni significa «que se lo buscaba», porque el crimen no tiene justificación, es algo imperdonable: el libro parte con una narración detallada de esa noche por lo mismo, diciendo, «esto pasó, nada lo justifica; ahora tratemos de entenderlo».

Otra crítica es que la presentación del libro va hacia la “desmitificación del caso Zamudio” y que después de leerlo no es tan así. Tu has dicho que la tesis es la violencia, en este caso de cierta clase que lucha contra un país desigual. Para quienes no han leído el libro, ¿Podrías explicar esta teoría? ¿En qué consiste y como llegaste a ella?

—El libro no quiere desmitificar a nadie. Cuenta, con hechos, las vidas de los cinco involucrados en un crimen que cambió a Chile para bien y que movilizó políticas públicas. En esas vidas y en la noche misma hay tantas contradicciones que a mi me hacen pensar que la explicación inicial del crimen es demasiado simplista, que hay un quiebre social por debajo y que estos jóvenes no son fanáticos, ni ideologizados, si no representativos de cierta juventud en Chile. Y eso es bien perturbador. Pero entiendo que alguien lea el libro y llegue a otras conclusiones.

Leí la crítica de la Cami Gutiérrez, a la que conozco y que me cae bien, y hace una buena lectura del libro, pero se equivoca justo en eso: dice que la investigación suele buscar pruebas para sustentar una tesis y es todo lo contrario: el libro expone las frases homofóbicas que se dijeron sobre la golpiza, los desvaríos nacionalistas de uno de los asesinos y lo hace precisamente para no cometer el error inicial que hubo con el caso: exponer los grises. Periodismo no es salir a buscar datos para sustentar una tesis, ni tratar de encajar el mundo a lo que uno piensa, si no, idealmente, lo contrario. Yo me sorprendí y me desencajé en el proceso de hacer el libro, encontrando esas contradicciones, y no traté de hacerlas parte de una historia redonda, porque no hay historias redondas, si no que las expuse.

zamudio-630

En una nota universitaria decías que Los Fusileros de Cristóbal Peña debería ser una película. ¿Qué otras obras chilenas de no ficción rescatas?

—Cuando dije eso me refería al problema de que el medio fuera tan chico; si Peña hubiese nacido en Estados Unidos no tendría que trabajar más después de haber escrito algo así. Sí, leer «Los Fusileros» en la Chile fue revelador, en el sentido de darme cuenta que alguien acá al lado podía hacer algo tan bien reporteado y narrado así de bien. Y después fui leyendo cosas como «La Conjura» de la Mónica González o «La historia oculta del régimen militar» de Ascanio Cavallo, que eran obras inmensas, como trabajos de toda una vida. Más recientes, los de Javier Rebolledo son buenos, los de la Andrea Insunza y Javier Ortega también, mucho. Y los de Oscar Contardo.

¿Como fue tu acercamiento con el periodismo narrativo? En definitiva ¿Cómo continuas estudiando el género?

—Trato de leer lo que vaya saliendo, sobre todo de latinoamericanos. Hay gente muy buena como Salcedo Ramos y la Leila Guerriero. También estoy pegado con Emmanuel Carrere, que ya es casi un género en sí.

Lo que sí creo es que este boom de la «crónica» ha sido malentendido, sobre todo entre periodistas más jóvenes, que creen que escribir bien va por un rumbo distinto al del reporteo. Yo creo firmemente lo contrario: que escribir periodismo bien es resultado de reportear bien, es imposible hacer lo primero sin lo segundo. La escritura la veo como un ordenamiento de esos datos conseguidos; me carga la escritura vacía, que sea solo forma. A mi me gustan los documentos y la novedad, porque me muevo por criterios más periodísticos que otra cosa. La opinión y la visión de mundo de algún cronista me interesan menos que los datos. En ese sentido, más que de alguna corriente en particular, trato de aprender del trabajo que hacen en Ciper, por ejemplo, porque en la medida que mejor es la recolección de información, mejor es el resultado final.

 ¿La gente aprecia el periodismo narrativo o es un genero más del gusto de los mismos periodistas? En Chile no hay revistas especializadas en el tema y los espacios en medios tradicionales tampoco son tantos.

—Habría que ver. De los datos de ventas de libro, por ejemplo, un podría deducir que hay un interés más allá del mundo de los periodistas. A «Doña Lucía» de la Alejandra Matus le ha ido súper bien, los libros de Karadima igual. Y así. En general los libros periodísticos bien hechos encuentran su público. Ahora, en medios es verdad que hay pocos espacios. Se había abierto uno en El Semanal de La Tercera, pero duró poco, lo que fue una lástima. A mi, en general me extraña eso. Yo tiendo a pensar que los diarios en papel en el mediano plazo van a sobrevivir los fines de semana y presentando contenidos en profundidad, que los diferencien de los portales de noticias. Yo creo que una revista digital con cosas más narrativas, bien posicionada, bien pensada, con pautas más puntudas, con periodistas buenos que investiguen y narren, con recursos, podría ser sustentable. Me gustaría pensar que va a pasar en algún momento. Ahora, los espacios que hay yo creo que se usan bien dentro de las limitaciones, hay periodistas bien talentosos en el Clinic, en la Paula, en Qué Pasa, en el Sábado, que hacen la pega.

Imagino que planeas seguir en esto, investigando y escribiendo no ficción. ¿Tienes nuevos proyectos en mente? ¿Que conclusiones sacas de este?

—Tengo algunas ideas, pero hacer una investigación así requiere de tiempo y plata. Yo tuve que estar seis meses sin goce de sueldo y después tomé mis vacaciones para poder hacerlo. Es difícil que pueda meterme este año en uno, porque estoy comprometido con colaborar, Corfo de por medio, con el guión para un película que están preparando basada en un reportaje que hice el año pasado sobre El Fantasma, el asaltante de bancos. Y tengo mi pega en la revista.

El libro «Solos en la noche. Zamudio y sus asesinos» esta en librerías y en versión digital en el sitio web de Catalonia, la editorial. Precio referencia: $10.000.

Comentarios publicados en "Rodrigo Fluxá y su libro sobre el caso Zamudio: «me sorprendí y me desencajé en el proceso»"

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