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SENSO E STORIA IN JAMES G. BALLARD – Urli neuronici sulle autostrade spinali

Anche nella vecchiaia, James Ballard pare non essersi completamente liberato dei suoi fantasmi. Forse ha solo imparato a convivere con essi più civilmente, cosa che, comunque, pare sempre essergli riuscita benissimo, dopo gli anni del duro apprendistato a Lunghua, fra il 1942 e il 1945. Nei suoi ultimi due romanzi, Rushing to Paradise (1994) e Cocaine Nights (1996), ritorna un tema che da sempre circola nella sua opera, quello della colpa. Ma per Ballard la colpa non ha mai avuto la connotazione che ha nella cultura cristiana in nessuna delle sue varianti, né in quella cattolica né in quelle protestanti: non è una chiave per capire il male (e quindi il mondo), non è l’ostacolo che l’individuo deve affrontare e superare per forgiare la propria personalità. È piuttosto una dimensione antropologica diffusa, una funzione sociale che può transitare da un individuo all’altro in modo tutto sommato indifferente. Così, anche nei due romanzi citati, alcuni personaggi assumono su di sé le colpe di altri, forse di nessuno, perché la comunità possa continuare a perpetuarsi, anche nei suoi riti più stanchi e banali, perché il mondo abbia un senso. Non è la stessa cosa che faceva il personaggio dai nomi mutevoli (Travis/Traven/Trabert) nella Mostra delle atrocità, o il personaggio che ha il nome dell’autore in Crash? Certo, la scrittura frammentata e implosa di quelle due opere sembra lontana. La scelta dell’ultimo Ballard per la forma apparente del “giallo psicologico” richiede un ritorno alla sua prosa degli anni Cinquanta e dei primi Sessanta, forse ancora più asciugata, ancora più essenziale, in attesa però della rasoiata di una sfumatura, di una parola, di una frase che chiuda un capoverso.
Ma sotto la patina di questa scrittura elegantissima non c’è nessuna pacificazione. Oggi lo scrittore che negli anni Sessanta scoprì con più chiarezza e drammaticità (dopo William S. Burroughs) la rottura delle dighe del mondo cartesiano e la catastrofica mescolanza dell’interno con l’esterno (“il matrimonio tra ragione e incubo che ha dominato il XX secolo”), può permettersi di galleggiare sulla superficie delle acque apparentemente tornate tranquille. Ma il suo sguardo torna sempre a perforare la superficie e a restituirci quel conflitto mortale tra vita e senso che continua ad agitarsi lì sotto. Un gruppo di artisti, di performer, di teatranti, che oggi si appresti a darci una traduzione visiva dell’universo di Ballard non può, naturalmente, seguire lo scrittore in questa evoluzione. Tanto più se il loro immaginario e il loro lavoro precedente, come nel caso del gruppo Motus, si è nutrito e continua a nutrirsi di Samuel Beckett, di Francis Bacon, di Burroughs. Le loro “icone neuroniche sulle autostrade spinali” loro hanno bisogno di urlarle, il nuovo corpo prostetico e mutante (che Ballard aveva visto con tanta lucidità e con tanto anticipo sull’attuale era telematica e bioingegnerizzata) devono sbatterlo sulla scena, sottoporlo allo stress dell’iterazione di movimenti frenetici, la cui banalità sportivo-televisiva viene riscattata dalla clausura nella gigantesca scatola di plexiglass in cui esso si consegna allo sguardo attonito dello spettatore. In questo spettacolo così adrenalinico che è Catrame, Motus assimila e restituisce la lezione di Ballard in due modi: da un lato, utilizzando ed esaltando tutto il grezzo materiale mediatico, i luoghi condivisi del consumo televisivo e modaiolo, gli strumenti più riconoscibili della civiltà dell’immagine (come la macchina fotografica), dall’altro “raffreddando” l’urlo, la potenza del corpo “naturale” che campeggia in primo piano, con uno sfondo tecnologico di maniera, a metà fra l’astronave di 2001 e uno studio di registrazione discografica. Il mix di musica techno, di parole, di rumori, di movimenti parossistici, in una citazione esagerata della temperie postmoderna dei primi anni Ottanta, accompagna la trasformazione del corpo atletico e vuoto, il suo plateale e irritante cambio di sesso, il suo afflosciarsi e autoconsumarsi.
Da oltre quarant’anni Ballard accompagna, osserva, commenta il percorso tortuoso e spasmodico dell’immaginario contemporaneo, la metamorfosi del corpo nel passaggio dall’industriale al postindustriale, la “inscrizione nel nostro sistema nervoso delle nuove costellazioni della tecnologia”: a suo modo, l’itinerario ballardiano è una delle tappe del tentativo del secolo XX di chiudere la forbice tra arte e vita che parte da Duchamp, Joyce, Céline, e che attraverso John Cage, Yves Klein, Fluxus, Philip K. Dick, arriva oggi fino a Orlan e Stelarc. Per lui, come ha notato Daniele Brolli, “il baricentro dell’attività creativa si sposta verso la casualità e l’osservazione, il combinarsi apparentemente spontaneo delle cose”. Come anche Catrame di Motus ci invita a fare, è un’indicazione che ognuno di noi dovrebbe raccogliere, oltre il momento dello spettacolo, in un lavoro individuale e collettivo che risvegli le componenti attive del nostro essere consumatori di immaginario.

Oltre la fantascienza

Dopo aver chiuso, con La gentilezza delle donne del 1991, la breve e intensa parentesi autobiografica inaugurata con L’impero del sole, Ballard è passato nell’ultimo decennio a un nuovo ciclo di romanzi, caratterizzato da un ritorno alla fiction “pura” e da uno sguardo più ravvicinato sul presente, solo apparentemente meno duro e impietoso di quello della fine anni Sessanta e Settanta (che produsse probabilmente i suoi capolavori a tutt’oggi, The Atrocity Exhibition e Crash). Si tratta per il momento di tre romanzi, Rushing to Paradise (1994), Cocaine Nights (1996) e Super-Cannes (2000) – tutti e tre tradotti in italiano (il primo con l’infelice titolo Il paradiso del diavolo) – che potrebbero essere definiti “thriller psicopatologici.” In essi è scomparsa ogni traccia, anche lieve, di “anticipazione”; in un certo senso si potrebbe ancora parlare, naturalmente, di speculative fiction, ma il mondo di queste narrazioni è inequivocabilmente il nostro presente: nelle tecnologie, nei modi di vita, nei costumi, nelle ideologie. La torsione a cui questo presente è sottoposta è però ancora di tipo “fantascientifico”, nel senso che Ballard tenta acutamente di rendere letterali – e perciò esplicite, innervate nella struttura narrativa – quelle che nella percezione comune sono ancora solo metafore, o tendenze. È una “fantascienza del presente” che esprime ancora un’eredità swiftiana. Come se Ballard riconoscesse che le tendenze “futuribili” – le storie di moltiplicazione dell’identità e di diluizione dell’io nell’immaginario che aveva raccontato in The Atrocity Exhibition, la fusione panica di corpo e tecnologia che aveva rappresentato in Crash – in poco più di vent’anni si sono trasformate in elementi attuali della nostra esperienza, che il media landscape ancora in incubazione negli anni Sessanta è ormai definitivamente un paesaggio non solo mediale, ma direttamente e ineluttabilmente psichico. Per questo Ballard (e con lui Cronenberg) è, secondo molti psichiatri, uno dei narratori più lucidi e attendibili, anche clinicamente, della malattia mentale contemporanea.
In Rushing to Paradise ciò che Ballard mette sotto il suo sarcastico e grottesco microscopio narrativo è la perversione di una pratica ecologista e animalista che maschera la paranoia e l’estraneità ai rapporti umani di una donna solitaria e dolorosa. Barbara Rafferty, “doctor Barbara”, è uno dei personaggi più potenti e indimenticabili usciti dalla penna dello scrittore di Shepperton. Radiata dall’albo dei medici per aver praticato eutanasie, la dottoressa Barbara persegue una “one-woman campaign” per salvare gli albatri dell’atollo hawaiano di Saint-Esprit, usato dai francesi per i loro esperimenti nucleari. L’incontro con il sedicenne americano Neil, orfano di padre, semiabbandonato dalla madre e ossessionato da fantasie di morte atomica, permette a Barbara di realizzare nell’atollo un “santuario” per la protezione delle specie animali minacciate di estinzione. Ma Saint-Esprit, tra sparizioni, febbri misteriose, visitatori trovati morti sul fondo della laguna o nel giardino della dottoressa, si rivela ben presto una via di mezzo fra una sinistra utopia femminista-animalista e un lager. Le ossessioni e le pulsioni di morte della dottoressa Barbara attirano, anche sessualmente, Neil, poi il progetto eugenetico-calvinista di lei lo respinge. Ma anche dopo la tragica conclusione, il ragazzo spera di essere “ancora abbracciato dal cuore crudele e generoso” della dottoressa.
Gli altri due romanzi, invece, sono altrettante variazioni su di un unico tema: quello della violenza, dell’aggressione e dell’assassinio come strumento di coesione sociale, all’interno di comunità artificiali e fortemente tecnologizzate che teorizzano e praticano la chiusura, e non l’apertura, rispetto al resto del mondo. Ballard mostra come la paranoia della sicurezza trasformi le nuove comunità di ricchi in un terreno di incubazione del crimine (l’aveva già fatto in Running Wild, un romanzo breve del 1988 – Un gioco da bambini), e di come il crimine diventi, in questi mondi di reclusione, il principale motore di socialità. In Cocaine Nights la comunità in questione è quella di un villaggio residenziale sulla Costa del Sol, nel sud della Spagna. In Super-Cannes, invece, siamo trasportati nei viali asettici e nelle assolate ville con piscina della “città intelligente” di Eden-Olympia, un parco tecnologico sulla Costa Azzurra molto simile a quello reale di Sophia Antipolis, la Silicon Valley d’Europa. In entrambi i romanzi agiscono due coppie maschili di protagonisti – un io narrante, che penetra dall’esterno nell’enclave, tenta goffamente di indagare su un fatto di sangue precedente al suo arrivo, e così facendo scopre progressivamente il meccanismo di perversione e violenza che sotterraneamente regge la vita di quel luogo (trasparente proiezione autobiografica dell’autore); e l’animatore locale di quello stesso meccanismo, un personaggio a metà fra un Peter Pan troppo cresciuto e uno psicopompo di criminalità, che coinvolge poco a poco il narratore nel suo gioco, e che Ballard guarda però, come sempre, con ambigua benevolenza. Il narratore di Cocaine Nights è lo scrittore di viaggi Charles Prentice (“la mia professione è attraversare frontiere”), giunto a Estrella de Mar per scagionare il fratello da un’accusa di assassinio e trascinato poco a poco da Bobby Crawford, il tennista professionista del Club Nautico, nel sottile programma di aggressioni e vandalismi con il quale quest’ultimo intende restituire alla vita la sonnacchiosa comunità di pensionati benestanti. In Super-Cannes Paul Sinclair, pilota ed editore di mezza età arriva a Eden-Olympia in compagnia della moglie medico, e inizia quasi per caso a indagare sul massacro compiuto mesi prima dal predecessore della moglie. Non convinto dall’ipotesi dell’inspiegabile scoppio di follia, nel corso delle sue indagini Sinclair scivola progressivamente dentro il perverso meccanismo di violenza con il quale lo psichiatra Wilder Penrose vuole curare i manager e i quadri di Eden-Olympia dalle loro tensioni nevrotiche. In nessuno dei due romanzi, naturalmente, la strada scelta si rivela priva di controindicazioni, e il finale è sempre amaro, perché protagonista e deuteragonista risultano sempre, in qualche modo, sconfitti: la scoperta della verità non disegna alcuna credibile prospettiva di liberazione. Ciò è coerente, va da sé, col lucido pessimismo di Ballard, amplificato – se possibile – dall’età. Ma ancora una volta, come in Atrocity e Crash, il nostro autore si dimostra convinto che “i comportamenti psicopatici e perversi rappresentano allo stesso tempo nuove psicopatologie e nuove terapie che la trasformazione tecnologica e sociale consente di liberare e realizzare per espellere il dolore mentale connesso alle perdite e alle organizzazioni della colpa che generano, per infrangere il vissuto di estraneità a se stessi e alla realtà che si esprime nella noia, nella depersonalizzazione, nella frammentazione dell’identità.” (Riccardo Dalle Luche).
Immaginari a confronto: William Burroughs e James Ballard

“Il vero lettore costruisce quasi quanto l’autore: la differenza è che egli lavora tra le righe. La vista delle parole, come il suono delle note in una sinfonia, suscita una processione di immagini che vi porta con sé…” Questa osservazione di Marcel Schwob vale per qualsiasi tipo di letteratura. Ogni lettura comporta un lavorìo di traduzione delle parole in immagini, di relazioni tra passi diversi, tra parole e frasi distanti: la lettura, insomma, è un’esperienza, che il “vero lettore” vive in modo particolarmente intenso, assaporandone i momenti, ma che ogni lettore, per quanto inconsapevolmente, compie. Ci sono testi “facili” e testi “difficili”, ma questa diversa qualità non riguarda la maggiore o minore facilità del processo di evocazione di immagini a partire dalle parole: riguarda semmai uno stadio ulteriore della lettura, il collegamento fra il testo e altri testi, fra il testo e l’insieme delle esperienze individuali del lettore. Spesso i testi “difficili” sono i meno coinvolgenti, quelli che il lettore comune tenderebbe a definire “noiosi”: questo accade quando il lavoro di decifrazione richiede una forte mediazione culturale, per esempio la conoscenza di tematiche filosofiche, o tradizioni letterarie, alle quali l’autore ha fatto riferimento. Senza la conoscenza di questi elementi il testo rimane opaco, l’evocazione delle immagini è difficile. Tali sono spesso i testi delle avanguardie, per esempio i romanzi che non rispettano la convenzione della linearità della trama, come Ulysses di James Joyce.
Il pasto nudo è un caso a parte. Anche qui la struttura tradizionale del romanzo è distrutta, le scene si susseguono le une alle altre senza un’apparente consequenzialità, gli stili si mescolano in una incredibile sarabanda, descrizioni dialoghi osservazioni note. Eppure il libro rappresenta una delle più sconvolgenti e coinvolgenti esperienze di lettura che si possano fare. Cattura fin dall’inizio con il suo ritmo saltellante, la cascata di parole, la durezza delle azioni e l’allegria ribalda e allucinata (o la fosca paranoia) dei personaggi. Da dove trae, questo libro nato da quattro anni di appunti accaniti e disordinati di un tossicodipendente e cucito insieme in fretta e furia da Allen Ginsberg e Jack Kerouac per la pubblicazione, da dove trae il suo fascino? Perché non riusciamo a staccare l’occhio neppure dalle scene più atroci, perchè continuiamo a leggere anche quando abbiamo perso il filo, e non sappiamo più dove si sta svolgendo l’azione, o chi sta parlando e a chi?
Quello che ci attrae e ci inchioda alla lettura, in questo libro, è la stringente sensazione di necessità che vi leggiamo. Il pasto nudo, nonostante la leggenda letteraria lo faccia passare per tale, non è un testo “sperimentale” coscientemente costruito, nel senso il cui lo è Ulysses, o le opere di Raymond Roussel. Burroughs ne buttò giù le pagine per quattro anni, dal 1953 al 1957, in uno dei periodi di più acuta dipendenza dalla droga, senza preoccuparsi troppo dello “stile”. All’epoca non usava ancora il famoso metodo del cut-up, inventato dall’amico Brion Gysin a Parigi nel 1959. Così l’impressione di incongruenza, di bizzarria, di straniamento, che in opere successive, (come Il biglietto che è esploso, Nova Express e altre), è effetto delle frasi spezzettate e ricucite a caso, qui è dovuto soltanto all’urgenza della scrittura. Burroughs lo spiega molto chiaramente nella “Prefazione atrofica” che sta alla fine del Pasto nudo:

Non c’è che un’unica cosa di cui può scrivere uno scrittore: ciò che è davanti ai suoi sensi nel momento in cui scrive… Io non sono che uno strumento di registrazione… Non pretendo di imporre “storia”, “trama” o “continuità”… Fin tanto che riesco a registrare direttamente alcune aree del processo psichico posso pensare di avere una certa funzione… Non sono uno che vuole far divertire…

Anthony Burgess, che sicuramente non è il personaggio più adatto per capire Burroughs, travisa questa osservazione quando scrive che “la sua prosa, nel Pasto nudo, è al servizio di un fine didattico, non artistico.” Non è vero. Burroughs sente l’urgenza di descrivere ciò che gli passa sotto gli occhi, le orecchie, il naso, le mani (e quello che descrive è innanzitutto un’informazione sulla sensorialità dell’individuo Burroughs, nelle sue specifiche condizioni di addict): il fatto che non voglia “far divertire” non significa che voglia insegnare qualcosa a chicchessia: semmai sente l’esigenza di informare, di avvertire i suoi simili su quello che vede nel mondo. Alla conferenza letteraria di Edimburgo dell’agosto 1962 (lo stesso anno della pubblicazione negli USA del Pasto nudo) lo stesso Burroughs chiarì ancora la questione: “Nei miei libri agisco da geografo”, disse in quell’occasione, “sono un esploratore delle aree psichiche, e non vedo ragione di continuare a esplorare zone che sono state ampiamente indagate.” Quello che Il pasto nudo ci offre è insomma uno sguardo sull’universo concentrazionario e occlusivo del controllo e della droga. Da qui prende l’avvio quella particolarissima “continuità” che lega l’uno all’altro tutti i libri di Burroughs almeno fino a Nova express, (La morbida macchina, per esempio, comincia con gli stessi personaggi e la stessa ambientazione del Pasto nudo) e che ruota proprio attorno al tema del controllo e del complotto. Le “aree psichiche” esplorate da Burroughs diventano qui delle aree geografiche in senso letterale, paesi fantastici che servono da sfondo e da commento alle azioni dei personaggi: Annexia, Freeland Republic, Interzone. Il dottor Benway, nel capitolo del Pasto nudo che porta il suo nome, è la nostra guida in queste waste lands, in questi territori desolati che sono il riflesso dei loro abitatori. Annexia e Freeland Republic costituiscono, fin dalle prime pagine del libro, una riedizione della coppia utopia/distopia, ma in realtà non rappresentano che due diversi modi di realizzare il controllo totale. Annexia, dove il dottor Benway dirige la Demoralizzazione Totale, è il luogo dell’arbitrio del potere, della brutalità del dominio, della dittatura fascista:

Ogni cittadino di Annexia era tenuto a richiedere una cartella completa di documenti e a portarla sempre con sé. I cittadini potevano essere fermati per le strade in qualsiasi momento, e l’Ispettore (…), dopo aver verificato ogni documento, lo bollava. Nell’ispezione successiva il cittadino era tenuto a mostrare i bolli applicati nell’ultima ispezione. L’ispettore, quando fermava un grosso gruppo, si limitava ad esaminare e a bollare le tessere di alcuni. Gli altri erano perciò soggetti ad arresto perché le loro tessere non avevano i bolli appropriati.
Freeland Republic, invece, “luogo consacrato al libero amore e ai bagni continuati”, è “pulita e noiosa, mio dio!” Qui il dottor Benway può applicare le sue teorie sulla repressione che potremmo ironicamente definire “morbida”:

Deploro la brutalità. Non serve a niente. Invece il maltrattamento prolungato, senza violenza fisica, se viene applicato con abilità dà origine all’angoscia e a un particolare senso di colpa. (…) Il soggetto non deve rendersi conto che il maltrattamento è l’attacco deliberato di un nemico antiumano alla sua identità personale. Deve essere costretto a convincersi che merita tutti i trattamenti che riceve perché in lui c’è qualcosa (mai specificato) di orribilmente colpevole. Il bisogno spasmodico di controllo che hanno i tossicodipendenti deve essere occultato, pudicamente nascosto da una burocrazia arbitraria e abbastanza intricata, in modo che il soggetto non possa mai entrare direttamente in contatto con il suo nemico.
In queste regioni, e poi nell’Interzona, dove si svolge la maggior parte degli altri capitoli del Pasto nudo, scivolano parlano si bucano scopano si sparano scompaiono e riappaiono i personaggi del libro, personaggi per niente “classici”, nel senso che Burroughs non ha alcun interesse a dirci nulla sulle loro motivazioni, sui loro processi mentali, sulla loro “psicologia”. Quello che ci scorre sotto agli occhi, di questa galleria di figure, è innanzitutto la loro carne malata di droga in continua trasformazione, e le parole che la descrivono, un flusso di parole in caduta libera (“parole che cadono” [falling words] è uno dei sintagmi più usati da Burroughs nei suoi primi libri). Con grande anticipo sui tempi, Il pasto nudo è un “manuale delle giovani marmotte” della mutazione, una guida al decadimento e alla trasformazione del corpo. La magmaticità del linguaggio non è altro che lo strumento più adatto per dire di questa mutazione: il trapasso continuo da un luogo a un altro, da un personaggio a un altro, da uno stile a un altro, segue illustra e potenzia questo affascinante spettacolo dei corpi, anch’essi in caduta libera, e della loro continua evoluzione. Uno degli incubi più presenti nel Pasto nudo è la dissoluzione, la perdita di forma del corpo, il suo liquefarsi in una informe gelatina, un blob. Burroughs crea anche degli eroi eponimi di questa fluidificazione del corpo, i Mugwump, la cui descrizione ricorda vagamente quella dei marziani di Wells e la figura che diede loro Byron Haskin nella trasposizione cinematografica della Guerra dei mondi:

Su sgabelli coperti di satin bianco siedono dei Mugwump nudi che succhiano sciroppi colorati e translucidi attraverso cannucce di alabastro. I Mugwump non hanno fegato e si nutrono esclusivamente di dolciumi. Labbra sottili color porpora coprono un becco di osso nero affilato come un rasoio con il quale spesso si fanno a pezzi in risse per disputarsi i clienti. Queste creature secernono un fluido che provoca abitudine e prolunga la vita rallentando il metabolismo. (…) I tossicomani del fluido dei Mugwump sono conosciuti col nome di Rettili. Un certo numero di questi ultimi strisciano sulle sedie con ossa flessibili e carne bianco rosa. Un ventaglio di cartilagine verde coperto di peli cavi ed erettili, attraverso i quali viene assorbito il fluido, spunta dietro le orecchie dei Rettili.
La denuncia di Burroughs contro il controllo totale, che nel libro viene visto principalmente come il controllo della droga e del sistema che la sorregge sul corpo del tossicodipendente, non si appoggia però su una visione romantica dell’innocenza originaria del corpo. La sua concezione è ancora, tutto sommato, quella del meccanicismo settecentesco, arricchita da una considerazione disincantata ma in fondo favorevole delle conquiste della scienza e della tecnica contemporanee. Ma proprio perché l’antropologia di Burroughs è ancorata alla visione dell’uomo macchina, egli può vedere più lucidamente lo scacco del programma occidentale di riduzione delle tensioni e delle contraddizioni. Nella scena di apertura del capitolo “Riunione del congresso internazionale di psichiatria tecnologica”, il dottor “Fingers” Shafer, detto “Lobotomy Kid”, presenta il suo capolavoro, L’Uomo Americano Completamente Deangosciato (The Complete All American De-anxietized Man), praticamente un manichino decerebrato: questo, però, appena portato in aula, si agita finché “la sua carne si muta in gelatina viscida e trasparente che si dissolve in nebbia verdastra, rivelando un mostruoso millepiedi nero”, e intanto “ondate di una puzza sconosciuta riempiono la stanza bruciando i polmoni, attanagliando lo stomaco…” Il corpo dell’uomo è malato in quanto tale, irreparabilmente. Per questo esso è diventato, secondo una teoria burroughsiana tanto suggestiva quanto scientificamente infondata, un ostacolo all’ulteriore evoluzione dell’umanità. “Per il semplice fatto di essere in un corpo umano, siete totalmente controllati da ogni sorta di necessità biologiche ed esteriori”, afferma Burroughs nell’intervista alla Paris Review, con una intuizione curiosamente vicina alle concezioni gnostiche del corpo come prigione.
Dieci anni dopo la composizione del Pasto nudo, in Inghilterra un autore dallo stile e dalle motivazioni apparentemente molto diverse (a quanto si poteva giudicare dalle opere fino ad allora pubblicate), James Ballard, andava componendo i suoi “romanzi condensati” (condensed novels) che sarebbero poi confluiti nel suo libro La mostra delle atrocità, pubblicato nel 1970: da una costola di quel libro sarebbe nato anche il romanzo Crash (1973). Anche La mostra delle atrocità, come Il pasto nudo, avrebbe avuto i suoi guai con la censura in America, ma a differenza del Pasto nudo, non avrebbe visto la luce negli USA fino al 1990, in una nuova edizione che portava anche una breve introduzione di William Burroughs. In effetti La mostra delle atrocità ha avuto gli stessi guai giudiziari del Pasto nudo, non certo la sua fama e il suo successo. Eppure non c’è un altro testo, forse, che sollevi temi analoghi e che possa stare a pari del libro di Burroughs quanto a intensità e lucidità della visione. Anche La mostra delle atrocità deve modellare la sua forma tortuosa e frammentata sui temi e i personaggi che mette in scena. Attraverso le successive incarnazioni, capitolo dopo capitolo, di un indistinto personaggio metà dottore e metà paziente, i suoi tentativi di assassinio della moglie, le sue peregrinazioni in un paesaggio catastrofico che ricorda le sue circonvoluzioni cerebrali e mentali, Ballard compie una gigantesca operazione di riscrittura della mitologia dei media che è strettamente complementare alla riscrittura di Burroughs dell’epopea della modernità. E anche in Ballard, nella Mostra delle atrocità ma più ancora in Crash, assistiamo a una puntigliosa indagine della mutazione del corpo, questa volta attraverso una violenta e catastrofica variante del matrimonio fra corpo e tecnologia: la compenetrazione del corpo e della macchina nell’incidente automobilistico. In Ballard l’interno e l’esterno, il corpo e il mondo, diventano funzione l’uno dell’altro, anzi si compenetrano, diventano un luogo neutro e indistinto in cui si va registrando, con una scrittura crudele e impietosa, la fine della modernità.
Questa scrittura l’aveva già cominciata, sul corpo di William Lee l’Uomo Invisibile, di Willy il Disco, del Marinaio, del Semplicione, di Joselito e di tutti i personaggi del Pasto nudo, William Seward Burroughs. Che, nella “Prefazione atrofica”, concludeva: “Pattugliare è la mia occupazione principale. Per quanto il Servizio di Sicurezza sia rigido e chiuso, io sono sempre in qualche posto all’Esterno a dare ordini e all’Interno di questa camicia di forza di gelatina che cede e si tende ma si riforma sempre davanti a ogni movimento, ad ogni pensiero, a ogni impulso, bollata dal sigillo di un’ispezione aliena…”

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