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GEOGRAFIA DELLA LETTERATURA ITALIANA CONTEMPORANEA. Filiazioni, precursori, modelli di Davide L. Malesi


1. Mutazioni in corso: temi, linguaggio e indirizzi del pubblico

Una geografia è, anzitutto, una mappa; dunque la rappresentazione di un territorio – giacché, come scriveva Alfred Korzybski in Science and sanity, “una mappa non è il territorio” (1). Tuttavia, la mappa è in rapporto col territorio che pretende di descrivere: ne è una trasposizione in segni e simboli.
Dunque, se il territorio è la narrativa italiana a cavallo tra due millenni, la geografia che cercheremo di disegnarne sarà certamente incompleta – e offuscata perdipiù dalle incertezze di chi si reca in esplorazione di uno spazio tutt’altro che disvelato: ed anzi, in continua mutazione. Non sarà, questa nostra, una storia della narrativa: troppo ambizioso sarebbe l’impegno e troppo rischioso il tentativo. A chi sia interessato alla storia della letteratura italiana contemporanea possiamo suggerire un testo importante come La nuova narrativa italiana di Filippo La Porta (“Bollati Boringhieri”): quello che noi faremo qui è cercare di delineare un paesaggio possibile di ciò che succede, anzi sta succedendo, in questo momento. Non storia, dunque: semmai, geografia. Che mantenga tutte le caratteristiche e le funzionalità della mappa: e dunque non abbia alcuna pretesa d’esser “critica letteraria” ma rappresenti un oggetto che serve a darsi dei punti di riferimento.

Scegliamo di partire da un articolo di Mauro Covacich su <> del 7/1/2004 dal titolo Ho le vertigini da fiction. Mauro Covacich è uno scrittore di narrativa. In questo articolo, egli denuncia quello che a suo dire è un malessere della narrativa italiana contemporanea – quello di non saper “spremere, mettere sotto torchio” la realtà. Ecco cosa scrive Covacich: “La nostra è un’epoca piena di meraviglie. Il cielo si è abbassato a tal punto che gli aerei entrano nelle costruzioni più alte. Maestri di scuola si vestono di tritolo e salgono sugli autobus per farsi brillare. Attori diventano governatori. Cantanti diventano primi ministri. Presidenti della Camera diventano conduttrici televisive. Nella Rete c’è un kit fai-da-te per abortire. In tv, sul satellite, c’è un programma che segue dal vivo gli intubamenti, le amputazioni, le defibrillazioni di una giornata al pronto soccorso di un grande ospedale, prendendo spunto da una famosa serie di telefilm.” E poi: “Perché gli scrittori italiani si sottraggono a tutto ciò? Perché lo ignorano mentre raccontano le loro storie?” Covacich fa i nomi dei suoi amici Ammanniti, Veronesi, Bugaro, Mozzi, Scarpa, Franzoso, Avoledo – affermando che essi sono “tutti morbosamente, famelicamente avvinti dal presente, tutti con gli occhi puntati sul mondo”. “Non sto parlando di scrittori che fanno un passo indietro e dicono io scrivo noir, faccio letteratura di genere, sono un artigiano. Né di quelli che scelgono la memorialistica, il romanzo storico o altre forme testuali rette dall’idea che lo statuto dell’arte preveda un allontanamento dal tempo presente. No, non sto parlando di gente che sente il mondo attuale come l’unico interlocutore, un interlocutore meraviglioso ma, direi, abbastanza marziano”, insiste Covacich, e afferma: “Ogni volta che sono con loro, mi chiedo perché l’Italia non abbia ancora espresso il proprio Wallace, il proprio Houellebecq, il proprio Pelevin, il proprio Palahniuk, esagero, il proprio De Lillo. Gli occhi, le voci, le menti ci sarebbero tutte. E anche le intenzioni, ve lo garantisco. Capite la complessità cui accennavo? Io per primo mi sento tradito dai loro libri, dai miei libri. Mi pare di essere caduto nello stesso equivoco di Totò in Totò le Moko: i banditi credono che lui possa essere un degno sostituto del boss, Totò crede che la banda suoni, faccia musica, come lui a Napoli. Si sbagliano da entrambe le parti. Ogni tanto mi penso proprio con la faccia di Totò quando, dopo aver salutato la platea già con la sua bacchetta in pugno, si gira verso la banda e vede i suoi soci estrarre dai portastrumenti fucili e mitragliette. Ragazzi perché non riusciamo a suonare? Perché la musica ci resta sempre lì, sul tavolo della pizzeria? Beninteso, non è colpa di nessuno. Non è che ce la dimentichiamo. Però, non so, non la mettiamo mai sulla pagina come sembreremmo capaci di fare. Secondo me, l’Italia possiede un potenziale di scrittura unico in Europa. Eppure, eccoci qua, tanti Del Piero che giocano con le pinne, tanti Mick Jagger che cantano con la caramella in bocca.”
E’ evidente che Covacich, nella sua insoddisfazione, vorrebbe una narrativa italiana in grado di “estrarre il succo” della realtà, di “dire una parola di verità” – un modo di dire che a noi sembra atroce ma che ultimamente è assai di moda, tra gli scrittori almeno – sul mondo contemporaneo. E, in effetti, per molti degli scrittori che Covacich cita il mondo contemporaneo è lo scenario narrativo di riferimento, quello che sfruttano per dar corpo alle loro narrazioni. Nel mondo contemporaneo questi scrittori ambientano i loro romanzi e racconti. E l’esigenza di “spremere la realtà, metterla sotto torchio” (sempre una definizione di Covacich) è quella che sembra motivare più di qualcuno di questi scrittori. Giulio Mozzi così descrive lo sforzo della collana <> da lui diretta, che pubblica scrittori italiani contemporanei: “Ciò che tiene insieme il tutto è il desiderio di pubblicare libri che parlino del mondo: e non delle rappresentazioni del mondo, come sempre più spesso avviene>>. (2)
Lo stesso Mozzi, tuttavia, non è pessimista quanto Covacich. E scrive, in risposta all’articolo Ho le vertigini da fiction: “… mi viene il sospetto che il problema non sia un problema dei narratori. E’ semmai un problema della critica. La critica non si accorge di quel che c’è. E nemmeno, quindi, se ne accorge l’informazione. Perché a me vien da dire: il nostro Houellebecq, potrebbe essere proprio Mauro [Covacich]; il nostro DeLillo, l’abbiamo avuto trent’anni fa ed era Elsa Morante, così come il nostro Carver l’abbiamo avuto settant’anni fa (Federigo Tozzi); il nostro Wallace, scommetto, potrebbe essere Umberto Casadei; e così via.” (3)

Una narrativa realista

Nell’introduzione all’antologia Tutti i denti del mostro sono perfetti (“Mondadori”), lo scrittore Valerio Evangelisti racconta in modo abbastanza sommario cinquant’anni di storia della letteratura italiana, allo scopo di spiegare l’avversione della critica “seria” e del mondo della cultura “high-brow” per la fantascienza, anzi per la narrativa fantastica tout-court (Tutti i denti del mostro sono perfetti, pubblicata nel 1995, nacque come antologia di racconti fantastici per celebrare i cinquant’anni di “Urania”, collana principe della fantascienza italiana). Leggiamo cosa scrive Evangelisti:

“L’idealismo crociano (filtrato attraverso il mai abbastanza biasimato Gentile) dominava ampiamente l’ambito della scuola e della cultura. Lo corroborava l’altro integralismo letterario, quello di Togliatti, sovrastato a distanza dall’ombra sinistra di Zdanov. Non era possibile letteratura vera che non fosse realista a oltranza. Tutto il resto era sottobosco, fanfaluche, serie B.”

E ancora:

“Poi è apparsa una leva di scrittori mainstream del tutto differente. Giovani, agguerriti, talora arroganti, sono entrati in scena contestando l’accademismo dei loro presunti padri, e rivelando senza ritrosie il proprio debito nei riguardi della cultura popolare del proprio tempo: dal rock all’informatica, dal cinema ai fumetti.”

La visione di Evangelisti è senza dubbio parziale, sebbene contenga dosi di verità (dopotutto, della letteratura italiana del Novecento han fatto parte anche scrittori come Italo Calvino e Dino Buzzati, tutt’altro che allergici alle storie fantastiche). Tuttavia, aldilà delle imprecisioni essa rivela un insieme di aspetti significativi nell’evoluzione della narrativa italiana del Novecento: un’esigenza di esprimere una narrazione che fosse “uno sguardo sulla realtà” (politico, antropologico, ecc.) e un “impegno” degli scrittori italiani in una direzione precisa: raccontare la contemporaneità del nostro Paese. Difficile dire se ciò fosse la manifestazione di una comune weltenschaung, o semplicemente il risultato di un clima storico e culturale (come sembra evidenziare Evangelisti stesso). Anche perché, come risponde a Covacich dalle colonne de <> lo scrittore Romolo Bugaro: “Si può pensare allo scrittore come a un essere perfettamente solitario, che trae forza dallo stare sulla cima della rude scogliera eccetera. E’ una bella immagine, davvero. Ma non serve commentarla. In realtà, forza e impegno sono necessarie semplicemente come precondizioni. Devono poi incontrare dell’altro. Un clima, appunto. Non parlo di luogo che “accolga” il lavoro della scrittura. Parlo di un luogo che contribuisca a costituirlo. Di un sistema che offra declinazioni, argomenti, temi. Che risponda alle sollecitazioni. Che, in definitiva, consenta il circolo dell’energia disponibile. Sotto questo aspetto, esistono certamente delle difficoltà. E tali difficoltà, nel produrre silenzio e disunione, allontanano la possibilità di sentire una grande voce.”

Ma è davvero importante questo sforzo? Da quanti scrittori italiani è sentito e condiviso? Esiste evidentemente un nucleo di autori interessati a rappresentare la realtà, con cui Covacich è in rapporti di amicizia e di stima (sono quelli che cita nel suo articolo, facendo notare che insieme a questi scrittori va a mangiarsi la pizza, discute di politica, gira in Vespa eccetera). Ma esiste anche – come sembra evidenziare Evangelisti – un altro nucleo, o esistono nuclei diversi, interessati a ben altro. Ha scritto Alessandro Baricco: “Ognuno cerca nei libri quello che vuole. Io, francamente, non amo molto i libri che raccontano l’Italia. Nel senso che la si racconta già troppo e dappertutto. E per raccontarla – mi sto convincendo – basta effettivamente uno come Bocca: che bisogno c’è di scomodare la letteratura, la narrativa con la enne maiuscola? L’Italia non è un mistero così raffinato da non poter essere raccontato da un buon giornalista o da un’ora di televisione intelligente. Quindi dai libri – dai Libri – mi aspetto altro.” (4)

Una narrativa ben scritta?

Ha scritto Wu Ming 1 (5): “La tendenza a prendere troppo sul serio l’italiano scritto (dopotutto, siamo nel paese della bella pagina) limita la capacità di scrivere dialoghi convincenti.” (6) Ora, gli scrittori italiani citati da Mauro Covacich sembrano molto affezionati alla bella prosa, e alcuni di essi – Giulio Mozzi in special modo, come abbiamo visto – sentono l’esigenza di un ritorno alla tradizione letteraria italiana del Novecento (Mozzi cita spesso come un “romanzo importantissimo” Horcynus Orca di Stefano D’Arrigo). Ma non tutti la pensano così. Wu Ming 1 sembra esprimere invece l’esigenza di un distacco da quella stessa tradizione, con romanzi che “sporchino” la pagina con la lingua parlata corrente e siano convincenti anzitutto nei dialoghi e nell’azione. Non una questione di “tematiche” o di “climi”, come sembrano pensare Covacich e Bugaro, bensì di abilità dello scrittore stesso nell’immergersi nella realtà, a cominciare da quella della lingua parlata. E infatti Wu Ming 1 insiste: “… la lingua non vive nei salotti, non è un cane da grembo, è un cane randagio e rognoso, è quel cane venuto dall’inferno dal quale Robert Johnson diceva di essere seguito.” (7)

La contaminazione dei linguaggi

Ma negli anni Novanta, molti scrittori italiani cessano di essere affezionati alla bella pagina di per sé. Un caso emblematico è raccontato da Paolo Nori nel romanzo Gli scarti (“Feltrinelli”): “Lì su quel treno lì c’erano quattro scrittori che scrivono come si parla. Che se nei libri gli scappa di scrivere due parole scritte come si scrive, appena se ne accorgono le cancellano subito e se ne vergognano anche…” Si può dire che in Italia abbiano cominciato ad essere attivi, e a godere di consenso sia di critica che di pubblico, narratori che usano forme e stilemi del linguaggio parlato come modelli stilistici – e che anzi si servono liberamente di una molteplicità di linguaggi: cinematografico, televisivo, giornalistico, pubblicitario.
Tra questi scrittori, senza dubbio occupano un posto di rilievo i Wu Ming (che in cinese mandarino vuol dire “senza nome” oppure “non famoso”): un “atelier di narrazioni e mitografia” – così essi stessi si definiscono – di cinque autori i cui nomi, pur non essendo segreti, non vengono strombazzati in giro. Essi rifuggono l’idea che lo scrittore sia anche “personaggio” e prendono le distanze dal circo mediatico della cultura italiana, affermando, come già sosteneva Italo Calvino, che di uno scrittore contano solo le opere. Tra i “manipolatori del linguaggio” all’opera oggi in Italia, i Wu Ming possono forse – nonostante il significato dello pseudonimo – considerarsi i più famosi: autori di un fortunatissimo romanzo, Q (“Einaudi”), scritto sotto lo pseudonimo “Luther Blissett”, hanno poi cambiato nome in “Wu Ming” e continuato a sfornare romanzi assai apprezzati dal pubblico e dalla critica: Asce di guerra (“Marco Tropea editore”) e 54 (“Einaudi Stile Libero”), oltre che una raccolta di saggi, articoli e racconti dal titolo Giap! Storie per attraversare il deserto.
Vi sono altri scrittori italiani che si sono occupati della manipolazione del linguaggio: il già citato Paolo Nori, Aldo Nove, Tiziano Scarpa, Chiara Gamberale (in Arrivano i pagliacci), Isabella Santacroce, Alessandro Baricco, Enrico Brizzi, Carlo Lucarelli, Andrea Camilleri. Si tratta di autori assai diversi tra loro, appartenenti a diverse generazioni e spesso distanti sia nello stile che nelle storie che raccontano (sebbene alcuni di essi siano stati per un periodo accomunati nel filone dei “Cannibali”, di cui parleremo più avanti). Ma in tutti si può evidenziare un tentativo di usare dei linguaggi che, pur esibendo talvolta alcune ricercatezze di “bella scrittura” (si veda il Baricco di Oceano mare) esibiscono uno sforzo di distaccarsi dalla prosa delle “belle lettere” e ricrearne una nuova, adatta alle proprie esigenze stilistiche.
Per contro, questo fenomeno ha portato all’aumento delle distanze tra gli “innovatori del linguaggio” e quegli scrittori che invece ritengono sia necessario, in letteratura, scrivere in modo più “letterario”. Non si può parlare di antipatia, o di fronti contrapposti: esistono anche rapporti di amicizia e frequentazione, nonché di collaborazione, tra “contaminatori” e “puristi” – così come esistono “contaminatori” che tra di loro non si possono vedere e “puristi” che si detestano a vicenda. Tuttavia, è indiscutibile che le due tendenze vadano in direzioni opposte, sebbene il pubblico mostri una netta predilezione per quegli scrittori che han fatto uno sforzo per avvicinarsi alla lingua parlata e ai linguaggi di forte impatto mediatico.
Non c’è dubbio, che pure in questo senso Alessandro Baricco sia stato un precursore, nel dichiararsi influenzato da Hubert Selby jr., grande scrittore americano che cerca di esprimere la forza della realtà attraverso una scrittura violenta e viscerale, priva di raffinatezza ed anzi ricca di asperità. Scrive Baricco su Selby: “La prosa di Ultima fermata a Brooklyn […] è lava bollente, è letteratura terremotata, è scrittura squarciata.” E ancora, sempre su Selby: “… lui è un grande, uno dei maestri, uno che lo leggi e non scrivi più uguale a prima.” (8) Peccato che gli equilibrismi vorticosi della scrittura feroce di Selby, traslati nella prosa elegante di Baricco, diventino puro esercizio di stile: ma non si può avere tutto.
Il tentativo di Baricco di assimilare forme e linguaggi che evidentemente non gli appartengono (egli scrive storie di ambientazione pseudo-ottocentesca in uno stile rarefatto che sembra affine a quello di Tabucchi, dove Selby racconta le vicende di una New York lacerata e delirante, zeppa di umanità derelitta) non è sfuggito a uno scrittore attento e spietato, Giovanni Arduino, a sua volta autore di best-seller sotto diversi pseudonimi (Joe Arden, Jonathan Snow…). Arduino ha scritto – col nom de plume di Leandro Barocco – due feroci parodie di libri di Baricco: Setola (parodia del romanzo Seta) e Senza sugo (parodia di Senza sangue), entrambi pubblicati da “Sperling&Kupfer”. Questo dice lo stesso Arduino in merito al romanzo Seta di Baricco: “È un romanzo estremamente furbo e questo mi dà ancora più fastidio, se vogliamo. Un romanzo molto furbo, molto paraculo e molto corto… ed è un romanzo orribile. Avevo già letto Oceano mare e mi aveva fatto veramente cagare, anche perché odio questa prosa innamorata di se stessi.” Si potrebbe obiettare che lo stesso Arduino, con lo pseudonimo di Jonathan Snow, ha scritto quattro libri per ragazzi che sono vere e proprie favole, con una prosa e un lessico davvero elementari: ma è pur vero che, diversamente da Baricco, Arduino non ha mai preteso alcuna dignità “autoriale” per quei libri, limitandosi a dire che “sono libri per ragazzi, sono favole.” (9) E, per essere onesti fino in fondo, si deve aggiungere che i romanzi di Baricco – pur con i preziosismi e le velleità che Arduino rimprovera – non mancano d’intrecci ben congegnati e di una scrittura più che all’altezza.

Baricco contro Cotroneo

Sempre Alessandro Baricco nel 1996 elogiò pubblicamente il romanzo Destroy (“Feltrinelli”) di Isabella Santacroce in un lungo articolo su “Repubblica”, un romanzo in cui la trama è del tutto accessoria all’esplorazione formale del linguaggio da parte della scrittrice. Nell’articolo Baricco scrisse che quella della Santacroce, a suo avviso, era “la scrittura del futuro” (10). Sul fronte opposto, il critico e romanziere Roberto Cotroneo (citato da Baricco nel medesimo articolo) mostrava autentico disgusto per un romanzo come Destroy, così come Stefano Zecchi diceva dei cosiddetti “Cannibali”: “autori poco letti, ma molto recensiti” (11).

Cannibali, e altri mutanti

Visto che questi “Cannibali” li abbiamo citati già due volte, vediamo di capire chi sono: o meglio, chi erano. Nel 1996 uscì per i tipi di “Einaudi” un’antologia dal titolo Gioventù cannibale, che conteneva i racconti di undici giovani scrittori italiani: Aldo Nove, Tiziano Scarpa, Niccolò Ammaniti, Andrea G. Pinketts ed altri. Curatore del volume fu Daniele Brolli, che Valerio Evangelisti definisce come “esperto in tutto ciò che è cultura contemporanea, dal fumetto alla letteratura” (12). L’antologia aveva l’ambizione di essere “la grande carica di undici sfrenati, intemperanti, cavalieri dell’Apocalisse formato splatter nei reparti pieni di ogni ben di Dio del supermarket Italia. Tra atrocità quotidiane, adolescenza feroce e malinconie di sangue”, come recitava la quarta di copertina. Essa fu il primo, significativo impegno di un gruppo di scrittori italiani per produrre quella “mutazione del linguaggio” di cui abbiamo parlato esplorando le vie della narrazione “pulp” allora in voga. In realtà, l’impostazione dell’antologia fu un’astuzia di Brolli, perché quegli scrittori in molti casi nemmeno si conoscevano tra loro. Racconta Aldo Nove: “Fin dall’inizio venivo accostato alla prosa degli altri autori, di Ammaniti per esempio. Naturalmente mi dava un certo fastidio l’etichetta Aldo Nove scrittore pulp. Non avevo ancora letto Bret Easton Ellis, non avevo visto Pulp Fiction… così ho deciso di confrontarmi con tutto questo e ho letto Fango, di Ammaniti: l’ho trovato fantastico. E siamo diventati amici io, lui e Tiziano Scarpa.” (13) E oggi, lo stesso Daniele Brolli, dinanzi alla domanda: i “Cannibali” hanno vinto o hanno perso?, ammette: “Non penso che le cose stiano in questi termini. Alcuni come Niccolò Ammaniti hanno rivelato un talento narrativo incontestabile, altri si sono un po’ persi in una scrittura troppo autoreferenziale. Comunque non c’era niente da vincere. Il muro verso un certo tipo di scrittura ‘pop’ io credo sia stato abbattuto, per il resto ogni autore ha una sua storia”. (14)
In realtà, quegli scrittori non avevano un progetto comune: semplicemente interpretavano un evidente bisogno di trasformazione delle forme nel campo della scrittura, una trasformazione che si mostrò con forza ancor più evidente nei libri che poi ciascuno di quegli scrittori pubblicò. Ma mentre l’intonazione pulp, violenta e talora grandguignolesca dei racconti di Gioventù cannibale fu una scelta editoriale (azzeccata), la trasformazione in atto nei linguaggi narrativi di quegli scrittori era reale, e non c’è dubbio che essa abbia rappresentato una pietra miliare nel cambiamento in corso.
Del resto, l’esigenza di una scrittura “di contaminazione” si ripropone continuamente, in forme diverse. L’editore “Meridiano Zero”, con la sua recente antologia di esordienti – Gli intemperanti – raccoglie diciotto racconti che hanno in comune, secondo l’editore stesso, “la sperimentazione tematica, linguistica o d’ambientazione e, dietro a tutto questo, una giovinezza che ancora nega l’indifferenza, che si oppone alla noia. Gli intemperanti hanno dai venti ai trent’anni, fanno i registi, gli story editor televisivi, gli sceneggiatori di fumetti, i copywriter, gli insegnanti di scrittura creativa, i drammaturghi.”
Senza radici?
Oggi, naturalmente, gli ex “Cannibali” sono cambiati e ciascuno ha fatto le sue scelte. Dice Tiziano Scarpa dell’era del Cannibalismo, in relazione alla sua esperienza: “Ho fatto tante altre cose dopo quel periodo, nessuno mi chiede quelle robe ormai.” (15) E il valido Io non ho paura (“Einaudi Stile Libero”) di Niccolò Ammaniti è un romanzo di formazione dai toni avventurosi che può ricordare Kipling o Jack London, ben diverso dai suoi esordi di “cannibale” ed anzi scritto con un approccio più o meno realistico. Del resto lo stesso Covacich cita Ammanniti e Scarpa tra quegli scrittori “legati alla realtà”, che sono suoi amici e che egli ammira.
Però è indiscutibile che senza l’esperienza “cannibale” il panorama della narrativa italiana sarebbe diverso. Fare i conti con questo fatto vuol dire due cose: accettare quel che nota Brolli (che il muro verso un certo tipo di scrittura ‘pop’ è stato abbattuto), e che i romanzi che molti scrittori italiani scrivono oggi sono romanzi che non sono radicati nella cultura letteraria del Novecento italiano, ma pescano riferimenti ovunque, da un “vilaggio globale” vastissimo in cui c’è Spinoza e c’è la Playstation, l’autobiografismo e l’esotismo, il Pulp e il Noir, Max Frisch e il Dottor Stranamore, l’impegno politico e l’edonismo puro. Il punto di distacco è evidente: nel momento in cui la letteratura può attingere da tutte le possibili narrazioni, compresi il videoclip e il teatro No giapponese, la tradizione letteraria del nostro Paese cessa di essere importante: o quantomeno ne esce grandemente ridimensionata. E’ un bene o un male?
Il tentativo di recuperare la possibilità di una scrittura colta, radicata nel Novecento letterario italiano, sopravvive in operazioni “di nicchia” come la collana <> di “Sironi” diretta da Giulio Mozzi, che accanto a romanzi <> (Il suicidio di Angela B. di Umberto Casadei) ha pubblicato reportages narrativi e raffinati libri di racconti come Sleepwalking di Laura Pugno. Anche la collana <> dell’editore “Rizzoli”, diretta da Benedetta Centovalli, percorre per certi versi una strada simile: nella pubblicazione di un’antologia che <> come la recente Patrie impure, si può vedere uno sforzo di radunare un nucleo di scrittori attorno a un’idea di narrazione che sia visione, descrizione e interpretazione del presente, per ricostruire uno “scenario letterario”. Un simile sforzo, seppure di proporzioni più modeste, è tentato da “minimum fax” con l’antologia La qualità dell’aria.
Il fatto è che di una cosa come uno “scenario letterario”, molti scrittori italiani – specie quelli che hanno più successo – non sentono alcun bisogno: il panorama deflagrato nato dalla sovrapposizione delle forme espressive e dal trionfo di quella che Brolli chiama scrittura pop gli piace, ci vivono bene. Come ha detto Isabella Santacroce a Roberto Cotroneo: “Mi chiede se ho paura del giudizio del mondo letterario? A parte il fatto che non so esattamente cosa sia, il mondo letterario. Però deve sapere che a me piacciono molto le cose che mi fanno paura.” (17) E, secondo i Wu Ming: “Crediamo che la letteratura italiana stia vivendo una fase esaltante, in cui finalmente si supera la distinzione ideologica reazionaria tra letteratura ‘alta’ e letteratura ‘bassa’. (18)
E c’è un altro aspetto, da non sottovalutare: questo panorama deflagrato riesce a produrre narrazioni che, come suggerisce lo scrittore americano Chuck Pahlaniuk, profeta di un nuovo nichilismo, “[riescono a richiamare] non-lettori, persone che a un romanzo preferiscono generalmente un film.” (19) Mentre i libri della collana <> di “Sironi”, di <> di “Rizzoli”, di <> (la collana che raccoglie gli autori italiani di minimum fax) sembrano non aver grandi prospettive di successo di pubblico. Afferma lo stesso Giulio Mozzi, in merito a <>, che “la tiratura minima per il lavoro di un esordiente italiano è di mille copie” (20) – si noti che gran parte degli scrittori pubblicati da Mozzi sono esordienti – e gli fa coro Marco Cassini di “minimum fax”: “Quando ci arrivano i dati di prenotazione delle novità da parte delle librerie, è lecito aspettarsi che un qualsiasi titolo della collana <> (che è quella dove pubblichiamo narrativa americana) sia prenotato in tre, quattro o anche cinquemila copie, mentre se un romanzo o una raccolta di racconti di <> raggiunge le duemila copie è lecito stappare la bottiglia di costosissimo champagne che ci stiamo conservando da tempo per un’occasione simile.” (21)
2. Autobiografismo, narrativa di genere ed esotismo. Crisi della narrativa realista
Operazioni come Patrie impure e La qualità dell’aria hanno, per certi versi, il sapore di azioni di retroguardia: sembrano non accorgersi del cambiamento, della deflagrazione dalla quale siamo partiti in questo nostro raccontare la geografia della narrativa italiana d’oggi. O forse, sono tentativi di ricostruire quello “scenario letterario” che, l’abbiam detto, non esiste più – quel “clima” di cui Romolo Bugaro dice di sentire la nostalgia. Tentativi che si scontrano con una realtà ardua, perché a quanto sembra gli scrittori italiani – o almeno, molti di quelli che godono del maggior consenso di pubblico – spingono la deriva dei continenti di questa geografia in tre direzioni diverse ma comunque distantissime da ogni possibile esame della contemporaneità: l’esotismo, la narrativa di genere e la scrittura autobiografica (sebbene esista, nella narrativa cosiddetta <>, un filone di scrittori che si servono del <> per raccontare l’Italia del proprio tempo – come Carlo Lucarelli, Domenico Cacopardo, Giancarlo De Cataldo, Massimo Carlotto).
Tiziano Scarpa in libreria
Cominciamo con una storiella. Nella prima metà del 2003, lo scrittore Tiziano Scarpa si reca in una libreria dell’Italia del nord. Così Scarpa medesimo descrive il luogo: “In una media città del nord, sono entrato in una libreria di medie proporzioni. È una libreria di una catena non molto conosciuta ma mediamente diffusa in Italia.” In quella libreria di quella città, Scarpa ci va per vedere se c’è il libro di un suo amico. Il libro è A perdifiato di Mauro Covacich (“Mondadori”). Che a Tiziano Scarpa dev’esser piaciuto molto, visto che lo descrive come un romanzo che “si fa leggere con ingordigia, appassiona” e “parla di cose vere, di problemi attualissimi ed eterni”. (22) Scarpa tiene a precisare che A perdifiato “non appartiene a un genere letterario immediatamente classificabile, non è un poliziesco”.
Risultato: il libro non c’è. Scarpa vede la libreria piena di “thriller, legal thriller. Noir americani, noir inglesi, noir mediterranei. Gialli, gialli, gialli. Polizieschi, polizieschi, polizieschi. Parecchi horror. […] Autori anglofoni di tutti i tipi.” Ma il romanzo del suo amico Mauro Covacich non c’è. Non solo. La commessa dice a Tiziano Scarpa che in quella libreria, A perdifiato non arriverà neppure. Al che Tiziano Scarpa si lascia prendere da un sentimento d’indignazione. E si chiede: “L’Italia produce cultura, letteratura, opere d’arte linguistiche, romanzi, e il mercato […] di fatto non le smercia, non perché sono indigeribili, ma solo perché non rientrano nelle categorie smerciabili: autore americano, o inglese, o giornalista, o vecchione, o noir, o comico televisivo, eccetera.” E aggiunge, rivolto agli scrittori di gialli/thriller/noir: “Sì, cari miei, vogliamo dirlo? Il giallo, il noir è commercialmente al potere, è il genere letterario che vende, che funziona più di tutti. Perché vergognarsene? Perché vi nascondete dietro un dito? Accettate serenamente questo fatto. Sappiate assumervi le responsabilità di essere arrivati al potere. Scrivendo di morti e ammazzamenti e investigatori e brividi si piglia più pubblico.” E poi: “Storicamente (cfr. S.S. Van Dine & C.), le regole del giallo prescrivono che se non c’è un omicidio, non c’è storia. Vi immaginate uno scrittore che accetta questa regola? “Un furto? Un tradimento amoroso? Ah, ma se non c’è un omicidio io manco tolgo il cappuccio alla penna… Se non ci scappa il morto non c’è racconto!”
Ribadiamo che questo non è un testo di critica letteraria, per cui argomenti come la qualità del romanzo di Covacich o i criteri in base ai quali Scarpa definisce quel romanzo “un’opera d’arte”, non sono presi in esame. Ci sembra tuttavia interessante e lecito esprimerci sul fatto che la questione, probabilmente ha a che vedere un problema più ampio. E’ ben noto che i romanzi, almeno quelli verosimili, prendono ispirazione dalla vita, così come essa si svolge nel mondo reale. Il romanziere rielabora in una storia inventata i fatti veri di cui è a conoscenza, le stesse vicende sue private, quelle altrui, le notizie di cronaca, e via discorrendo. Ed è altresì noto che per tutto l’Ottocento e la prima metà del Novecento, la vita della gente in Italia era ben più arrischiata, rocambolesca ed esposta all’infierire di casualità drammatiche: la guerra, la malattia, la violenza, il sopruso inflitto dal potere. Gli anarchici facevano saltare in aria i vagoni ferroviari, la polizia sparava sulla folla. L’individuo viveva a contatto quotidiano con il malessere e la brutalità. L’autore di questo saggio ricorda bene che suo nonno combatté in ben tre guerre, e che sua madre venne partorita tra le macerie di un bombardamento alleato. In tali circostanze, poiché come giustamente scrive Roberto Alajmo “fare lo scrittore è un mestiere parassitario” che si nutre “di guerre, pestilenze, eruzioni, terremoti, assassinii e sciagure” (23), la materia viva dalla quale emergevano le narrazioni degli scrittori era ben più ricca e avvincente della quotidianità degli italiani d’oggidì. Pensiamo anche a un dramma “statico” come il meraviglioso Giuoco delle parti, di Pirandello: troviamo l’adulterio, l’inganno, il tradimento, il doppio gioco e la vicenda si conclude infine nella certezza di un duello che, lo sappiamo, sarà letale. Qual è invece la materia a cui attingono le narrazioni degli scrittori d’oggi? Le vicende dell’umanità italiana borghese, ormai profondamente attaccata ai suoi privilegi, più che mai reazionaria e conservatrice?
Tuttavia, per continuare a scrivere intrecci degni di questo nome e trame avvincenti, una soluzione sembra essere la narrativa “di genere” o l’effetto scenico che un autore può ottenere ambientando le sue storie in un contesto storico distante dal mondo contemporaneo con il cosiddetto “romanzo storico”. Sono quegli scrittori che secondo Covacich “fanno un passo insietro”, poiché secondo lui evidentemente scrivere della contemporaneità “aldilà dei generi” è “un passo avanti” al farlo scrivendo narrativa “storica” o “di genere”. E sono anche quegli scrittori che, tuttavia, sembrano godere in Italia del maggior successo di pubblico.
L’autobiografismo rampante
Ma esistono anche autori che prendono una diversa direzione: quella di occuparsi di ciò che conoscono direttamente, della propria quotidianità. C’è un romanzo di Pier Vittorio Tondelli, Camere separate (“Bompiani”), su cui ha scritto Matteo Galiazzo: “Un libro scritto da uno scrittore che parla di uno scrittore che fa le stesse cose dello scrittore che ha scritto il libro. Non vi dico altro.” (24) Si può dire che Camere separate abbia lanciato una moda tra gli scrittori italiani: parlare dei fatti propri. Ovvero raccontare nei propri romanzi vicende autobiografiche, il che può anche andar bene se uno si chiama Benvenuto Cellini o Tobias Wolff: ma se invece ha vissuto una normale esistenza borghese nell’Italia d’oggidì c’è il rischio che il suo romanzo sia apportatore di una noia bestiale. Il caso più celebre di questa tendenza è proprio Paolo Nori, di cui abbiam già parlato e che quantomeno nei suoi libri – che tutti raccontano le peripezie di Learco Ferrari, alter ego dello scrittore – infila invenzioni metafisiche, interrogativi filosofici, dialoghi bizzarri che distanziano l’esperienza di Learco Ferrari da quella di Paolo Nori stesso, e possiede una formidabile capacità di rendere la lingua parlata attraverso la pagina scritta. Ma di scrittori che raccontano i fatti loro ce ne sono a bizzeffe. E, spiace dirlo, non tutti posseggono l’inventiva di Nori né il suo estro.
***

Note al testo

(1) Science and sanity, 1933, “The International Non-Aristotelian Library”.

(2) Lavori in corso, da <> n. 5/6, novembre 2003.

(3) Dal blog di Giulio Mozzi: http://giuliomozzi.clarence.com

(4) Recensione de ” La Compagnia dei Celestini” di Stefano Benni, di Alessandro Baricco, da <> del maggio 1993.

(5) Wu Ming 1 si chiama Roberto Bui. I motivi per cui in questo articolo lo chiamiamo sempre “Wu Ming 1” sono resi evidenti nel testo.

(6) Tradurre Elmore Leonard, di Wu Ming 1, da www.blackmailmag.com, “Speciale Elmore Leonard”.

(7) Nota di copertina a Tishomingo Blues di Elmore Leonard, di Wu Ming 1 (“Einaudi Stile Libero”).

(8) Un grido in cerca di una bocca, di Alessandro Baricco, da Barnum – Cronache dal Grande Show (“Feltrinelli”).

(9) Intervista a Giovanni Arduino (pubblicata su <> n. 4, autunno 2000)

(10) Destroy: l’indice di un mondo, di Alessandro Baricco, da Barnum 2 – Altre cronache dal Grande Show (“Feltrinelli”).

(11) Il senso della scrittura, di Stefano Zecchi, da <> del gennaio 2000.

(12) Compleanno all’aperto, di Valerio Evangelisti, introduzione a Tutti i denti del mostro sono perfetti (“Mondadori”).

(13) In-contro con Aldo Nove, di Alessandro De Caro, da <> del gennaio 2000.

(14) FaM-intervista a Daniele Brolli, da http://famrivista.clarence.com del 9 settembre 2003.
(15) FaM-intervista a Tiziano Scarpa, da http://famrivista.clarence.com del 5 dicembre 2003.
(16) A scuola di scrittura, di Antonio Pascale, da <> del dicembre 2003.
(17) ESCLUSIVO / LE IMMAGINI SADOMASO DELL’AUTRICE DI FLUO, intervista a Isabella Santacroce di Roberto Cotroneo (foto di Rosangela Betti), 14 luglio 2000.
(18) Conversazione con il Wu Ming, di Davide L. Malesi, <> n. 1.
(19) Caro horror ti scrivo, articolo su Chuck Pahlaniuk, di Alessandro Cassin, da <> del 21 agosto 2003.
(20) Lavori in corso, da <> n. 5/6, novembre 2003.
(21) FaM-intervista a Marco Cassini, da http://famrivista.clarence.com del 3 luglio 2003.
(22) Ne vale la pena?, di Tiziano Scarpa, da http://www.nazioneindiana.com del 13 maggio 2003.
(23) 10 domande a 10 scrittori sul loro Sud, a cura di Michele Infante, <> n. 4.
(24) Prove tecniche di editoriale, di Matteo Galiazzo, da <>, aprile 1997.


2.066 risposte a “GEOGRAFIA DELLA LETTERATURA ITALIANA CONTEMPORANEA. Filiazioni, precursori, modelli di Davide L. Malesi”

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