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INCHIESTA/ TerzaPagina 1.0 PAOLO MAURI


INCHIESTA/ TerzaPagina 1.0 PAOLO MAURI
Paolo Mauri è responsabile delle pagine culturali nazionali del quotidiano “la Repubblica”.

Perchè scontiamo sul piano della cultura le conquiste della democrazia?
Beh, è un discorso ampio, quello della relazione tra la cultura e la politica, e forse, fin troppo facile cadere in semplicismi. Direi innanzitutto, che politica e cultura seguono tempi e modalità diverse. La politica in fondo, poi, è essa stessa una cultura, con un suo linguaggio, delle sue tecniche, un suo lessico. Certo la relazione tra politica e cultura in questi tempi di trasformazione (si usa forse troppo spesso l’espressione “tempi di trasformazione”, ma io, intendo qui far riferimento ai tempi del post-impegno, con la fine dei grandi partiti di massa, dei grandi sindacati, etc.) sta assumendo nuove forme. La stagione del neorealismo, come idea della letteratura e della cultura che aveva uno scopo di denuncia, di svelamento della miseria dei poveri, di mutamento e progresso sociale, della letteratura intesa come impegno, non solo è finita ma ci ha dimostrato come l’arte non possa essere subordinata ad un fine esterno a se stessa, e quindi anche ad un fine politico immediato.

Si parla spesso di una marginalità della letteratura nella società contemporanea rispetto ad altri media o consumi culturali…
La letteratura ha sempre contato poco. Nel passato fino a non molti anni fa, penso al secondo dopoguerra, le tirature dei libri che oggi consideriamo dei classici erano di poche centinaia di copie, e la comunità dei lettori corrispondeva pressappoco a quella degli scrittori. La letteratura ha la funzione, e quindi “conta”, in quanto modalità di svelamento della realtà, per leggere meglio il mondo, almeno quando non è letteratura di pura evasione. Io penso, in modo più specifico, che la letteratura serve “a recuperare tempo”, a riappropriarsi del tempo della vita, serve a capire e ragionare sui significati, ad ancorare i contenuti oltre la contingenza dell’attualità, che invece è dei quotidiani.

Da più parte, a volte si accenna ad un eccesso di produzione del mercato editoriale che confonde il lettore, impedisce il formarsi criteri di scelta, dissolve il poco buono “in una marea di libri” …
Già Borghese all’inizio del 900’ in un suo intervento si lamentava di un eccesso di produzione letteraria e del fatto che c’erano troppi libri in circolazione. Certo oggi 20mila novità l’anno rappresentano un flusso, un fiume in piena e una sorta di disorientamento non si può non provarlo, ma non c’è da essere moralisti, anzi.

Ma qualcosa è cambiato, fino agli anni 70 la comunità intellettuale era un filtro attraverso cui le opere passavano?
Si, è vero. Una volta un giovane scrittore si presentava ad uno scrittore anziano che sentiva particolarmente vicino per sensibilità, stima, etc. e se questi lo valutava positivamente, e dopo una certa frequentazione intellettuale, cementificata anche in un rapporto di appartenenza, di circolo, di gruppo, era quello stesso scrittore a presentare poi il nuovo scrittore all’editore, a fare in un certo qual modo da garante. Oggi invece le case editrici cercano il giovane esordiente che crei il caso di successo.

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Ma i casi letterari ci sono sempre stati?
Certo, negli anni 30 Guido da Verona pubblicò tra polemiche (specialmente Valentino Bompiani che lavorava all’epoca alla Mondadori e che non volle pubblicarlo) una parodia erotica di Renzo e Lucia, con una Lucia che è a dir poco definire “molto disinibita”. Fu un grande successo, e dobbiamo pensare che allora non vi erano come oggi, Uffici Stampa o di Marketing che dovevano creare l’evento. Ma oggi quanti rileggono quel libro?

Il dibattito letterario sui quotidiani e sulle riviste langue. Mancano gli intellettuali, figure autorevoli come un Pasolini o un Calvino o sono cambiati i tempi?
No, abbiamo ottimi e autorevoli intellettuali, tutti possono leggere le firme delle nostre pagine culturali (di Repubblica), anzi mi ricordo che anche quando con noi collaborava Calvino si diceva, “ma non ci sono più gli intellettuali di una volta!”. Sicuramente il clima culturale è cambiato, un esempio per tutti, è che noi dobbiamo spendere intere pagine del giornale per difendere Darwin e non farlo scomparire dai libri di testo, per difendere l’ovvio “la terra gira intorno a sole”. Paghiamo il prezzo di troppo teatrino delle chiacchiere e delle polemiche, di una telefonata allo scrittore del momento per chiedere questo o quell’altro, mentre si covava il revival della guerra di religione e del fondamentalismo, dove era la terza pagina del nostro giornalismo culturale?

Qualcuno dice colpa della Tv?
La Tv è stata aggregativa quando era forte, quando tutti vedevano la stessa cosa ed il giorno dopo se ne parlava a scuola o in ufficio, oggi ed in futuro sarà sempre più come il frigorifero, ci trovi dentro quello che ci metti. Inutile dire però che la macchina infernale è ancora forte.

Se non nelle terze pagine dei giornali, dove si fà oggi la letteratura?
Nelle piccole case editrici, quelle più dinamiche e dove vi sono editori e autori non dico giovani ma che hanno un modo più giovane di fare libri (Minimum Fax, E/o, Iperborea per la letteratura scandinava, etc.).

Come giudica l’iniziativa di Repubblica di abbinare alla vendita del giornale i romanzi del Novecento, penso alla “Biblioteca di Repubblica” e poi “Poesia”. Pensa che aumenteranno i lettori? E’ stato un idea vincente del marketing? Come è avvenuta la scelta dei testi?
Abbiamo in un solo anno raddoppiato se non più, la produzione editoriale italiana per la narrativa, e questo è un dato. Penso che molte persone che hanno acquistato i libri e che certamente non avevano disponibilità a casa di tanti testi, li hanno letti, o almeno provato a leggerli …

Non pensa che siano entrati in gioco anche diversi altri fattori. Penso alla considerazione di cui gode oggi il libro con la sua aurea di bontà, di cosa buona, “il suo strizzar l’occhio al lettore e dirgli sei più intelligenti se leggi”, e poi il fatto che ormai è un oggetto d’arredo, serve per riempire le mensole, giustificare uno status sociale, etc.
Anche, ma il fatto significativo è che noi abbiamo tolto al lettore il peso della scelta. Il nostro lettore avrebbe voluto acquistare dei libri e noi anche perchè abbiamo una certa autorevolezza (e questo lo posso dire senza autocelebrazioni) gli abbiamo detto semplicemente quali erano secondo noi i testi che meritavano di essere acquistati.

Tra l’altro non è un fenomeno nuovo, anche in passato l’abbinamento con libri di quotidiani e settimanali…
Rispetto al passato c’è una differenza: la qualità. La scelta di fare un libro con un ottima carta, con certa cura nell’impaginazione e nella copertina, e non il solito prodotto usa e getta, è stata penso una delle scelte vincenti. Inoltre, questa operazione aveva un precedente essendo stata realizzata in Spagna con enorme successo, e non è un caso che noi abbiamo stampato i nostri testi a Barcellona. Altro elemento è stato il forzare i canali classici di distribuzione del libro.

Si sa, che oggi una recensione di un libro su Repubblica conta, e diciamoci la verità conta anche tanto. Gli editori dicono che se di una novità non vi è una recensione di Repubblica, il libro non è stato visto. Sente questa responsabilità, come anche una certa pressione delle case editrici, e ancora, come lavorate sulla scelta degli autori da recensire?
Ovviamente vi sono delle pressioni, vi sono interessi, e via dicendo… ovviamente. Noi siamo una squadra, cerchiamo di leggere ed essere attenti a tutto quello che viene pubblicato, non le nascondo che io stesso sento gli editori per avere delle informazioni o dei riferimenti sui testi, e Le assicuro che di solito un editore con cui lavoro abitualmente si guarda bene dall’esagerare nelle lodi o nell’autocompiacimento di un suo testo, faccio questo lavoro a Repubblica dal 1977 e ho sempre poi modo di ricontrollare e riparlare con editori e uffici stampa. Noi svolgiamo anche un lavoro puramente di informazione giornalistica sulle novità, è poi ogni singolo collaboratore a decidere, scegliere e recensire in perfetta autonomia e secondo i suoi gusti, i testi che poi recensiamo.

Vuol dire che non vi sono recensioni compiacenti?
No, ma anche se vi sono recensioni compiacenti il lettore abituato a leggere le recensioni se ne accorge e intuisce che vi una vera passione del recensore alla lettura del testo, piuttosto che ad una semplice operazioni di pura vetrina. E questo penso sia anche il motivo di una certa autorevolezza di cui godiamo.

INCHIESTA / TerzaPagina 2.0 STEFANO SALIS
Stefano Salis è responsabile delle pagine culturali del Il Sole 24 ore.

Si parla spesso di una marginalità della letteratura nella società contemporanea rispetto ad altri media o consumi culturali, non tanto e solo la Tv, cosa pensa Lei a proposito?
Che la letteratura è senza dubbio marginale. Però non mi sembra una sciagura: dubito che abbia mai occupato un posto centrale nelle società e mi sorprenderebbe che lo facesse ora, con le enormi possibilità di scelta di consumo culturale che abbiamo a disposizione. Le statistiche attuali dicono che nelle fasce più giovani aumenta il consumo di internet, che la tv è un mezzo incommensurabilmente più forte degli altri, che i giornali sono poco appetibili per i ragazzi. Ma non è uno scenario catastrofico: credo che mai come in questo momento ci sia una forte richiesta di intrattenimento e la letteratura ha anche questo compito. Ognuno ha il diritto di scegliere quello che preferisce: io, per esempio, sono un innamorato del calcio. Non mi sogno nemmeno lontanamente di dire che vedere una partita allo stadio o andare a un concerto di musica, un film o una mostra siano atti meno “nobili” della lettura di un romanzo. Anzi: un bel contropiede vale molto più di una brutta poesia e a volte emoziona come una bella canzone di Paolo Conte: per me è superiore ai romanzi di molti scrittori che pretendono di spiegarci il mondo. Penso che sempre più il piacere della letteratura diventerà un atto individuale. Beato chi lo potrà apprezzare.

Da più parte, a volte si accenna ad un eccesso di produzione del mercato editoriale, che confonde il lettore, impedisce il formarsi criteri di scelta, dissolve il poco buono “in una marea di libri”, che ruolo può avere la terza pagina di un giornale nell’arginare tale fenomeno?
E’ una domanda che, per come è posta, mi infastidisce. Perché presuppone una classifica di merito a priori: un atteggiamento che dice “questo è letteratura, e questo no”, Wilbur Smith o Stephen King sono una paccottiglia commerciale e invece l’autore italiano semisconosciuto meriterebbe di essere letto, perché – lui sì – ci trasmette i “veri” valori della scrittura. Ebbene: questo atteggiamento non è utile, secondo me. Anzi, è pure dannoso per la letteratura “alta”, come mi sembra la intendiate voi. Il lettore non è per niente confuso: e poi, rispetto a che cosa? Semplicemente, sceglie secondo i suoi sacrosanti gusti. Se ho due ore da trascorrere in treno ho tutto il diritto di passarmele con un giallo o una spy-story. Tra l’altro, mi pare che questa sorta di snobismo sia tipico di certa “società letteraria”, convinta di avere chissà quale verità da ammannirci. Ma non mi appartiene. Non si legge solamente per amore della letteratura e dirò di più: non ci sono scrittori che mettono d’accordo tutti. Inoltre avrei da dire anche sul “poco buono”: scrivere bene, contrariamente a quello che si pensa non è difficile. A tutti riesce una bella pagina, un bel racconto, un bel romanzo. Ci sono scrittori che hanno la “condanna” di saper scrivere bene. Ma una cosa è scrivere bene, altra è avere qualcosa da dire. Questo è già forse più difficile da trovare tra i romanzi di oggi, soprattutto in Italia. Inoltre, secondo me, non è vero che ci sia così poco buono: è pieno di buoni libri, e non è detto che ad un libro non si chieda altro che di raccontarci una bella storia.
Anche sui criteri avrei da dire: se ci si basasse solo sulla bellezza, il valore riconosciuto, l’importanza dei libri, non dovremmo fare altro che rileggere i classici all’infinito. Quanto alla “marea di libri”, gli editori non fanno beneficenza. Se pubblicano vuol dire che trovano un mercato e dopo tutto è meglio per noi lettori poter scegliere anzi che no.
Il potere della terza pagina di “arginare” il mercato editoriale credo che sia nullo. Gli editori pubblicano senza consultare i giornali culturali, e noi, fortunatamente, scegliamo cosa recensire senza consultare gli editori.

Il dibattito letterario sui quotidiani e sulle riviste langue. Mancano gli intellettuali, figure autorevoli come un Pasolini o un Calvino, firme di valore, o semplicemente sono cambiati i tempi?
I tempi, e anche gli uomini, sono cambiati, mi sembra evidente. Ma bisogna vedere cosa si intende per dibattito letterario. Credo che il compito primario di uno scrittore non sia quello di descrivere i mali della società, suggerire rimedi o proposte. Il compito di uno scrittore è fare seriamente il proprio mestiere: scrivere dei buoni romanzi, racconti, poesie. Da questi si trarrà, eventualmente, anche la sua posizione sui grandi temi. Lo scrittore deve fare, come diceva Sciascia, quello che fanno gli artigiani: produrre “oggetti belli nella forma e comodi nell’uso”. Il ruolo sociale dello scrittore è scrivere al meglio delle proprie possibilità e di farlo per il pubblico. Harry Potter oggi ha un ruolo sociale più importante di tanti scrittori di letteratura. Grisham fa meglio il suo lavoro di tanti altri colleghi che lo denigrano.

Quanto la Tv e le sue forme di spettacolarizzazione e di decostruzione dell’attenzione verso forme argomentative e scritte, hanno influenzato anche le pagine culturali dei quotidiani?
Molto. E la prova è lo stesso fatto che abbiate sentito il bisogno di fare questa domanda. Ma la colpa non è della tv: semmai è dei giornali.

Quali sono gli spazi secondo Lei dove oggi, si fà letteratura?
La letteratura è nei testi. Se intendete critica letteraria, credo che alcuni giornali, come quello in cui lavoro, facciano seriamente il lavoro che sono chiamati a fare: dare conto dei libri che escono, selezionarli, leggerli a fondo e parlarne. Proporre la propria idea al pubblico dei lettori. Ma il nostro lavoro non sta nel dire ai nostri lettori che cosa devono leggere, sta nella serietà con la quale affrontiamo l’argomento.

Come giudica le iniziative dei quotidiani di abbinare alla vendita del giornale romanzi. Pensa che contribuiranno all’aumento dei lettori? E’ stata solo un’idea vincente del marketing? Come è avvenuta la scelta dei testi?
Per me, è l’avvenimento editoriale degli ultimi anni, che ha scardinato un mercato che sembrava stabile e ha immesso nelle case degli italiani una quantità enorme di libri. Spero che questa iniziativa possa far nascere qualche lettore di libri in più, anche se sono molto scettico: ma chi può dirlo? Bisogna aspettare qualche anno. Prima di fare il giornalista ho lavorato e diretto una libreria: mi sono fatto l’idea che sia quasi inutile cercare di vendere i libri a chi non è lettore, a chi non era già abituato a comprarli. Molto meglio, e molto più facile, vendere i libri a chi i libri ce li ha già, a chi è già lettore. Creare un “lettore” è veramente difficile, e sinceramente non saprei dire come si fa. Di certo per crearlo non basta riempirgli lo scaffale di libri. Non di meno, è meglio avere qualche libro in casa, anzi che no. Non si sa mai che venga voglia di leggerlo…
Per i giornali è stato un colpo da maestri: ha risollevato i conti di molte editrici di giornali. Mi dispiace per le librerie che, francamente, non sono in grado di competere con l’onnipresenza delle edicole, come per gli editori di libri, che non hanno la possibilità di fornire libri così buoni a un prezzo così accessibile. I giornali hanno sfruttato una delle loro potenzialità: ma nel mercato ognuno agisce come meglio crede, purché stia nelle regole. E i giornali hanno fatto l’operazione in piena legittimità. La scelta dei testi mi sembra eccellente. Obiettivamente hanno distribuito il meglio, non si può dire nulla.

Quanto conta oggi secondo Lei, una recensione di un libro sul Domenicale del Sole 24ore? Ed in generale quanto contano le recensioni su quotidiani e settimanali per il successo di un libro?
In generale direi che contano poco, se intendiamo per “successo di un libro” le vendite lungo tutta la catena distributiva. Da questo punto di vista, per uno scrittore, è molto meglio apparire in tv. Una recensione positiva sul nostro giornale non credo che comporti una fila di persone in libreria, come una stroncatura non penso che faccia crollare le vendite. La recensione conta se il nostro lettore si fida di noi, se ritiene che quello che abbiamo detto di un libro, lo abbiamo detto, perché è veramente quello che ne pensiamo.

Sente anche nel suo ruolo questa responsabilità, come anche una certa pressione delle case editrice, come lavorate sulla scelta degli autori da recensire?
Fortunatamente le pagine di letteratura del Domenicale godono di una grandissima libertà, interna e, soprattutto, esterna. Questo ci deriva, da un lato, dal fatto che non facciamo parte del core-business del Sole, e dunque possiamo puntare solo sull’eccellenza per poter giustificare la nostra esistenza in un giornale economico-finanziario. Dall’altro lato, il Domenicale si è costruito nel tempo un’autorevolezza tale che lo tutela da ingerenze esterne. Selezioniamo attentamente noi di cosa parlare. Per quanto mi riguarda, contatto i miei collaboratori, ascolto le loro proposte, faccio le mie, li aggiorno sulle discussioni che avvengono all’interno della redazione. Poiché ho tutte delle prime firme posso contare su pareri molto autorevoli: quando un mio collaboratore seleziona un libro siamo sicuri che c’è qualcosa di serio da dire. Non abbiamo nessun debito verso gli editori: la loro pressione il più delle volte ci lascia completamente indifferenti. Ma devo dire che non è poi tutto quest’incalzare…
Non ho difficoltà a far convivere nella stessa pagina un testo per bibliofili del Quattrocento, una recensione di un testo di critica letteraria e John Grisham. I nostri lettori, che sono mediamente più esigenti dei lettori degli altri quotidiani (proprio perché, in generale, ci comprano apposta solo la Domenica) sanno che il valore delle recensioni e delle nostre proposte non è dato solo dal libro in questione, ma anche dalla serietà con cui è stato fatto il lavoro che precede la pubblicazione dell’articolo. Dunque la selezione, la lettura scrupolosa da parte del recensore, l’inserimento in una tradizione. In questo senso intendo la mia responsabilità. Dobbiamo far cogliere ai lettori che non abbiamo improvvisato nulla, che stiamo facendo il nostro lavoro nella maniera più onesta che possiamo. E intendiamoci: loro sono liberi di essere d’accordo o no con i nostri critici. Anzi: è meglio che dicano “il recensore non ha capito nulla di questo libro” che non pensino di avere appena letto un soffietto.

Se ci è permessa una domanda più generale, perché scontiamo sul piano della cultura le conquiste della democrazia, di cui anche i quotidiani sono espressione e forma?
Se la domanda presuppone che ci sia qualcuno che ci dica cosa leggere, come e quando, la mia risposta è che la conquista fondamentale della democrazia è chi ci si lasci libertà di scelta. Io non voglio imporre i miei gusti agli altri, e pretendo che gli altri facciano lo stesso con me. Lascio all’intelligenza di ciascuno di sfuggire all’omologazione, se lo vuole fare: altrimenti che si omologhi, punto e basta. Credo che abbiamo idee diverse sulla cultura, mi dispiace. Ma il mondo è bello perché è vario: si dice così, no?

INCHIESTA / TerzaPagina 3.0 OLIVIERO LA STELLA
Oliviero La Stella, scrittore e giornalista, è editorialista de “Il Messaggero” di Roma, per il quale si occupa di società e cultura. Per nove anni, fino al dicembre scorso, è stato il responsabile del servizio Cultura del quotidiano romano.

Si parla spesso di una marginalità della letteratura nella società contemporanea rispetto ad altri media o consumi culturali, non tanto e non solo la tv; cosa pensa in proposito?
La letteratura è indubbiamente marginale, in Italia, perché è marginale la lettura: rispetto al consumo di musica, rispetto anche al cinema, ma soprattutto alla televisione che, ahimé, di cultura oggi ne produce assai poca. Siamo un Paese di teledipendenti e, come è largamente noto, di non lettori. Ritengo che i riflessi di tale fenomeno siano assai gravi sulla nostra società. Condivido ciò che in proposito mi ha detto Ferruccio de Bortoli, amministratore delegato della Rcs Libri, in una nostra recente conversazione pubblicata sul Messaggero: in questa società il cittadino è più debole, perché formarsi e ragionare attraverso le immagini significa essere più passivi, avere meno memoria, un senso critico assai ridotto e minore possibilità di scelta. Mentre la lettura consente a ognuno di formarsi le proprie idee e le proprie emozioni e il libro, in particolare, impone un tempo lento in un contesto nel quale l’informazione è rapida, fatta spesso di slogan, di sms e via dicendo, ci fa pertanto osservare la nostra società con un occhio diverso. Ed è, pertanto, anche uno strumento di libertà. Per il futuro non sono affatto ottimista. La politica, che ha adottato la televisione come mezzo principe, anzi unico, di formazione del consenso, è tutta protesa verso la televisione. E la legge Gasparri sbilancia ulteriormente verso il piccolo schermo un Paese che è già di teledipendenti, questa nostra società che fa grande fatica a leggere.

Da più parti, a volte si accenna a un eccesso di produzione del mercato editoriale, che confonde il lettore, impedisce il formarsi criteri di scelta, dissolve il poco che c’è di buono “in una marea di libri”. Che ruolo può avere la terza pagina di un giornale nell’arginare tale fenomeno?
Il ‘Paese dei non lettori’ è anche il Paese dei paradossi: in Italia esistono più di cinquemila sigle editoriali (fra il 2002 e il 2003 ne sono nate oltre seicento, due al giorno non contando le domeniche) e si pubblicano circa sessanta titoli al giorno, fra novità, nuove edizioni e ristampe. E’ un fenomeno, sì, paradossale, ma che non mi sento di criticare né ritengo vada arginato, perché in fin dei conti è il segno di una certa vivacità culturale. Le pagine della cultura dei giornali e delle riviste periodiche possono svolgere un’importante funzione di servizio al lettore, orientandolo in questa ‘marea di libri’”. Purché abbiano la possibilità di farlo: in questi ultimi anni stiamo infatti assistendo a una contrazione degli spazi dedicati ai libri. Per la forte influenza che ha il mezzo, un ruolo ancora più incisivo potrebbe e dovrebbe avere la televisione, soprattutto quella pubblica: ma qui, come sappiamo, lo spazio dedicato ai libri è assolutamente ridicolo. Senz’altro per ragioni di audience, ma forse anche per ciò che abbiamo detto prima. La politica preferisce che i cittadini si formino dinanzi al piccolo schermo, non davanti a un libro.

Il dibattito letterario sui quotidiani e sulle riviste langue. Mancano gli intellettuali, mancano figure autorevoli come Pasolini o Calvino, firme di valore, o semplicemente sono cambiati i tempi?
Credo che siano vere entrambe le affermazioni. Mancano, o scarseggiano, le figure e le firme di una volta, ma è pur vero che i tempi sono cambiati e che scrittori e intellettuali in grado di ‘provocare’, di stimolare a vedere le cose in un’ottica diversa, oggi troverebbero (e trovano, quelle poche che ancora esistono) scarsa accoglienza sui giornali, sulle riviste e sugli altri media. C’è una tendenza all’omologazione che ormai è dominante. Schiacciante.

Quanto la tv e le sue forme di spettacolarizzazione e di decostruzione dell’attenzione verso forme argomentative e scritte, hanno influenzato anche le pagine culturali dei quotidiani?
Vedo le pagine culturali dei giornali come cittadelle assediate: dalla spettacolarizzazione dell’informazione e dall’autolesionista sudditanza della carta stampata nei confronti del mezzo televisivo. E non posso non rendere onore a quei giornalisti che queste roccaforti difendono. A coloro che difendono la profondità e l’originalità dei contenuti dalla superficialità e dall’omologazione, la buona scrittura dal linguaggio sciatto e via dicendo. Certo, in questo assedio ogni tanto capita che qualche muro crolli e talora che qualcuna di queste ‘cittadelle’ sia costretta a capitolare. Quando ciò avviene, a dolercene non siamo soltanto noi, chi fa cultura nei giornali, ma sono anche e soprattutto i lettori. Il lettore delle pagine di cultura è assai attento, esigente, sa riconoscere i contenuti che gli vengono offerti.

Quali sono gli spazi secondo lei dove oggi, si fa letteratura?
Se ne fa molta sia on line, su Internet, sia su riviste come la vostra, che apprezzo particolarmente perché è fatta da giovani ed è rivolta a un pubblico di giovani.

Come giudica l’iniziativa di abbinare libri di narrativa e di poesia alla vendita dei giornali, come ha fatto “Il Messaggero” con i romanzi del Ottocento? Pensa che tali iniziative contribuiranno all’aumento dei lettori?
Sono favorevole a queste iniziative. Al di là dei benefici sulle vendite e sui ricavi dei quotidiani, esse contribuiscono ad avvicinare gli italiani alla lettura, fanno sì che molte famiglie si possano creare una selezionata biblioteca di base. Credo che ci guadagnino tutti: i lettori acquistano un libro a un prezzo contenuto, ben curato nell’edizione e nella traduzione; i giornali, come ho accennato, sostengono le vendite e aumentano i loro ricavi. E ci guadagna anche chi detiene i diritti e chi stampa il libro, che viene diffuso in centinaia di migliaia di copie. Inoltre, i dati dimostrano che questa formula non ha rappresentato per le case editrici l’apocalisse che temevano: le vendite in libreria sostanzialmente non sono state penalizzate. Secondo i dati dell’Associazione italiana editori, nel 2003 in abbinamento con i quotidiani e i periodici sono stati venduti 45-46 milioni di libri. Una cifra imponente, che rappresenta più o meno un terzo del mercato dei libri. Ecco, questo mi pare un segnale positivo, spero che nelle case in cui quei milioni di libri sono entrati qualcuno li prenda in mano e spenga la televisione per qualche ora alla settimana.

Quanto conta oggi secondo lei, la recensione di un libro sul Messaggero? E in generale, quanto contano le recensioni su quotidiani e settimanali per il successo di un libro?
A mio parere sono importanti per informare il lettore dell’uscita di un libro e per creare attenzione intorno ad esso. Poi conta molto il giudizio del lettore, che se è positivo dà vita a quello che viene comunemente definito il ‘tam tam del lettore’, un consiglio all’acquisto che si diffonde in modo progressivo e capillare e che può determinare il successo di un’opera. Per quanto riguarda ‘Il Messaggero’, il suo peso nell’influenzare le vendite di un libro è quello che gli deriva dall’essere uno dei più diffusi quotidiani italiani. Oltretutto, ‘Il Messaggero’ è leader indiscusso a Roma, città che è diventata un mercato importante per l’editoria: rappresenta infatti il 14,66 per cento delle vendite in libreria. Tallona a un’incollatura di distanza Milano, che rappresenta il 15,44 per cento del mercato nazionale.

Lei è stato per nove anni il redattore capo della Cultura del Messaggero. Che responsabilità avvertiva in questo ruolo? Sentiva anche una certa pressione da parte delle case editrici? E ancora, come si lavora sulla scelta degli autori da recensire?
Per tutto ciò che ho detto, avvertivo una forte responsabilità, soprattutto nei confronti di quello che ho sempre ritenuto il mio padrone: il lettore. Le case editrici, sì, fanno pressioni ma d’altronde è il loro mestiere, devono vendere ciò che producono. Tuttavia certe volte, questo va detto, per loro logiche editoriali trascurano alcuni autori meritevoli per promuovere con più forza altri che lo sono meno. Il lavoro di chi è responsabile della pagina della Cultura è quello di compiere una sorta di istruttoria sui libri in uscita e di darli poi in lettura ai critici. Dopo di che, sulla base della valutazione del critico, compiuta in assoluta autonomia, si decide come ‘trattare’ il libro: se recensirlo oppure no, se stroncarlo, che rilievo merita e via dicendo. E’ un lavoro faticoso, tenendo conto di quanti titoli vengono pubblicati ogni giorno, e anche un po’ oscuro. Ma stimolante per chi ha la concezione del giornalismo come di un servizio al lettore.


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