Questa è la storia travolgente di un giovane che sia aggira affamato per le strade di Christania. È un giornalista, aspirante scrittore, in perenne ricerca di una stabilità economica, o, meglio, del necessario per vivere. La sua spina nel fianco è la fame, una fame nera, crudele che gli infiamma lo stomaco e lo costringe a vagabondare come un matto alla ricerca di espedienti per racimolare qualche corona. Perennemente digiuno, soffre di allucinazioni, stati febbrili, o si perde in fantasie corroboranti come quelle della sua amata Ylajali,,una principessa di un regno opulento e misterioso che lo coccola e lo trascina nel benessere.
Tutto questo accade mentre girovaga tra le strade di questa città fredda, anzi gelata, che gli offre riparo per le sue notti improvvisate, per i suoi risvegli su giacigli di fortuna, sempre affamato come un cane rabbioso. Sognando cibi mai gustati e contratti editoriali mai firmati, questo giovane scrittore tocca il fondo dell’abiezione e dell’autoumiliazione, impegnando tutto ciò che possiede, persino il panciotto e i bottoni della giacca, in cambio di qualche boccone. Ma il destino sembra remargli costantemente contro: i suoi articoli vengono rifiutati, nessuno è disposto a prestargli un soldo, la fame lo attanaglia fino a farlo quasi morire. Di strada in strada, di vicolo in vicolo, di gente in gente, la vicenda di questo giovane dai nomi inventati si accavalla in un crescendo di situazioni paradossali e avvilenti. Fino a quando, in un tragico frangente, si ritrova in un angolo buio della città a rosicchiare come un animale un osso avvolto da brandelli di carne, dono di un macellaio.
La salvezza, apparente, gli viene da una ragazza che lo accoglie con cuna curiosità mista a paura, in casa. Lui confessa, le dice della sua fame, delle sue cicatrici dell’anima. Ma questo idillio svanisce nei vapori della sue fantasie da affamato cronico. Le ultime fatiche letterarie non gli danno la fama sperata. E’ ormai solo questione di attendere l’ennesima disgrazia, il gioco sinistro del destino, forse quello esiziale. Ma è il mare gelato del Nord a dargli, forse, l’ultima occasione della vita. Un barcone russo, si trova ormeggiato nel porto, sembra quasi attenderlo. Chiede asilo, si offre come mozzo, tuttofare e parte per una nuova avventura. Il tempo di sognare la nuova vita e già le luci di Christania sono lontane.
Personaggio inquieto e meravigliosamente tratteggiato da Hamsun in questo romanzo, lo scrittore di Christania è figlio di tutti quei camminatori che a vario titolo animarono la vita della nascente moderna metropoli tra la fine dell’Ottocento e l’inizio del Novecento. Ma la distanza tra questi e “l’uomo della folla”, di Poe o il flâneur per eccellenza,quello di Baudelaire, è notevole. Distante anche dall’analisi di Benjamin, e dalla fantasmagoria della città mercificata. L’uomo di Christania è davvero singolare. La sua essenza appartiene a tutt’altra latitudine rispetto a quella della tradizione cui, bene o male, appartiene. È nordico nell’anima, nell’aspetto, nelle movenze. E per questo puo’ lambire lo spessore del folle camminatore della strade pietroburghesi, cioè il Raskol’nikov di Delitto e Castigo.
Parecchie le analogie: il travaglio interiore, gli stati febbrili, la spasmodica voglia di emergere in società, la ristrettezza economica, il rapporto viscerale con la città. Ma li separa la coscienza, o meglio il salto di coscienza che il personaggio dostevskiano attua in nome di un titanismo rovinoso che gli fa rinnegare il mondo e compiere l’atto delittuoso.
Il giovane norvegese rimane invece ancorato ad una morale cristallina, quasi kantiana del “dover essere”. Il senso di colpa lo attanaglia insieme a quello della fame, compagna perenne delle sue avventure, ogni qual volta sente di non avere meritato una ricompensa gratuita dalla vita. Se riceve una corona in elemosina, un prestito inaspettato, è il dramma: non può averli, sono il simbolo della sua abiezione. Ma il ritratto della fame è quanto di più crudo possa essere stato scritto sull’argomento:
Avevo una fame atroce. Avevo tanta fame che non sapevo dove battere la testa. Mi torcevo sulla panchina e premevo le ginocchia contro il petto. Quando fu buio mi trascinai fino al Municipio. Dio solo sa come vi potei giungere. Là sedetti su una ringhiera della scalinata. Mi strappai una tasca dalla giacca , me la ficcai in bocca e mi misi a masticare, ma senza pensarci, aggrottando la fronte: i miei occhi guardavano nel vuoto senza vedere. Intorno c’erano alcuni ragazzi che giocavano. Li udivo come attraverso una nebbia, e cosi udivo i passanti. Ma non pensavo a nulla, non vedevo nulla, non udivo nulla.
È la fame la cifra di questo personaggio. Un flâneur, sì, ma affamato, perdente, un tipo sociale che emerge dalla folla non per isolarsi e osservare, ma che è costretto a girovagare per dare sfogo ai deliri del digiuno. La fame e il cibo, poco presente se non in quei pochi momenti di fortuna, sono i poli dialettici di un esistenza che a stento riesce ad imporsi nella realtà urbana in continua trasformazione, primo stadio di quella solitudine esistenziale che caratterizzerà i personaggi del primo Novecento, dispersi nella massa brulicante o chiusi nella loro torre d’avorio. E la stessa città di Chrsitania cos’altro è, con i suoi rapaci speculatori, le affittuarie in nero, i carretti della roba pignorata agli insolventi, se non la tipica città già segnata dalle contraddizioni di un capitalismo in ascesa?
Ma il giovane resiste e contrasta. La forza di questo personaggio è la sua umanità comune, il suo dramma di rimanere un anonimo scribacchino con le suole delle scarpe scollate e in bocca un truciolo di legno per non sentire i morsi della fame. Un’ umanità della porta accanto, vicina a qualsiasi affamato della terra in una grande città, con gli amici che gli voltano le spalle e il datore di lavoro che non vuole più assumerlo. E se il “grande” Raskol’nikov ha ucciso una povera usuraia, lui rimane dentro di sé, nelle sue follie mentali, con i suoi funambolismi, ossessioni, pur di non commettere un atto che lo allontani dalla sua umanità semplice. Il suo castigo interiore è quello di tutti i poveri cristi del mondo che hanno la dignità di non rubare, di non svendersi e non macchiarsi pur di sopravvivere. Non abdicare al gesto animale, alla furia degli istinti, a costo di auto fustigarsi:
la coscienza di essere una persona onesta mi montava la testa e mi dava una sensazione beata: la sensazione di essere un uomo di carattere, un faro bianco e luminoso in mezzo a una marea spregevole di relitti umani.
Con una prosa velocissima e una capacità di far camminare il suo personaggio insieme alle sue parole, il libro di Knut Hamsun, che usci’ nel 1890, è forse il romanzo più originale sul crinale tra i due secoli. Un classico vero e cioè, “moderno”.
Lo consiglio a chiunque voglia essere messo alla prova da un pugno nello stomaco costretto a condividere attimi di lotta per la fame, per il successo, e in definitiva per la vita.
Knut Hamsun- Fame- trad. italiana di Ervino pocar – 1974 Adelphi edizioni-
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Non conoscevo l’autore di questo romanzo, avvincente quanto tragico. La fame di cibo può rappresentare il bisogno di riempire la propria anima di amore per dare un senso alla vita, quella vita che il protagonista del romanzo esperisce nella più profonda solitudine e sofferenza, fisica e psicologica. Il suo imperativo categorico, quasi kantiano, è quello di un dovere morale dettato non dalla ragione ma dalla sensibilità di non fare oltraggio al prossimo rubando. Un dovere morale che, calato nei modi di vivere odierni, diventa prepotentemente anacronistico.
Esattamente! E per questo é un personaggio solo, eccentrico. Ma a volte il prezzo della morale é la solitudine. O la fame, in questo caso.