Luca Ricci- I difetti fondamentali-

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Leggere “ I difetti fondamentali” (Rizzoli 2017) di Luca Ricci è un’esperienza voyeuristica, letterariamente parlando. Entri dalla porta del retro, guardi i resti di una notte ubriaca, osservi di soppiatto e chiaramente dal buco della serratura il bagno appena usato e poi ti fiondi nel luogo sovrano dell’intimità, la cesta degli abiti sporchi, dove tutto è intriso di umori, odori, macchie, che a nessuno vorremmo mai mostrare.  La casa in questione è principalmente quella degli scrittori, o dello scrittore per meglio circoscrivere una tipologia.

Uno sguardo dal basso, istintuale e carnevalesco ci intrattiene in questi quadri di personalità, racchiusi dentro la cornice dei difetti fondamentali, cioè tic, manie ossessioni  e retrobottega delle ingegnose menti poetiche degli scrittori e di chi lavora a vario titolo all’interno del mondo editoriale: editori, agenti, librai, critici, bibliofili, correttori di bozze. E dallo sgabuzzino della torre d’avorio si accede in tutte le stanze nascoste, in letti disfatti di matrimoni insensati, in camere che evocano ricordi sgradevoli, (L’affittacamere) ; ci si imbatte nell’uomo alle prese con le miserie del suo passato, barricato in casa, che non vuole cedere alle blandizie del realismo (Il solitario)  o in scene da Trimalchione che invece sono soltanto la cerimonia di premiazione del prestigioso premio letterario, dove trucco e parrucco valgono più della quarte di copertina e i retro pensieri sono  più perversi di qualsiasi plot narrativo. (Lo stregato).

Tolti gli abiti dell’atto creativo, cosa rimane in definitiva della scrittura se non privarsi dell’intimo della retorica e presentarsi nuda e cruda agli occhi del lettore, come narrazione edulcorata di due elementi fondamentali? L’amore, nelle sue sfaccettature molteplici, e la morte, due poli in costante dialogo, spesso travestiti l’uno dell’altro.  La vita, in fondo, è ciò che accade mentre si sta scrivendo, lo scrittore è colui il quale si arrabatta per trovare la scintilla dentro l’ovvietà.

Ne vengono fuori dei ritratti tipologici che hanno come protagonista chi vede nella scrittura il suo completamento erotico/metafisico, raggiungimento di quella meta che dovrebbe finalmente consegnarlo alla memoria dei posteri. Peccato che ciò non accada quasi mai, come nel  caso del sempiterno aspirante scrittore che tortura l’editore con la sua questua petulante (Il rifiutato), amara vicenda di un uomo alle prese con le scadenze della vita e quelle imposte da  un editore cinico ma non del tutto.  O ancora nel racconto/metafora sull’arte dello scrivere – e sulle nevrosi inevitabili del creativo, – una sorta di petting eccitatorio che non trova mai esito nel risultato definitivo ( L’eccitato):

L’eccitazione si acutizza nelle difficoltà, cerca un impedimento qualsiasi per ritardare l’attimo in cui si trasformerà suo malgrado in piacere. L’eccitazione non vuole iniziare, si pasce nelle premesse, e trova volgare tutto quanto abbia un seguito, una realizzazione fisica piena. Preferisce crogiolarsi nell’idea”

Credo che il quid distintivo di ogni racconto sia  proprio quella concentrazione “retorica” di cui è composto che, a differenza del romanzo, non può disperdersi nei tropi e nelle dinamiche delle dilatazioni o restrizioni temporali, ma diventa l’essenza stessa del ductus narrativo; è lo stesso personaggio chiave ad essere uno strumento, a dettare il ritmo e le metafore, il senso e il suo dispiegamento. Le briciole di senso, quelli che in una lunga narrazione sarebbero gli scarti, insomma fanno la pagnotta e non viceversa. Così nel primo racconto ad esempio, il rothiano, il personaggio a cui è dedicato il racconto, tipico professore viveur che vive di glorie accademiche e conquiste erotiche, si scontra con la sua essenza tipologica cioè la menzogna che è la cifra di ogni rothiano che non sia Roth in persona; una macchietta, in definitiva, che viene svelato da un suo epigono mal riuscito, uno studente che tenta l’emulazione ma che è già una cellula impazzita del sistema perché ne ha capito i meccanismi interni:

Dicevo solenne: “Lo straniero di Camus è un libro nichilista, eccetto che per l’ultima frase, quella in cui il protagonista si apre alla dolce indifferenza del mondo”. Ma a quella ipotesi non seguiva alcuna presa di posizione o disamina supplementare. […] Quel silenzio cadeva solo su di me . Perché invece tra loro continuavano a parlare, a dibattere, ad animarsi. Le dinamiche della Cricca erano rimaste le stesse di prima, tranne che per un unico dettaglio: io non ne facevo  più parte.

D’altro canto c’è lo scrittore “morto” immerso ormai nella tanatosfera di glorie passate, o di sperati ricongiungimenti con il fulgido mondo editoriale, o nella volontà di volersi rivalere sulla giovane scrittrice inesperta, donna magari migliore di lui ma non abbastanza educata a credere in se stessa, come nel racconto del “pigmalione” Giorgio Gamba e di Olga Merlin, unica donna scrittrice nel libro, tragicamente destinata a foraggiare i piccioni dopo una vita passata ad inseguire un sogno fallace ad adorare lui “il critico letterario” un po’ macho un po’ maniaco, ma, in definitiva, insicuro. (La canonizzata):

Era una di quelle donne sole che danno da mangiare ai piccioni del parco, talmente abbrutita da risultare più vecchia della sua età, e comunque sempre sciatta, in disordine […] Tirava in aria le molliche come fossero coriandoli tristi, anche per ore anche per giorni. […] Difficile riconoscerla adesso, ma quella era Olga Merlin, la scrittrice. Per un certo lasso di tempo il suo nome aveva riempito le terze pagine dei quotidiani e scandito, come si suol dire, l’agenda mondana della cultura italiana.

 

Se potessimo utilizzare i racconti di Ricci come pezzi di puzzle potremmo sicuramente ricreare una sorta di scrittore/leviatano, un ritratto fatto di tutte le piccolezze e “coglionerie” (come più volte ribadito dall’autore) della vita quotidiana di chi crea mondi altri perché questo in fondo non gli è bastevole. E cosa c’è di più veritiero di un ritratto morale che contempli soprattutto i difetti anziché le trite virtù?: solitario, velleitario, invidioso folle, adultero.

Vizi morali ma anche letterari s’intende, perché il sarcasmo si snocciola anche su quella catena di montaggio  a cui ogni scrittore che possa definirsi tale deve necessariamente adattarsi: l’editore da inseguire, da corteggiare, il rutilante premio letterario, il libro da promuovere,  la gogna dei critici, e poi o la polvere o l’altare. Paesaggio, ritmo e sarcasmo impietoso nel ritratto dei tipi umani sono le caratteristiche peculiari: splendidi scorci romani incorniciano le vite affannate di chi vuole emergere e acquisire il patentino di operatore dell’editoria e nessuno, in questa scalata viene risparmiato dall’avidità, dalla meschinità, e dal narcisismo, principe dei difetti.

Ad un certo punto pare che vi si stia materializzando davanti: “il classico intellettuale engagé tutto pizzetto, pipa e servilismo nei confronti dei suoi totem culturali e protettori politici” ed è il punto di non ritorno, in cui capisci che sei ormai dentro al meccanismo malato anche tu che sei lettore e consumatore (più o meno consapevole) dei “prodotti” -leggi libri- propinati.

Stilisticamente, Ricci restituisce la sensazione dello “scrittore della porta accanto”,  tra i pochi che possa osare iuncturae ardite senza battere ciglio. (Lui, noi che leggiamo ne battiamo anche due),come una citazione colta associata ad un’immagine kitsch, o aperture liriche immediatamente arrestate sulle miserevoli scene delle debolezze dei sensi (prevalentemente erotiche) che costellano le vite di ogni personaggio.

Uno stile “piano” per usare un termine ormai in disuso, puntellato e ricercatezze che non esondano lasciando spazio alla storia di dipanarsi, e lasciando respirare noi lettori abituati alle piroette sintattiche degli sperimentatori o alle asciuttezze alla Carver fin troppo abusate (per rimanere in tema racconto).

Sul racconto che tanto si è detto e di cui Ricci in prima persona si è occupato anche da un punto divisa critico e metodologico, non aggiungo altro, se non che esso richiede, nella struttura, tanta perizia e studio.  Niente sbavature, orpelli o calembour. E in questo Ricci è un auriga che tiene a bada il senso globale, il messaggio, lo stile, il personaggio, facendone quell’entità monade che è un racconto comme il faut. In questo libro è presente anche questo tipo di riflessione, di racconto del racconto se vogliamo, che lo rende piacevolmente eccentrico rispetto alle consuete situazioni narrative.

Alla fine è lo “scrittore” di Ricci, senza la maschera, perché scrittore o lo sei o non lo sei. E se lo sei, sarai pieno di difetti e magari dormirai in quel letto bianco senza lenzuola e senza idee, quel letto di Virginia Woolf  ritratta da  Annie Leibovitz, dove a volte è necessario dormire.

 

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