L’elegia della città in salsa distopica: Brasilia di Franz Krauspenhaar

 

Brasilia, una  delle metropoli più vaste del mondo, vista dall’ alto somiglia ad un mega aeroplano. Questa originale morfologia reca il segno dell’ utopia modernista (e funzionalista) che Niemeyer e Costa, i grandi architetti che crearono la città, vollero imprimerle. Gli angoli e gli spigoli non esistono: solo forme sinuose, curve, morbidezze. Una visione figlia dell’umanesimo lecorbuseriano ha modellato di fatto, secondo una lettura a la Lefebvre, i tre livelli dell’organizzazione spaziale: lo spazio vissuto è quello che ci interessa maggiormente in questa disamina. Brasilia infatti è una città dove non la gente non brulica nelle strade, come accade di solito nelle metropoli del mondo.Gli spazi sono aperti, gli edifici sorretti da colonne.

A Brasilia si respira un sogno utopico: quello di condividere lo spazio senza inutili impedimenti. Creata per l’uomo, in realtà è una città costruita per le macchine. Gli uomini, in questo spazio irreale, si aggirano come  fantasmi. Un sogno infranto in uno scenario che evoca esso stesso il sogno.

©2010 Joana França

Questo perimetro urbano è il campo delle azioni e dei desideri dei personaggi del romanzo  di Franz Krauspenhaar, “Brasilia” (CASTELVECCHI 2018)  .Il titolo è un  elemento che lascia presupporre l’ambiente urbano  come scenario interiore delle vicende umane, secondo la nota omologia uomo/città, topos peraltro presente in  gran parte della letteratura moderna e postmoderna. Di fatto la struttura di ogni città quindi anche di  Brasilia, è visibile soltanto se vista dall’alto, quando ciò accade è un’esperienza di ampliamento  della conoscenza prima che estetica.

Quel desiderio di andare oltre che spinse Dalì a dipingere dall’alto Cristo, quasi a volere affermare “ io sono Dio, io sono il creatore”, è lo stesso che imprime il movimento al racconto di “Brasilia”. Non è un caso che al centro della vicenda vi sia il tentativo dicotomico di sostituirsi a Dio diventando Dio e  al contempo di ancorarsi alla fede, approcciata attraverso una conversione forzata, forse non del tutto autentica, incompleta e imperfetta ma sicuramente vissuta con un anelito spirituale. Senza anticipare, ecco come si presenta la città:

Brasilia ha gli edifici a forma di astronave, tra i pezzi grossi di pattume intorno, come se si stessero creando campi di calcinacci attorno a navi spaziali enormi , messe in mezzo a una città sbalorditiva. Come in  un film di fantascienza degli anni Sessanta, Brasilia è stata fatta come in uno stabilimento cinematografico: Truffaut, Kubrick, Fellini, Cronenberg,naturalmente Fritz Lang , avrebbero potuto farne qualcosa di cartapesta […] Tra i palazzi e le costruzioni a cupola, le bellissime cattedrali di Niemeyer puoi ascoltare la grandezza del cosmo.

Brasilia anticipa la città postmoderna sotto molti aspetti:  è costruita come se fosse un set cinematofgrafico, in cui il confine tra vero e falso non importa, non costruisce un discrimine etico, ontologico di rilievo. Una post verità di cemento in cui la doppiezza è intrinsecamente accettata e la favela sbircia il grande grattacielo, infima parte organica di un gigante organismo vivente.

Una sorta di città simulacro che fa l’occhiolino ad una certa letteratura che intreccia agevolmente la dimensione urbana con quella delle tortuosità esistenziali;  Krauspenhaar costruisce la sua storia scegliendo una via che a prima vista lascia disorientati, ma che alla fine rivela una coerenza interna e un senso preciso.

Ricalcando esattamente la struttura della città, edificata  in scale indipendenti, il plot  procede per campi giustapposti: il primo, più importante, la storia di Ernesto Erkens Moreira un giornalista italiano, e di suo padre. Questa è una vicenda che scandaglia in profondità le eredità di un’infanzia scomoda e ruvida,  in cui si vorrebbe consumare la freudiana uccisione del padre, ma che di fatto inciampa nella reiterazione di un amore incompleto e solo appena riscaldato dalla fervida assenza di una madre una”contessa siciliana”, morta in tragiche circostanze.

A questo nucleo se ne giustappone un altro: la doppia vita del padre che emigrato in Brasile, ha costruito di fatto una seconda esistenza, dedita alla realizzazione di in un progetto mefistofelico:”battere l a morte”, sperimentare un metodo per prolungare  la vita biologica  e proiettare l’umanità in una nuova età dell’oro. Membro di una confraternita segreta che  utilizza messaggi subliminali e metodi poco ortodossi per reclutare i protagonisti del nuovo mondo, quest’uomo si trova al centro di una rete di potere che  coinvolge i gangli più oscuri del potere, con i suoi personaggi ambigui e mutevoli.

A  ciò si aggiungono complotti, inseguimenti e rapimenti al cardiopalma, una storia erotica appena accennata, e questo padre ingombrante che dal centro della vicenda, si irradia sempre di più verso le periferie, fino a scomparire nel nulla, morendo come un antieroe epico sull’altare sacrificale della solitudine e del fallimento.

L’autore, Franz Krauspenhaar in una foto d’archivio

 

Il piano della narrazione urbana e quello esistenziale si intersecano ancora: come ogni metropoli  contemporanea Brasilia è una città doppia, dalla superficie cangiante, dalle profondità emergenti, da anfratti e sotterranei che nascondono piani perversi, sotterranei e sottosuoli dove prendono corpo le visioni di un uomo forse pazzo, forse lungimirante, profetico, ma in certi istanti fragile padre e  malato; alla fine addirittura in preda ad un delirio di onnipotenza, ad una crisi mistica.

Da queste regioni emergono tutte le contraddizioni che albergano in ogni sottosuolo; si ritrovano abbacinati  da quella luce satura della doppia Brasilia.

Uno scontro generazionale tra  padre e figlio che è anche uno scontro contro la fede e il razionalismo, tra desiderio prometeico di sostituirsi a dio l’accettazione di un presente senza dei e senza credenze, dove tutto è oltre la verità, perché la verità è  come “quel deserto […] che si scioglie nel calore d’insieme e diventa osso eterno, morte”. E poi Ernesto con la sua fede antica e semplice che gli permette di valicare l’accecamento della morte, quella vera, del corpo che scompare nel nulla, all’improvviso , e per sempre.

una volta , avrò avuto dieci anni, gli chiesi: “papà, la mamma è morta?”Lo vidi completamente perso  nella risposta che ormai doveva darmi . Ritrovai quello sguardo vuoto, incolmabile. Che incrociai nella favela di Sol Nascente, poco prima che lo perdessi di vista per sempre Era uno sguardo definitivo, come se rappresentasse il volo illimitato di un astronauta.

 

Figlio, in parte, della  formula del romanzo di formazione, Ernesto  ne esce un po’ inetto sveviano, un po’ figlio di kafka e di quella letteratura millteleuropea tanto  sensibile agli scarti affettivi; in realtà è un antieroe moderno, una sorta di personaggio dondelilliano che si avviluppa attorno alle sue paranoie cercando di saldare le sue sciarade mentali a quel tutto che lo circonda e che a tratti sembra reale, a tratti frutto di una mente malata, altrove un incubo da cui  ridestarsi.

La stessa formula della cospirazione, tipica del più tipico romanzo postmoderno, reiterata come una sorta di paranoia crescente  è strutturata ora come cornice ora come scheletro della narrazione. In Ernesto, il protagonista, si agitano fantasmi del passato, timori per la sua incolumità, per quella del padre, ansia di vivere, ansia di morire, ansia di amare. Il terrore, nel suo insieme pervade ogni gesto e azione in un circolo paranoide che a volte sfuma nel sogno e nell’allucinazione:

Era tutto nero avevo gli occhi aperti ma non dormivo. Stavo in una specie di passaggio, i rumori della notte scemavano lentamente.Non stavo più da nessuna parte, eppure ero cosciente. Non pensavo, però, non nella maniera normale. Non articolavo pensieri. Semmai, galleggiavo in  un lago di pensiero vibratile, senza senso.

Se questo romanzo fosse stato concepito nel diciannovesimo secolo molto probabilmente sarebbe stato un feuilleton; ha i tempi, e il ritmo del romanzo di appendice e della sua erede contemporanea, la serie tv. Ne eredita  formule temi, immagini, soluzioni e tempi narrativi. E con un tempismo perfetto, di quelli che inchioderebbe gli spettatori settimana per settimana, Krauspenhaar li volge al presente pescando copiosamente nell’enorme mare magnum della letteratura distopica di ambientazione urbana,  della sci-fi e delle serie tv di gran successo. Tra le immagini ricorrenti in assoluto, il ruolo dei media e della tv nell’addomesticamento delle coscienze,  le trite e ritrite culle che conservano i corpo degli esseri umani pronti a ricevere il siero della vita eterna, la donna del boss che rimane sempre sul crinale tra seduzione e inganno fatale.

La soluzione più appropriata per attutire questa sensazione di quadri che si inseguono in pause brevissime, che di primo acchito danno la sensazione di inceppare la macchina narrativa, è continuare la lettura come si continuererebbe a vedere la puntata di una serie tv, cioè con quella predisposizione a godere dell’attimo fulmineo della vicenda condensata, ritmata in un preciso crescendo e in climax che si arresta per iniziare nel successivo paragrafo. Come poter affrontare, del resto, una materia cosi’ sfuggente ad una rappresentazione com’è quella di una città contemporanea, una metropoli così caleidoscopica e teatrale, in cui, direbbe Virilio, prevale il senso di una virtualità diffusa, di un accadimento sempre  sospeso tra realtà e immaginazione, tra finzione e reale? Chi si imbatte nella rappresentazione  meandri urbani oggi  deve fare i conti con questa sorta di deambulazione alla cieca. Navigare senza bussola, orientarsi conoscendo l’arte del perdersi.

Alla fine del romanzo, la visione si  fa anche più perspicua: quel sapore di opacità che ne rende difficoltoso l’inizio, si scioglie in una sorta di monologo che  come in un cerchio magico, si ricongiunge con l’inizio. Si comprende allora, ed è lo stesso motivo per cui un romanzo come Against the Day di Pinchon è leggibile solo da una prospettiva riflessiva, a lungo termine, meditata, che Brasilia di Krauspenhaar sia un ricco florilegio di nuclei tematici (spesso dicotomici)  abilmente snocciolati in chiave lirica più che filosofica e cioè attraverso la carne, le lacrime, il sangue di Ernesto e del padre : la morte irrisolta della madre, la ribellione contro l’ordine naturale, la desertificazione del mondo esteriore, un cammino senza “telos”, lo spazio di redenzione, lo spazio asfittico senza dio, quello della città reale e quello distopico della realtà immaginaria.

A segnare il confine di questi due mondi , quello urbano e quello interiore e  a precipitare nelle ultime pagine del romanzo è una zona grigia una sorta di wilderness psichica, il cerrado, dove Ernesto riflette, rimugina, organizza i resti di una vita deflagrata:

Quella notte mi svegliai e mi riaddormentai parecchie volte, e ovviamente quando salì il sole mi serntivo più syanco di prima. Sembrvo vivo, se mi pizzicavo sentivo dolore, ma della fauna  delcerrado nessuna traccia. Nemmeno a mattina inoltrata, quando trovai una foresta fitta,trovai nulla,e non sentii alcun rumore. Era tutto fermo, cristallizzato, il cielo mancava di nuvole, nell’aria nessun accenno di vento, solo caldo soffocante e il mio sudore. Qualche corso d’acqua, ma nessuna traccia di vera vita, se così si può dire. Tutto questo mi ossessionava, ero ormai convinto di essere morto, ma per esserne certo senza dubbio mi buttai a terra, in ginocchio, e mi misi a urlare, piangendo. Ero finito, lo sapevo. E volevo sconfiggere la natura morire due volte, come una dentro l’altra, e alla morte che era giunta da sé alla natura, volevo aggiungere il mio suicidio,sperando  che il secondo spegnesse in qualche modo la prima, e mettesse una pietra definitiva sopra tutta la mia storia, ch efermasse tutto quel dolore.

Le ultime  pagine, che a mio avviso sono le più riuscite, sono di una vivida intensità. Una sorta di elegia  cantata in solitudine, un tuffo nel realismo di una Milano umbratile, intrisa di ricordi e di fantasmi del passato. Tutto si consuma nelle pareti di un appartamento, dove la madre viene evocata  in un ultimo esiziale rituale. La vita eterna, si capisce, è tutta in quella perenne dimenticanza del dolore che sempre si rinnova. Il resto è futile chimera.

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