Cristina Caloni- La mia stagione è il buio-

Il romanzo di esordio di Cristina Caloni La mia stagione è il buio, (Castelvecchi 2017) è una creatura eccentrica e a me piacciono le creature così fatte. Sfugge a definizioni di genere, sebbene di primo acchito la fisionomia più calzante sia quella del romanzo del doppio, doppelgänger. Tuttavia gli eccentrici rifuggono dalle categorie, si sa. E in questo romanzo si affastellano influenze e ispirazioni che attingono da più di un genere letterario.

Se dovessi immaginare uno scenario cromatico per esprimere compiutamente l’atmosfera generale, questo sarebbe la penombra che di fatto non è un colore, ma uno stato di luce impastata con il nero. Del resto, il buio totale non è  visibile,  è solo  sottrazione di luce, e i pittori hanno sempre aggiunto qualche nota d’oro per rendere il buio visibile.

Allo stesso modo il buio di Caloni è uno stato psichico, che si conosce perché ricreato artificialmente attraverso parole, suggestioni musicali, frammenti di film, visioni efferate, lascive, tormenti interiori.

 

Un’altra atmosfera, trasversale ma non secondaria, ricorda la sensualità morbosa dei preraffaelliti, con quel sottofondo acre di gigli putrescenti, quei visi angelici e inquietanti come quello del protagonista Giuliano, Julian Tartari musicista dal passato glorioso, crooner jazzista frequentatore assiduo di un locale di nome Margot, in cui  all’insegna della triade sesso droga e musica trascorre i migliori anni della sua vita.

L’esordio  è smaccatamente pirandelliano:  si parte dall’epitaffo in morte di Julien raccontato da Julien stesso:

Ed eccomi, al mio funerale , del resto ero l’homme qui amait les femmes. Piangevano, mi osservavano, mi adoravano, la mia bellezza si era congelaya in un ghiaccio che sembrava prendere in giro tutti quanti.

Come Adriano Meis nel romanzo pirandelliano, così Julian Tartari si costruisce un’identità alternativa, inzialmente avvinghiato a Massimo, alter ego, doppio, sua proiezione immaginaria.

Quando la presenza di  Massimo inizia a diluirsi, a farsi flebile voce sullo sfondo alla scena,  la personalità di Julian  ingigantisce fino a fagocitare la storia. La doppiezza della personalità di Julian/Massimo si tinge di antiche rivalità, emulazioni, condivisioni di abiti, abitudini e persino lo stesso tatuaggio sul petto. «Non c’erano più confini tra noi, la mia pelle era la sua».  Massimo si appiattisce in Julian in un crescendo di azioni che Caloni riesce a tenere bene con uno stile molto ben calibrato, con la giusta modulazione di riflessioni monologiche (la voce narrante di Julian) e rapidi cambi di prospettiva, nelle parole di chi ha vissuto e vive ancora sotto varie forme, accanto a lui.

Questo romanzo non è solo la storia di un artista tormentato dal suo doppio vivente, dal suo sosia, e dei suoi  spettri oggettivati. Julian è un personaggio molto più complesso e sfaccettato. Cresciuto sullo sfondo di una Novara anni 80/90, incarna  uno spirito ibrido, tra dandy di provincia  e anarchico metropolitano.

La sua  storia viene scandita  in piani temporali diversi che ne focalizzano gli aspetti della personalità. Inizialmente Il dandy lascia spazio all’arguto intrattenitore, all’amatore selvaggio, al pianista jazz dal talento smisurato. Ci si aspetta una parabola decadente, un’uscita di scena  come quella dei rockers del “club 27”  da Hendrix fino a Cobain e Buckley. Ma la morte sembra danzare insieme a Julian Tartari, disegnando volute di piacere e di stordimento.  Ora angelo decaduto, ora personaggio umbratile e dark, anche nell’aspetto,  macabro e sensualissimo:

Ho sempre avuto un’ossessione per le rosse anche se hanno un odore acre nell’intimo, difficile da sopportare, come un vaso di fiori marci al cimitero, un odore dolciastro e nauseabondo di gigli putrefatti, e non sono solo il solo a pensarlo. Infatti in quel libro di Suskind l’essenza della rossa era l’ultimo ingrediente del profumo, la nota di testa, di apertura.

Nel secondo scatto temporale Julian diviene un assassino. Uccide per fare del bene, per togliere la noia a vite moribonde, un demone lucifero che accompagna nel regno dei morti per donare la seconda vita, per illuminare esistenze spente e appassite. Uccide con dovizia, con passione quasi, con empatia. Un serial killer della dolce morte.

La sorpresa di chi sia veramente Julien Tartari che non  svelerò per non sottrare piacere alla lettura, è da gustare come la ciliegina assieme al cognac, lo zucchero da suggere dopo l’assenzio.

Dirò cosa è per me Julian e per quali peculiarità diviene ai miei occhi interessante e singolare. Prima di ogni cosa e sopra ogni cosa  per me Julian è un trickster un classico archetipo che Caloni rielabora con orginalità  mutuando caratteri e temi dal romanzo psicologico, dal thriller, dal giallo.

Il  trickster, personaggio del folklore viene identificato con  il ladro, folle, briccone, che sfida le convenzioni sociali e che si pone ai margini dell’accettabilità e della norma precostituita

Del trickster Julian Tartari  ha  sopratutto l’imperturbabilità e la permanenza nel dissidio e nella trasgressione

Oltre a ciò, il trickster è un essere liminare.  Ha anche la capacità di abitare i due mondi:  il buio e la luce e di ricreare un ordine diverso, in cui le convenzioni svelano la loro natura ingannatrice e perdono il loro potere coercitivo.

Julian ha questo potere, svela gli sguardi del mondo di fonte al diverso, all’alterità assoluta.Come tutti i pazzi, gli outsider, gli esuli dalla vita, Julian intrattiene un discorso di infrazione e disvelamento con il mondo esterno.

Svela le fragilità di un impianto razionale, di un mondo che si regge su costrutti di bellezza e cultura, questi, citati dall’autrice, coltissima e precisa nei riferimenti  letterari, cinematografici e musicali disseminati ad arte nel romanzo come tessere di un mosaico che si va digregando sotto la pressione ineludibile del buio.

Un romanzo che assorbe al suo centro tutti  fagocitando -forse eccessivamente-  i personaggi comprimari che a stento reggono la potenza eversiva. Non tutti ne escono pienamente lucidi. Forse avremmo voluto vedere il cambiamento, la vera verità dell’Altro,  ma sarebbe stata tutta un’altra storia.

Resta il talento di una scrittrice che racconta il buio con la penna illuninata. Da tenere d’occhio.

 

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