«Per favore, mi lasci nell'ombra»

by Carlo Emilio Gadda, Claudio Vela (Editor)

Ossequioso e collerico, diviso fra paranoica timidezza e incontenibili furori, in queste interviste, per la prima volta raccolte in volume, Gadda parla di sé, delle sue opere perennemente a telaio, del suo lavoro di scrittore e del metodo che lo governa, del successo, di questioni linguistiche e stilistiche, della nostra tradizione letteraria. Irresistibile, in particolare, la galleria di autori prediletti (Manzoni, Parini) o aborriti (in sommo grado Foscolo, il più grande «strafalcionista del lirismo italiano ottocentesco», ma l’irrisione feroce non risparmia Carducci, Pascoli, D’Annunzio) delineata nel corso degli incontri con Alberto Arbasino. Ma soprattutto, in ogni occasione, Gadda si difende da tutto e da tutti: dall’imbecillità dei critici che si basano sulle «vigenti disposizioni di legge» e sulle «idee fisse», dall’odiata accusa di barocchismo e stravaganza, dai gusti e dai vizi nazionali imperanti. Come quando, a proposito del neorealismo, osserva: «Il fatto in sé, l’oggetto in sé, non è che il morto corpo della realtà, il residuo fecale della storia...». Sempre, in ogni sia pur minima battuta di questo scrittore che si dichiarava «inetto a cicalare con brio», il lettore saprà riconoscere e gustare la fosforeggiante genialità del grande macaronico e l’«accensione di intentata novità»del suo linguaggio.

291 pages, Paperback

First published January 1, 1993

About the author

Carlo Emilio Gadda was an Italian writer and poet. He belongs to the tradition of the language innovators, writers that played with the somewhat stiff standard pre-war Italian language, and added elements of dialects, technical jargon and wordplay.
Gadda was a practising engineer from Milan, and he both loved and hated his job. Critics have compared him to other writers with a scientific background, such as Primo Levi, Robert Musil and Thomas Pynchon--a similar spirit of exactitude pervades some of Gadda's books.
Carlo Emilio Gadda was born in Milan in 1893, and he was always intensely Milanese, although late in his life Florence and Rome also became an influence. Gadda's nickname is Il gran Lombardo, The Great Lombard: a reference to the famous lines 70-3 of Paradiso XVII, which predict the protection Dante would receive from Bartolomeo II della Scala of Verona during his exile from Florence: "Lo primo tuo refugio e 'l primo ostello / sarà la cortesia del gran Lombardo/ che 'n su la scala porta il santo uccello" ("Your first refuge and inn shall be the courtesy of the great Lombard, who bears on the ladder the sacred bird").
Gadda's father died in 1909, leaving the family in reduced economic conditions; Gadda's mother, however, never tried to adopt a cheaper style of life. The paternal business ineptitude and the maternal obsession for keeping "face" and appearances turn up strongly in La cognizione del dolore.
He studied in Milan, and while studying at the Politecnico di Milano (a university specialized in engineering and architecture), he volunteered for World War I. During the war he was a lieutenant of the Alpini corps, and led a machine-gun team. He was taken prisoner with his squad during the battle of Caporetto in Octorber 1917; his brother was killed in a plane--and this tragic event death features prominently in La cognizione del dolore. Gadda, who was a fervent nationalist at that time, was deeply humiliated by the months he had to spend in a German POW camp.
After the war, in 1920, Gadda finally graduated. He practiced as an engineer until 1935, spending three of these years in Argentina. The country at that time was experiencing a booming economy, and Gadda used the experience for the fictional South American-cum-Brianza setting of La Cognizione del Dolore. After that, in the 1940s, he dedicated himself to literature. These were the years of fascism, that found him a grumbling and embittered pessimist. With age, his bitterness and misanthropy somewhat intensified--one of his less amiable traits was misery.
There is some debate amongst scholars as regards Gadda's sexual orientation. Certainly, his work demonstrates a strongly subversive attitude towards bourgeois values, expressed above all by a discordant use of language interspersed with dialect, academic and technical jargon and dirty talk. This is particularly interesting as the criticism of the bourgoise life comes, as it were, from the inside, with the former engineer cutting a respectable figure in genteel poverty.

Reviews

[Maurizio Manco]

"Il lavoro, bello o brutto che sia, non è l'approssimazione maggiore o minore a un preesistente paradigma: salvo che per i pappagalli, o gli epigoni, i seguaci di bottega: è invenzione e costruzione, se pur lenta, sgraziata, infelice, che bisogna strapparsi dall'anima." (p. 55)

"Noi non scegliamo mai i nostri padri e raramente i maestri. Dove il destino ci ha deposto, nello spazio e nel tempo e nel costume, ivi cominciamo a vagire..." (p. 99)

"Sono un uomo solo, che combatte ogni giorno una battaglia disperata con le parole." (p. 201)