L’Herbaria, di Elena Vannimartini, Kubera Edizioni

Alla sua prima esperienza di pubblicazione di un libro di prosa narrativa, edito da Kubera Edizioni in questo inizio di 2019, Elena Vannimartini è autrice de L’Herbaria. Diciamo subito che è un lavoro semi-narrativo, collocandosi esso in uno spazio intermedio, vale a dire fra rivisitazione finzionale di un evento di fitoterapia naturale e fedele resoconto del medesimo.

In una dimensione fortemente alternativa rispetto alla cultura dominante – verde, come l’ambita magia stregonesca dell’autrice, nonché protagonista – densa di pur vaghe evocazioni di figlia dei fiori neosessantottina del nuovo millennio, con legittime velleità culturali di collocarsi fra mitologia e antropologia, tra sapori di pozioni, infusi e decotti alla Merlino e alla Morgana, all’interno di una pretesa linearità volutamente didascalico-pedagogica, l’autrice esplica e raccoglie una serie di appunti sul campo di latente impronta, appunto, antropologica. Ma se, mentre si scorrono le pagine successive a quelle dialogiche iniziali, echi del castanediano A scuola dallo stregone lambiscono la mente del lettore, non si possono neanche escludere reminiscenze del monicelliano Speriamo che sia femmina, specie nelle parti relative all’evento vero e proprio. L’incontro con la Maestra Erborista e con la piccola comunità femminile che fa da pubblico e coro, suggellerà e fregerà infine Elena della qualifica, come recita il titolo del libro, di Herbaria, vale a dire di medichessa delle erbe e delle loro proprietà cosmetico-salutari. In questo modo prende piede, si consolida e viene simpaticamente resocontata un’esperienza tutta al femminile. Corollario sono le ricette e l’utile glossario finale.

Intrisa di una certo non nuova ma comunque speranzosa utopia della contemporaneità, L’Herbaria è un sogno lungo un giorno, a cui si augurerebbe di cuore di avere ulteriori e fecondi seguiti; ma è comunque una collocazione temporanea che rivela velleità mai sopite da parte di un’indole caparbia, che non si placa, ammirevole per la propria testardaggine e per il suo amore per la natura: gli animali, i cani, l’aia, l’orto… Ma il lettore volenteroso può leggerci anche un ininterrotto sogno trans-generazionale e di genere che si perpetua nel tempo: una gaia carezza – sorridente e solare – che si distende sulla coscienza, abbracciandola come in una nuova Sweet Water di leoniana memoria – racconto filmico che consacrava appunto i cambiamenti epocali a cavallo del ’68 – ai confini di una frontiera esistenziale che, anche in questo nostro tempo, è sempre di là dall’essere superata e risolta.

[Fabio Sommella, 20 marzo 2019]

Attribuzione – Non commerciale – Non opere derivate 2.5 Italia (CC BY-NC-ND 2.5 IT)

 

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