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Elif-Shafak-Tre-Figlie-Di-Eva.Pdf Peri ha trentacinque anni, tre figli, un marito e una vita agiata nella città dov’è nata, Istanbul. Si sta recando a una cena lussuosa quando le viene rubata la borsa. Lei reagisce, i ladri scappano e dalla borsa cade una vecchia polaroid in cui compaiono quattro volti: un uomo e tre giovani ragazze a Oxford. Una è Shirin, bellissima iraniana, atea e volitiva; la seconda è Mona, americana di origini egiziane, osservante, fondatrice di un gruppo di musulmane femministe e poi Peri, cresciuta osservando il laico secolarismo del padre e la devota religiosità islamica della madre, incapace di prendere posizione sia nella disputa famigliare sia nel suo stesso conflitto interiore. Tre ragazze, tre amiche con un retroterra musulmano, eppure così diverse: la Peccatrice, la Credente e la Dubbiosa. L’uomo nella foto invece è Azur, docente di filosofia ribelle e anticonformista, e sostenitore del dubbio come metodo di comprensione della realtà. A Oxford la giovane Peri cercava la sua «terza via», la stessa che predicava e professava Azur, di cui si innamora. Sarà questo incontro a sconvolgerle la vita, fino allo scandalo che la riporterà in Turchia. Tre figlie di Eva è un romanzo intenso e ambizioso che affronta e indaga temi importanti come la spiritualità, la politica, l’amicizia, i sogni infranti e la condizione della donna. Ma soprattutto è un romanzo sulla Turchia contemporanea, su quei contrasti che agitano oggi il paese – nelle parole di Elif Shafak – «delle potenzialità inespresse». ELIF SHAFAK è considerata una delle voci più importanti della narrativa turca. Nel catalogo BUR e Rizzoli sono disponibili La bastarda di Istanbul (2007), Il palazzo delle pulci (2008), Le quaranta porte (2009), Latte nero (2010), La casa dei quattro venti (2012) e La città ai confini del cielo (2014). Vive a Londra. la Scala Elif Shafak Tre figlie di Eva Traduzione di Daniele A. Gewurz e Isabella Zani Proprietà letteraria riservata © 2016 Elif Shafak The moral right of the author has been asserted © 2016 Rizzoli Libri SpA / Rizzoli, Milano eISBN 978-88-58-68641-6 Titolo originale dell’opera: Three Daughters of Eve Prima edizione: novembre 2016 Per le citazioni all’interno del libro: p. 7 © Rainer Maria Rilke, Poesie I (1895-1908), traduzione di Cesare Lievi, Biblioteca della Pléiade, Einaudi- Gallimard, Torino 1994; © Daniel Ladinsky, Love Poems from God, edited by Daniel Ladinsky, Penguin Compass, New York 2002; p. 219 © Lord Giorgio Byron, Opere complete. Volume Quinto: Componimenti vari, traduzione di Carlo Rusconi, UTET, Torino 1922; © Thomas Stearn Eliot, Opere 1904-1939, a cura di Roberto Sanesi, Bompiani, Milano 1992; p. 220 © Daniel Ladinsky, The Gift. Poems by Hafiz the Great Sufi Master, edited by Daniel Ladinsky, Penguin Compass, New York 1999; p. 233 © Edward FitzGerald, The Rubaiyat of Omar Khayyam, Routledge and Sons, Londra 1905. Realizzazione editoriale: NetPhilo, Milano The cover design was first used by Doğan Kitap in the Turkish edition. www.rizzoli.eu In copertina: Illustrazione © Jack Hughes at YCN Art Director: Francesca Leoneschi Graphic Designer: Luigi Altomare / theWorldofDOT Quest’opera è protetta dalla Legge sul diritto d’autore. È vietata ogni duplicazione, anche parziale, non autorizzata. Tre figlie di Eva Che farai, Dio, se muoio? Sono la tua brocca (e se mi spacco?). Sono la tua acqua (e se m’appesto?). Io sono la tua veste, il tuo strumento senza di me non hai alcun senso. Rainer Maria Rilke Verresti, se ti chiamassero col nome sbagliato? Io ho pianto, perché per anni Lui non è venuto fra le mie braccia; poi, una notte, mi hanno detto un segreto; forse il nome con cui chiami Dio non è veramente il Suo, ma solo uno pseudonimo. Attribuito a Rabi‘a, prima santa Sufi, secolo VIII, Iraq Prima parte La borsetta Istanbul, 2016 Fu in una normale giornata di primavera a Istanbul, un lungo e plumbeo pomeriggio come tanti altri, che Peri scoprì, con un senso di vuoto allo stomaco, di essere in grado di uccidere. Aveva sempre sospettato che persino le donne più tranquille e amabili, in una situazione di tensione, fossero capaci di scoppi di violenza; visto poi che lei non si riteneva né tranquilla né amabile, le era chiaro che le sue potenzialità di perdere il controllo erano ben maggiori. Ma «potenzialità» era una parola infida: una volta dicevano tutti che la Turchia aveva grandi potenzialità, e guarda com’era andata a finire. Perciò si era convinta che anche le sue oscure potenzialità, in definitiva, non avrebbero portato a nulla. Per fortuna il Fato – la tavoletta ben conservata su cui era inciso tutto ciò che è accaduto e che accadrà – le aveva quasi del tutto risparmiato le cattive azioni. Fino ad allora aveva condotto una vita corretta e non aveva fatto alcun male ai suoi simili, o almeno non di proposito, o almeno non di recente, a parte qualche occasionale pettegolezzo o calunnietta, che non dovrebbero contare veramente. Del resto lo fanno tutti, e se davvero fosse chissà quale peccato, allora le profondità dell’inferno sarebbero piene fino a traboccare. Se proprio aveva fatto soffrire qualcuno, questi era Dio, ma a Dio, per quanto sia facile a dispiacersi e notoriamente volubile, è impossibile far del male. Fare del male e farsi fare del male è una caratteristica umana. A quel che risultava ad amici e parenti, Nazperi Nalbantoğlu – o Peri, come la chiamavano tutti – era una persona buona: sosteneva enti caritatevoli, si impegnava per il morbo di Alzheimer e raccoglieva fondi per le famiglie bisognose; faceva volontariato negli ospizi, dove partecipava a tornei di backgammon perdendo a bella posta; girava con buste della spesa cariche di cibo per i numerosi gatti randagi di Istanbul e ogni tanto li faceva sterilizzare a proprie spese; era sempre aggiornata sui risultati scolastici dei figli; organizzava cene eleganti per il capo e i colleghi del marito; digiunava il primo e l’ultimo giorno del Ramadan, anche se tendeva a saltare quelli in mezzo; sacrificava per Id al-adha una pecora tinta con l’henné. Non buttava mai cartacce per terra, non passava avanti in fila al supermercato, non alzava mai la voce, neppure quando veniva trattata con palese scortesia. Una brava moglie, una brava madre, una brava massaia, una brava cittadina, una brava musulmana moderna, ecco cos’era. Il tempo è un abile sarto e aveva cucito insieme alla perfezione i due tessuti che rivestivano la sua vita: ciò che gli altri pensavano di Peri, e ciò che ne pensava lei. La sua percezione di sé e l’impressione che dava all’esterno formavano un tutt’uno, talmente collaudato che neppure Peri avrebbe più saputo dire quanta parte della giornata era definita da quel che ci si aspettava da lei e quanta da quello che lei veramente voleva. Spesso provava l’impulso di afferrare un secchio d’acqua saponata e lavare le strade, le piazze, il governo, il parlamento, la burocrazia e, già che c’era, sciacquare anche qualche bocca troppo sporca. C’era tanta sozzeria da ripulire, tanti pezzi rotti da aggiustare, tanti errori da correggere. Ogni mattina, quando usciva di casa, faceva un breve sospiro, come se con un fiato potesse far sparire i rimasugli del giorno prima; pur mettendo immancabilmente in discussione il mondo intero e non essendo certo il tipo che teneva la bocca chiusa di fronte alle ingiustizie, da qualche anno Peri aveva deciso di accontentarsi di quello che aveva. Perciò rimase sorpresa quando, in un giorno normalissimo di primavera, all’età di trentacinque anni, sistemata e rispettata, si ritrovò a fissare il vuoto che aveva nell’anima. Era stata tutta colpa del traffico, avrebbe detto a se stessa in seguito per rassicurarsi. Ruggente, rombante, metallo contro metallo a sferragliare come l’urlo di battaglia di un esercito di migliaia di guerrieri. La città era tutta un unico, gigantesco cantiere: Istanbul era cresciuta in maniera incontrollabile e continuava ad allargarsi, come un pesce rosso che non si rende conto di essersi ingozzato più di quanto possa digerire e continua ugualmente a cercare da mangiare. Ripensando a quel pomeriggio fatale, Peri avrebbe concluso che, non fosse stato per l’ingorgo senza speranza, mai si sarebbe messa in moto la catena di eventi che finì col risvegliare una parte della sua memoria ormai sopita da tempo. Eccoli lì, tutti ad avanzare un millimetro per volta su una strada a due corsie mezza ostruita da un camion ribaltato, intrappolati fra veicoli di tutte le dimensioni. Peri tamburellava le dita sul volante e cambiava stazione radio ogni due minuti, mentre la figlia, con le cuffiette nelle orecchie, le sedeva accanto con un’espressione annoiata. Come una bacchetta magica finita nelle mani sbagliate, il traffico trasformava i minuti in ore, gli esseri umani in bruti e qualsiasi traccia di salute mentale in pura pazzia. Istanbul sembrava non farci caso; di tempo, bruti e pazzi ne aveva in abbondanza. Un’ora più o una meno, un bruto in più o un pazzo in meno... superato un certo limite, che differenza fa? La follia correva per le strade della città come una droga inebriante nelle vene. Ogni giorno milioni di abitanti di Istanbul si facevano una nuova dose, senza rendersi conto di essere sempre più squilibrati. Persone che non avrebbero mai condiviso il proprio pane erano invece pronte a condividere la propria follia. C’è qualcosa di imperscrutabile in questa perdita collettiva della ragione: se un numero sufficiente di occhi osserva la stessa allucinazione, questa si trasforma in realtà; se un numero sufficiente di persone ride della stessa miseria, questa si trasforma in una barzelletta di cui sghignazzare tutti insieme. «Oh, insomma, piantala di tormentarti le unghie!» sbottò all’improvviso Peri. «Quante volte te lo devo dire?» Lentamente, lentissimamente, Deniz si tolse le cuffie e se le appese al collo.
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