Duelli, incantesimi e strategie di libertà in La rosa de plata di Soledad Puértolas

Duels, Magic Spells and Strategies for Freedom in La rosa de plata by Soledad Puértolas

Abstract

Pubblicato nel 1999, La rosa de plata è, nella ampia e diversificata produzione di Soledad Puértolas, un romanzo sui generis, che sembra interrompere le caratteristiche di una produzione narrativa consolidata nella quale emergono come costanti, tra le altre, una riflessione sull’esistenza, sulle relazioni umane e sulla scrittura letteraria. L’opera riprende, infatti, i motivi e gli elementi tipici del romanzo cavalleresco nella costruzione di un intreccio che, riproponendo protagonisti quali Artù, Merlino, Ginevra e Morgana, sembra aderire pedissequamente alla linea tradizionale del genere. Tuttavia, approfondendo le dinamiche che si instaurano tra i personaggi, e in particolare soffermandosi sulle parole e sui pensieri di Morgana e di Ginevra, è possibile cogliere la complessità della riscrittura che l’autrice sta consapevolmente mettendo in atto: la sua è, infatti, una proposta di libertà, sia individuale ed esistenziale che metaletteraria, dato che le avventure che coinvolgono dame e cavalieri alle prese con gli incantesimi lanciati da Morgana vanno a sondare quelle aspirazioni di indipendenza assoluta con cui l’essere umano da sempre si confronta e combatte, e che sono una componente indispensabile della creazione letteraria.

Published in 1999, La rosa de plata is, within Soledad Puértolas’s works, a sui generis novel as it seems to interrupt the characteristics of a consolidated narrative production in which, among others, there emerges a constant reflection on existence, human relationships and experiences of the contemporary world, on literary writing. The novel takes up the typical motifs and elements of the chivalric novel in the construction of a plot that, re-proposing protagonists such as Arthur, Merlin, Geneva and Morgana, seems to slavishly adhere to the traditional line of the genre. However, by deepening the dynamics between the characters, especially by dwelling on the words and thoughts of Morgana and Ginevra, it is possible to grasp the complexity of the rewriting that the author is consciously implementing, proposing a novel about freedom, both individual, existential and metaliterary. The adventures involving ladies and knights struggling with the spells cast by Morgana are meant to deep in the aspirations of independence which characterize human being and to explore the possibilities given by literary creation.

Published in 1999, La rosa de plata is, inside the whole works of Soledad Puértolas, a novel sui generis as it seems to interrupt the characteristics of a consolidated narrative production in which, among others, emerge a constant reflection on existence, human relationships and experiences of the contemporary world, on literary writing. The novel takes up the typical motifs and elements of the chivalric novel in the construction of a plot that, re-proposing protagonists such as Arthur, Merlin, Geneva and Morgana, seems to adhere slavishly to the traditional line of the genre. However, by deepening the dynamics between the characters, especially by dwelling on the words and thoughts of Morgana and Ginevra, it is possible to grasp the complexity of the rewriting that the author is consciously implementing, proposing a novel about freedom, both individual, existential and metaliterary. The adventures involving ladies and knights struggling with the spells cast by Morgana are meant to deep in the aspirations of independence which characterize human being and to explore the possibilities given by literary creation.