Oggi, in questa occasione di assottigliamento simbolico tra il mondo dei vivi e quello degli spiriti, cercheremo proprio di restare in uno spazio di confine. Confine tra mostro e unano, certo, ma anche tra testi, idee, tra letteratura tradizionale e ipertesto.
Immaginate di accendere un vecchio computer. Uno di quegli scatoloni con l’involucro del monitor bombato e il rumore del lettore CD-ROM. Dentro, c’è un "romanzo". Per molti è il punto più alto della letteratura ipertestuale nell’era del pre-web, una storia che si dirama (letteralmente) come il sistema venoso di un corpo digitale.
Si tratta di Patchwork Girl or a Modern Monster by Mary/Shelley, and Herself, pubblicato da Shelley Jackson per Eastgate System nel 1995, costruito tramite Storyspace e ispirato al mito di Frankenstein.
Il grande “what if” da cui sgorga la storia è questo: e se lo smembramento della creatura femmina da parte di Victor fosse stato una messinscena? Da qui una rete di collegamenti che si espandono in ogni direzione, dalle storie delle donne i cui pezzi compongono la Patchwork Girl alla storia d’amore tra questa e Mary Shelley stessa, inserita nell’opera come personaggio e come meta-autrice.
Ma Patchwork Girl non è solo una riscrittura del mito: è una riflessione profonda sulla scrittura, sull’identità e sulla possibilità stessa di essere un soggetto intero. Ogni lettura è diversa, ogni percorso genera un nuovo corpo, un nuovo corpus, un nuovo senso, un nuovo sé. Cosa significa “finire” una storia che non ha fine? O, più radicalmente, cosa significa “essere” quando siamo tutti frammenti, collegati da fili invisibili di memoria, linguaggio e desiderio? E cosa significa, infine, “letteratura”?
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