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Londra, luglio 2003. La protagonista riceve una lettera che la invita a recarsi in Sierra Leone per prendere possesso della piantagione di caffè appartenuta al padre. La giovane donna, che vive in Inghilterra con i due figli e il marito scozzese, parte subito per raccogliere un'eredità che non sarà solo quella materiale ma anche quella "spirituale" della famiglia. Metterà su carta le testimonianze di vita di quattro zie, quattro delle figlie che il nonno ha avuto dalle molteplici mogli: attraverso le loro storie personali si ricostruisce la storia della famiglia della donna, ma si delinea anche il ritratto di una cultura e delle sue tradizioni sociali. Sullo sfondo, la realtà politica della Sierra Leone. Aminatta Forna dipinge un quadro poetico e accurato dell'Africa attraverso le voci delle sue donne.
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A dark rock the shape of a man's cigar. A broken pebble, open like a split plum. A stone with a dimple that fitted my thumb. A twinkling crystal. A pale three-cornered stone. I won't say I found them quickly. Not at all. Bobbio helped me. But even then, there were some I never found, whose faces I did not remember as well as I imagined. The Ancestors, my mother called them. Her murmured chant, once engraved upon my brain, now suddenly was gone. The effort of remembering turned into a great rock. Then, when I finally abandoned the effort, the words appeared, like a sculpture carved out of sandstone. And now I recognize them for what they are. Names. The name of my mother's mother. Of my grandmother. Of my great-grandmother and her mother. The women who went before. The women who made me. Each stone chosen and given in memory of a woman to her daughter. So that their spirits would be recalled each time the stone was held, warmed by a human hand, and cast on the ground to ask for help. And as the names emerged from the shadows, I saw how in taking them from her my father had destroyed my mother. |
Le pietre degli avi
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