Edizioni Clichy. Intervista a Tommaso Gurrieri

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Intervista a Tommaso Gurrieri che ricopre il ruolo di direttore editoriale delle Edizioni Clichy con sede a Firenze. La casa editrice, nata nell’ottobre 2012, deriva direttamente dal gruppo di lavoro che per cinque anni, tra il 2007 e il 2012, ha guidato e condotto l’esperienza di Barbès Editore.

Le Edizioni Clichy si caratterizzano per una spiccata ed evidente francofilia. Ci descrive i titoli delle diverse collane che richiamano direttamente i luoghi più famosi di Parigi?
La collana principale è la “Gare du Nord” e si propone di esplorare la narrativa francofona contemporanea dandone un panorama il più possibile ampio ma evitando la cosiddetta “autofiction”, un filone fortunatamente in esaurimento anche in Francia. Faremo anche qualche puntata nel mondo anglosassone e tedesco, ma “Gare du Nord” sarà essenzialmente francese. La collana “Bastille” è di saggistica fuori dai canoni, che si concentrerà sull’aspetto politico, anche quando affronterà riflessioni sulla scrittura o sulla letteratura. La collana “Père Lachaise” è composta di straordinari classici inediti o introvabili da tempo immemorabile, con autori fondamentali della nostra cultura, come Gramsci, Zweig, Melville o Döblin. La collana dei ragazzi è “Carrousel”, albi illustrati per bambini anche in questo caso quasi esclusivamente francesi. Poi abbiamo la collana “les petits éléphants”, saggi di strettissima attualità di piccole dimensioni a piccolo prezzo. E infine la collana “Beaubourg”, che si apre alle forme diverse di narrazione, dalla graphic novel al saggio anomalo alle guide più strane e meno classificabili.

Com’è strutturata la redazione e come si svolge il vostro lavoro?
La redazione è formata da un direttore editoriale, un direttore organizzativo, un revisore delle traduzioni e due editor, più un ufficio stampa esterno, che ha sede a Milano. Lavoriamo in équipe, sotto la guida del direttore organizzativo, che indica compiti, tempi e metodi di lavoro, coordinandosi anche con le tipografie e la distribuzione. Le scelte finali spettano al direttore editoriale, ma nella nostra casa editrice vige una democrazia sessantottina, molto entusiasmante.

Quali sono gli oneri e gli onori di essere una casa editrice completamente indipendente?
Gli onori, se vogliamo dir così, sono quelli di godere di una quasi totale libertà nelle scelte editoriali e, ancora prima, nel concepimento delle scelte e delle linee. Una libertà che va dalla selezione dei testi, alla grafica, al tipo di promozione. Possiamo fare quasi tutto quello che vogliamo. Gli oneri, molto concreti e pressanti, sono quelli di far tornare i conti e fare contenti i soci. Con l’unica pretesa, almeno nei primi tempi, di sopravvivere e non perdere mai la coerenza e la libertà di dare un piccolo contributo di cultura.

Che tipo di preparazione occorre avere per lavorare in una casa editrice?
Per lavorare in una casa editrice medio-piccola ma con un notevole volume di produzione e che non esternalizza niente come la nostra, occorre avere numerose competenze dal punto di vista editoriale (editing, grafica, impaginazione, elaborazione testi, traduzione, correzione bozze, rapporti commerciali, rapporti con la stampa e le istituzioni), ma soprattutto occorre aver voglia di lavorare e sentire con passione di far parte di qualcosa. L’affiatamento e un buon clima tra di noi è la prima condizione per farcela.

Di cosa si occupa Firenze Leonardo Edizioni?
Firenze Leonardo Edizioni è un marchio a tutti gli effetti che in pochi mesi ha raccolto i più importanti autori fiorentini e toscani, sia giornalisti sia scrittori, e propone, attraverso una distribuzione locale, testi e saggi sul territorio e di riflessione sulla cultura, l’arte, l’architettura e le tradizioni toscane. È un lavoro che ci permette di essere presenti nella nostra città, di aprirsi e di rimanere in contatto con il mondo appena fuori dalla redazione. È un lavoro a volte faticoso, perché gli autori sono esigenti e vogliono quasi sempre essere corteggiati, e spesso non sono contenti perché si aspettano sempre qualcosa di più, ma è anche una cosa molto interessante.

Secondo le ultime cifre Nielsen diffuse dall’AIE (Associazione Italiana Editori), il mercato editoriale è sceso negli ultimi due anni del 15% e in questo primo quadrimestre registra ancora un meno 4,4%. Crisi economica o le motivazioni del settore sono altre?
Direi crisi economica, in un contesto come quello italiano disperante. Tutti i momenti di crisi precedenti avevano colpito quasi tutti i settori ma risparmiato il mercato del libro. Quella degli ultimi anni (e che ci accompagnerà ringhiandoci addosso ancora per un bel po’) pare essere la peggiore crisi di tutti i tempi. E ha inevitabilmente colpito anche il libro. Ovviamente in Italia questa flessione assume toni drammatici, visto che, tanto per rendere l’idea, a parità di popolazione in Italia si vendono un quarto dei libri che in Francia e un ventesimo dei libri venduti in Germania, tenuto conto che i tedeschi sono meno del doppio di noi.

Può segnalare ai nostri lettori tre titoli tra le ultime novità da leggere durante le vacanze?
Segnalo due libri in uscita e uno già in libreria da maggio. Quelli in uscita sono “Musiche di scena”, con cui riprendiamo le pubblicazioni degli inediti di Françoise Sagan che già avevamo proposto con Barbès Editore, e si tratta di una raccolta di racconti assolutamente meravigliosi in cui l’autrice di “Bonjour tristesse”, dà il meglio di sé con una purezza di scrittura incredibile. E ancora “L’amore ha tre dimensioni” di Pierric Bailly, uno dei più grandi talenti francesi recenti, un romanzo di formazione pieno di sesso, di amore, di dolcezza, di durezza, di avventura e di follia, un insieme di Truffaut, di Kubrick, di Molnar, di Salinger. E infine “Due sorelle”, forse il romanzo tra quelli che abbiamo pubblicato, cui mi sento più legato. È stato scritto da Michel Layaz, sublime autore di Losanna, Svizzera francese, esperto di psichiatria e di arte, che racconta due giovani sorelle folli e lacerate tra il loro essere angeli o demoni, e che nel loro vagare scomposto riescono a mettere in evidenza tutte le contraddizioni e i dolori e i colori del mondo.

Quali sono i vostri progetti futuri?
I nostri progetti futuri sono quelli di continuare a fare il nostro lavoro con questa passione, questa coerenza e questa voglia di fare libri senza cedere a nessuna sirena del facile, ritagliandoci con morbidezza e senza strappi un posto nel cuore di chi ama leggere. Ci piace quello che facciamo, e già questa ci sembra una grande fortuna.

Info: http://www.edizioniclichy.it

Articolo a firma di Alessandra Stoppini.

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    Un Bravo! a Tommaso Guerrieri.

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