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221B, Baker Street, of which he had spoken at our meeting. They consisted of a couple of comfortable bed-rooms and a single large airy sitting-room, cheerfully furnished, and illuminated by two broad windows»). Un numero che non esiste per la dimora di un personaggio letterario. Perfetto. Poi, negli anni Trenta del secolo scorso, con il riordino dei numeri civici, il 221B (rispetto a quando Conan Doyle aveva scritto il romanzo i numeri erano andati avanti) venne assegnato a un edificio art déco in cui aveva sede la Abbey Road Building Society.

Perché è necessario lasciar tracce Ferraris [2009] afferma la traccia come un tratto necessario dell’essere sociale. Ma la traccia non è mai in piena luce perché è per definizione solo un’orma, un frammento che deve essere interrogato, interpretato e potenzialmente frainteso. Come la fotografia di Safran Foer, la traccia ci incanta e ci seduce più per quello che nasconde che per quello che rivela. In questa prospettiva guardare alla documentalità come sotterraneo del nuovo realismo significa considerare non solo la necessità ma anche il desiderio di lasciar tracce.

1996 L’immaginazione , Bologna, Il Mulino. 2009 Documentalità. Perché è importante lasciar tracce , Milano, Bompiani. 2015 Mobilitazione totale , Roma-Bari, Laterza. Friend, S. 2012 Fiction as a genre , in «Proceedings of the Aristotelian Society», 112, part 2, pp. 179-209. Ingarden, R. 1931-1965 Das literarische Kunstwerk , Tübingen, Niemeyer; trad. it. L’opera d’arte letteraria, Verona, Edizioni Fondazione Centro Studi Campostrini, 2011. Lamarque, P. 2014 The Opacity of Narrative , London, Rowman & Littlefield.

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