Tutto va collaudato, svolto ed eseguito; tutto è sospeso; quindi la divinità non può essere che a posteriori; e il vero bene non può essere che distruttivo. Infatti il male si alimenta di se stesso».

Affermazioni espresse nel corso di quel convulso farnetico che freme in tutti i romanzi di Fiore (dopo Il supplente del 1964, Il lavoratore del ’67 e L’incarico del ’70, questa Domanda di prestito pubblicata nel 1976 e il conclusivo L’erede del beato dell’81), intese a postulare un «inizio» o una «fine» di insondabile ambiguità per tendervi l’arco vibrante di una storia mondana concitata e traumatica, ma statica e irredimibile.
Le creature che popolano quella storia - e i racconti e più i romanzi di Fiore -, incomprensibili alieni in un grigio universo burocratico, sono assimilabili alla mitografia del personaggio inetto e “senza qualità” del Novecento letterario europeo, ma sono ancor prima quegli esseri “pneumatici”, che vivono nello spirito e cioè nel vuoto dell'indifferenza morale e della rinunzia alle opere e vi attendono la folgorazione d'una privilegiata conoscenza, cui la Gnosi assegna (e i protagonisti di Fiore ne recano, infatti, le tangibili stimmate) il ruolo di iniziati. Ovvero sono - che è poi lo stesso - «poveri di spirito»: e cioè, stando alla lettera del termine evangelico, πτωχοί, pitocchi, mendicanti dello spirito, perché privi di spirito proprio, impersonali. E su questa linea incontrano certo la letteratura, ma più a monte, da Parsifal ai “pazzi di Cristo” russi, dal fool shakespeariano all’“idiota” di Dostoevskij, dal mistico nichilisticamente inabissato nella sua “notte oscura” all’“uomo del sottosuolo”, sempre più giù fino all’uomo-insetto di Kafka e all’umanità a perdere di Beckett.

In uno dei microcosmi burocratici in cui si agitano, altercano, si sdoppiano le enigmatiche creature di Fiore si svolge questa Domanda di prestito: è il municipio d’una città di provincia, presso il quale Luigi Falchi è stato asse¬gnato come segretario comunale. Ma si fa presto, come nei romanzi precedenti, a slittare da quel microcosmo impiegatizio a un macrocosmo visionario e alla terribile astrattezza di potenti allegorie: la città che quei funzionari dovrebbero governare è, niente¬meno, una «città di Dio», ispirata dalla fumosa dottrina d’un non meglio identificato «padre M.». Affine a quest’in¬combente e pur remota figura prelatizia (destinata a rivivere nel «Beato» dell’ultimo romanzo) è l’indistinta fisionomia del protagonista, il più indeterminato — ad onta delle sue dichiarate funzioni — dei personaggi di Fiore: disincarnate epifanie, l’uno e l’altro, d’una Chiesa e d’uno Stato che ambiguamente si affrontano sul terreno di questa straniata favola politica.

Dalla prefazione di Antonio di Grado

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Domanda di prestito (Gli Introvabili) (Italian Edition)

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