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L鈥檃mica geniale #2
丨賰丕賷丞 丕賱丕爻賲 丕賱噩丿賷丿
賮賷 丕賱噩夭亍 丕賱孬丕賳賷 賲賳 "氐丿賷賯鬲賷 丕賱賲匕賴賱丞"貙 鬲毓賲賱 賱賷賱丕 賮賷 卮乇賰丞 毓丕卅賱丞 夭賵噩賴丕. 兀賲賾賻丕 廿賷賱賷賳丕 賮鬲鬲賮賵賾賻賯 賮賷 丿乇丕爻鬲賴丕 亘賴丿賮 丕賱賴乇亘 賲賳 賲氐賷乇賴丕 賮賷 丕賱丨賷賾 丕賱賳丕亘賵賱賷鬲丕賳賷賾 丕賱亘丕卅爻. 賱賰賳賾賴賲丕 賱丕 鬲賱亘孬丕賳 兀賳 鬲賱鬲賯賷丕 毓賱賶 卮丕胤卅 丕賱亘丨乇貙 丨賷孬 賷賳囟賲賾 廿賱賷賴賲丕 "賳賷賳賵" 賵毓丕卅賱鬲賴.
賵賮賷 禺賱胤賺 氐丕毓賯 賱賱兀丨丿丕孬 賵丕賱兀丨丕爻賷爻 毓賳丿 賴匕丕 丕賱卮丕胤卅 丕賱丿丕賰賳貙 鬲鬲丕亘毓 廿賷賱賷賳丕 賮賷乇賾丕賳鬲賷 丕爻鬲丿乇丕噩賻 丕賱賯丕乇卅 廿賱賶 賲賱丕丨賯丞 乇丨賱丞 丕賱氐丿賷賯鬲賷賳 丕賱噩丕乇賮丞.
乇亘賾賲丕 賴賷 兀賮囟賱購 賰丕鬲亘丞賺 毓乇賮鬲賿賴丕 丕賱乇賵丕賷丞購 丕賱丨丿賷孬丞. 兀丿亘購賴丕 卮賮賾丕賮賹 賰丕賱亘賱賾購賵乇貙 賵丨賰丕賷丕鬲購賴丕 睾乇丕卅夭賷賾賻丞 賵毓賲賷賯丞 賮賷 丌賳 賵丕丨丿. The Economist
賴賷貙 賯亘賱 賰賱賾 卮賷亍貙 賲丕賴乇丞 賮賷 氐賳丕毓丞 丕賱丨亘賰丕鬲 賵丕賱賲賰丕卅丿. The Independent
賱賷爻 孬賲賾丞 賲賻賳賿 賰鬲亘 毓賳 廿賷胤丕賱賷丕 賵兀丨丕爻賷爻賴丕 賵兀丨賷丕卅賴丕 賵賲匕丕賯丕鬲賴丕 賵毓賵丕胤賮賴丕 丕賱毓賳賷賮丞 賲孬賱賲丕 賮毓賱鬲賿 賮賷乇賾丕賳鬲賷.
賵賮賷 禺賱胤賺 氐丕毓賯 賱賱兀丨丿丕孬 賵丕賱兀丨丕爻賷爻 毓賳丿 賴匕丕 丕賱卮丕胤卅 丕賱丿丕賰賳貙 鬲鬲丕亘毓 廿賷賱賷賳丕 賮賷乇賾丕賳鬲賷 丕爻鬲丿乇丕噩賻 丕賱賯丕乇卅 廿賱賶 賲賱丕丨賯丞 乇丨賱丞 丕賱氐丿賷賯鬲賷賳 丕賱噩丕乇賮丞.
乇亘賾賲丕 賴賷 兀賮囟賱購 賰丕鬲亘丞賺 毓乇賮鬲賿賴丕 丕賱乇賵丕賷丞購 丕賱丨丿賷孬丞. 兀丿亘購賴丕 卮賮賾丕賮賹 賰丕賱亘賱賾購賵乇貙 賵丨賰丕賷丕鬲購賴丕 睾乇丕卅夭賷賾賻丞 賵毓賲賷賯丞 賮賷 丌賳 賵丕丨丿. The Economist
賴賷貙 賯亘賱 賰賱賾 卮賷亍貙 賲丕賴乇丞 賮賷 氐賳丕毓丞 丕賱丨亘賰丕鬲 賵丕賱賲賰丕卅丿. The Independent
賱賷爻 孬賲賾丞 賲賻賳賿 賰鬲亘 毓賳 廿賷胤丕賱賷丕 賵兀丨丕爻賷爻賴丕 賵兀丨賷丕卅賴丕 賵賲匕丕賯丕鬲賴丕 賵毓賵丕胤賮賴丕 丕賱毓賳賷賮丞 賲孬賱賲丕 賮毓賱鬲賿 賮賷乇賾丕賳鬲賷.
622 pages, Paperback
First published September 22, 2012
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About the author
Elena Ferrante
50听books18.1k听followersElena Ferrante is a pseudonymous Italian novelist. Ferrante's books, originally published in Italian, have been translated into many languages. Her four-book series of Neapolitan Novels are her most widely known works.
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Displaying 1 - 30 of 15,663 reviews
January 6, 2014
I finished Elena Ferrante's second volume a few hours ago and I'm overwhelmed by her power. She writes with her fingers stuck inside a electric plug. She drills and drills all the way through the tiniest sensation, till she reaches raw matter. The story of the New Name is even more entrancing than My brilliant friend, the first volume of the trilogy, which I devoured. Lila and Lena, the two protagonists of volume one, are now two women. Their love hate relationship grows more intricate, so does their intellectual competition. What a wonderful, deep, contradictory, at times morbid, violent yet luminous, yet brilliant world does Ferrante's voice evoke! I urge you to get your hands on this magnificent saga.
September 11, 2016
Elena Ferrante is an absolute marvel. This was utterly ravishing. How does she do it? Structurally her novels could hardly be more conservative, her subject matter 鈥� the fraught friendship of two women 鈥� has been done to death. And yet you鈥檙e constantly left with the feeling that no one has ever done what she does before. Or at least no one has done it with such searing insight and freshness.
Only a handful of writers can undress and get to the heart of women as lucidly and thrillingly as Ferrante. The first hundred pages especially were quite simply a dazzling display of a writer removing all the paint and powder from a woman's face mask and showing us the naked truths beneath. Ferrante is like a kind of dream psychoanalysis. She dispels all the fog, unravels all the knots of a woman鈥檚 deepest feeling and elucidates in simple language the fount, the hidden motive. She always knows the secret as to why her women are doing what they do. She once said in an interview that her ambition was to make the facts of ordinary life gripping. She achieves this by elucidating the emotional/motivational source of many of these facts.
She also has this extraordinary talent for easing into her narrative and explaining difficult subjects without sacrificing a single beat of the fabulous driving momentum of her story. There are no divergences in this novel; every line is intrinsic to understanding Elena and Lila鈥檚 struggles to achieve identity and autonomy. For example, the domestic violence in this novel is all the more powerfully disturbing for the lack of emphasis she gives it, as if it鈥檚 no more extraordinary than a trip to the shops. It makes the domestic violence in, for example, seem written up and theatrical. In fact the ease with which she feeds hugely complex and pivotal experience into her narrative makes most other contemporary novelists seem a bit written up and theatrical. There鈥檚 a fleet-footed breeziness to Ferrante鈥檚 storytelling which is quite simply bewitching in its ease of assurance.
I put off reading this for ages because for some reason I thought it might be a disappointment after My Brilliant Friend. On the contrary it鈥檚 even better.
Only a handful of writers can undress and get to the heart of women as lucidly and thrillingly as Ferrante. The first hundred pages especially were quite simply a dazzling display of a writer removing all the paint and powder from a woman's face mask and showing us the naked truths beneath. Ferrante is like a kind of dream psychoanalysis. She dispels all the fog, unravels all the knots of a woman鈥檚 deepest feeling and elucidates in simple language the fount, the hidden motive. She always knows the secret as to why her women are doing what they do. She once said in an interview that her ambition was to make the facts of ordinary life gripping. She achieves this by elucidating the emotional/motivational source of many of these facts.
She also has this extraordinary talent for easing into her narrative and explaining difficult subjects without sacrificing a single beat of the fabulous driving momentum of her story. There are no divergences in this novel; every line is intrinsic to understanding Elena and Lila鈥檚 struggles to achieve identity and autonomy. For example, the domestic violence in this novel is all the more powerfully disturbing for the lack of emphasis she gives it, as if it鈥檚 no more extraordinary than a trip to the shops. It makes the domestic violence in, for example, seem written up and theatrical. In fact the ease with which she feeds hugely complex and pivotal experience into her narrative makes most other contemporary novelists seem a bit written up and theatrical. There鈥檚 a fleet-footed breeziness to Ferrante鈥檚 storytelling which is quite simply bewitching in its ease of assurance.
I put off reading this for ages because for some reason I thought it might be a disappointment after My Brilliant Friend. On the contrary it鈥檚 even better.
December 2, 2015
This novel broke my heart. It broke my heart so badly that I had to stop reading it for a few days to recover.
This is the second book of Elena Ferrante's Neapolitan series, and it follows Elena and Lila from their teenage years and into their early 20s. Their neighborhood in Naples is still rough and violent in the 1960s, but Lila's marriage to the wealthy grocer Stefano allows her to climb out of the poverty. The two friends were often competitive, especially about school, but in book two, they are also competitive about men.
Which brings me to why this novel broke my heart. It's hard to talk about this book without spoilers, so I shall hide it for those who don't want to know yet.
While it took me a while to get into the first book in this series, My Brilliant Friend, I was instantly drawn up into the story in this second book. (There are still a lot of families and confusing nicknames to remember, but there is an Index of Characters at the beginning that is a helpful reference.) Early in the story, Elena admits she has read Lila's diary, which Lila gave to Elena to prevent Stefano from finding it. Having Lila's perspective on the events was a clever way to add depth to the narrative. At several times, Elena is so upset with Lila that she deliberately loses contact with her, and later she's able to fill in the gaps of what happened to her by reading the diary.
While I have high praise for this novel, I also have a warning for those who don't like violence 鈥� this novel has innumerable incidents of domestic abuse and rape, and some of the scenes are deeply disturbing. Ferrante wrote stark descriptions of what happens when it becomes acceptable in a culture for men to beat women. For example, early in the novel, Stefano rapes Lila (also called Lina) on her wedding night:
My point is that even though this is the story of two female friends, I have found these novels to be very thoughtful in their social commentary, especially with the different paths that Elena and Lila took. Elena stayed in school and wanted to find a career that would allow her to move away, but Lila chose to marry a successful businessman and stay in the neighborhood. However, each woman still deals with rape and the threat of violence, they still push and struggle to change their roles as girlfriends and wives, and they have to handle criticism and judgment when they try to better themselves through reading and education. Basically it's damned if you do, damned if you don't.
The drama of the two women was so real and well-written that I feel as if know them. I did like the first book, but I thought this second book was a much stronger story. And now I am so engrossed in their lives that I instantly started reading book three after finishing book two. Highly recommended.
Favorite Quotes
"If nothing could save us, not money, not a male body, and not even studying, we might as well destroy everything immediately."
"Of course, the explanation was simple: we had seen our fathers beat our mothers from childhood. We had grown up thinking that a stranger must not even touch us, but that our father, our boyfriend, and our husband could hit us when they liked, out of love, to educate us, to reeducate us."
"But one afternoon Lila said softly that there was nothing that could eliminate the conflict between the rich and the poor ... Those who are on the bottom always want to be on top, those who are on top want to stay on top, and one way or another they always reach the point where they're kicking and spitting at each other."
"She chose a different path and one can't go back, life takes us where it wants."
"I said to myself every day: I am what I am and I have to accept myself; I was born like this, in this city, with this dialect, without money; I will give what I can give, I will take what I can take, I will endure what has to be endured."
"Don't read books that you can't understand, it's bad for you."
"My parents, my siblings were very proud of me, but, I realized, they didn't know why: what use was I, why had I returned, how could they demonstrate to the neighbors that I was the pride of the family? If you thought about it I only complicated their life, further crowding the small apartment, making more arduous the arrangement of beds at night, getting in the way of a daily routine that by now didn't allow for me. Besides, I always had my nose in a book, standing up, sitting in one corner or another, a useless monument to study, a self-important, serious person whom they all made it their duty not to disturb, but about whom they also wondered: What are her intentions?"
This is the second book of Elena Ferrante's Neapolitan series, and it follows Elena and Lila from their teenage years and into their early 20s. Their neighborhood in Naples is still rough and violent in the 1960s, but Lila's marriage to the wealthy grocer Stefano allows her to climb out of the poverty. The two friends were often competitive, especially about school, but in book two, they are also competitive about men.
Which brings me to why this novel broke my heart. It's hard to talk about this book without spoilers, so I shall hide it for those who don't want to know yet.
While it took me a while to get into the first book in this series, My Brilliant Friend, I was instantly drawn up into the story in this second book. (There are still a lot of families and confusing nicknames to remember, but there is an Index of Characters at the beginning that is a helpful reference.) Early in the story, Elena admits she has read Lila's diary, which Lila gave to Elena to prevent Stefano from finding it. Having Lila's perspective on the events was a clever way to add depth to the narrative. At several times, Elena is so upset with Lila that she deliberately loses contact with her, and later she's able to fill in the gaps of what happened to her by reading the diary.
While I have high praise for this novel, I also have a warning for those who don't like violence 鈥� this novel has innumerable incidents of domestic abuse and rape, and some of the scenes are deeply disturbing. Ferrante wrote stark descriptions of what happens when it becomes acceptable in a culture for men to beat women. For example, early in the novel, Stefano rapes Lila (also called Lina) on her wedding night:
He leaned over to kiss her on the mouth, but she avoided him, turning her face forcefully to right and left, struggling, twisting, as she repeated, "Leave me alone, I don't want you, I don't want you, I don't want you."
At that point, almost against his will, the tone of Stefano's voice rose: "Now you're really pissing me off, Lina."
He repeated that remark two or three times, each time louder, as if to assimilate fully an order that was coming to him from very far away, perhaps even from before he was born. The order was, be a man, Ste': either you subdue her now or you'll never subdue her; your wife has to learn right away that she is the female and you're the male and therefore she has to obey. (emphasis mine)
My point is that even though this is the story of two female friends, I have found these novels to be very thoughtful in their social commentary, especially with the different paths that Elena and Lila took. Elena stayed in school and wanted to find a career that would allow her to move away, but Lila chose to marry a successful businessman and stay in the neighborhood. However, each woman still deals with rape and the threat of violence, they still push and struggle to change their roles as girlfriends and wives, and they have to handle criticism and judgment when they try to better themselves through reading and education. Basically it's damned if you do, damned if you don't.
The drama of the two women was so real and well-written that I feel as if know them. I did like the first book, but I thought this second book was a much stronger story. And now I am so engrossed in their lives that I instantly started reading book three after finishing book two. Highly recommended.
Favorite Quotes
"If nothing could save us, not money, not a male body, and not even studying, we might as well destroy everything immediately."
"Of course, the explanation was simple: we had seen our fathers beat our mothers from childhood. We had grown up thinking that a stranger must not even touch us, but that our father, our boyfriend, and our husband could hit us when they liked, out of love, to educate us, to reeducate us."
"But one afternoon Lila said softly that there was nothing that could eliminate the conflict between the rich and the poor ... Those who are on the bottom always want to be on top, those who are on top want to stay on top, and one way or another they always reach the point where they're kicking and spitting at each other."
"She chose a different path and one can't go back, life takes us where it wants."
"I said to myself every day: I am what I am and I have to accept myself; I was born like this, in this city, with this dialect, without money; I will give what I can give, I will take what I can take, I will endure what has to be endured."
"Don't read books that you can't understand, it's bad for you."
"My parents, my siblings were very proud of me, but, I realized, they didn't know why: what use was I, why had I returned, how could they demonstrate to the neighbors that I was the pride of the family? If you thought about it I only complicated their life, further crowding the small apartment, making more arduous the arrangement of beds at night, getting in the way of a daily routine that by now didn't allow for me. Besides, I always had my nose in a book, standing up, sitting in one corner or another, a useless monument to study, a self-important, serious person whom they all made it their duty not to disturb, but about whom they also wondered: What are her intentions?"
December 27, 2022
丿賳賷丕賳丕 爻鬲馗賱 丿賵賲丕 賴賰匕丕 賮賷賴丕 賲賳 賰賱 丨丕噩丞 丕鬲賳賷賳
丕亘乇賷丕亍 賵 賲匕賳亘賷賳..噩亘賳丕亍 賵 噩爻賵乇賷賳..賲卮鬲乇賷賳 賵 亘丕卅毓賷賳
賵 毓賳丿賲丕 賷鬲賲 亘賷毓賰 賱賷賱丞 丕賳鬲氐丕乇賰
賵 鬲賰鬲卮賮賶 丕賳賰 賱丕 鬲爻丕賵賷賳 丕賰鬲乇 賲賳 丨匕丕亍 賷丿賵賶 賯丿賷賲
丕匕賳 賱賯丿 鬲賲 匕亘丨賰 賵 賱鬲丨丿孬賷賳丕 亘毓丿賴丕
毓賳 丕爻胤賵乇丞 丕賱丕賳賯丕匕
毓賳 丕賰匕賵亘丞 丕賱噩賲丕賱
毓賳 禺丿賷毓丞 丕賱丕爻鬲賲乇丕乇
毓賳 丕鬲賯丕亍 丕賱丨賯丕卅賯 亘鬲氐賳毓 丕賱丕賰丕匕賷亘
丕賳賴丕 丕賱賲乇丕賴賯丞 丕匕賳 亘賯丿乇鬲賴丕 丕賱賮丕卅賯丞 毓賱賶 鬲丿賲賷乇 賲爻鬲賯亘賱賰 賱毓賯賵丿
丕賳賴丕 丕賱兀賳賵孬丞 丕賱賲賱毓賵賳丞 賵 賲丕 賷氐丕丨亘賴丕 賲賳 胤丕賲毓賷賳
*賲丕 鬲乇丕賴 賲賴賲丕 丕賱丕賳 賱賳 鬲賱鬲賮鬲 丕賱賷賴 丕亘丿丕 亘毓丿 丨賷賳*
賳鬲丕亘毓 丕賱毓賱丕賯丞 丕賱氐丕禺亘丞 亘賷賳 丕賱賳丕亘賵賱賷鬲賷賳 賱賷賱丕 賵 賱賷賳丕 丕賱鬲賷 賯乇乇鬲 丕賳 鬲氐亘丨 氐丿賶/乇丿 賮毓賱 賱氐丿賷賯鬲賴丕 ..賱賷賱丕 亘丕爻賲賴丕 丕賱噩丿賷丿 賰夭賵噩丞 丕賱賱丨丕賲 爻鬲賷賮丕賳賵 賰丕乇丕鬲卮賷 賵 丕賱賷賳丕 賰胤丕賱亘丞 孬丕賳賵賶 鬲乇鬲賯賷 亘丕賱毓賱賲..賵 賱兀賳賴 鬲賲 匕亘丨 賱賷賱丕貨 賮鬲氐乇賮丕鬲賴丕 賱賲 鬲鬲毓丿賶 賮乇賮乇丞 丕賱賲匕亘賵丨賷賳貨 賵 賴賰匕丕 鬲禺亘胤鬲 氐丿賷賯鬲賴丕 丕賷囟丕 賵 氐丕乇 亘賷賳賴賲 毓賱丕賯丞 胤乇丿賷丞 睾乇賷亘丞
毓賳丿賲丕 鬲鬲兀賳賯 賱賷賳丕 鬲鬲爻禺 賱賷賱丕
毓賳丿賲丕 鬲爻毓丿 賱賷賱丕 鬲丨夭賳 賱賷賳丕
毓賳丿賲丕 鬲氐毓丿 賱賷賳丕 鬲賴亘胤 賱賷賱丕
毓賳丿賲丕 鬲丨亘 賱賷賱丕 鬲賰乇賴 賱賷賳丕
賱賷賱丕 丕毓氐丕乇丕 賲丿賵賷丕 賵 賱賷賳丕 噩丿賵賱丕 賲賳爻丕亘丕
賱賷賱丕 賱丕 賷賴賲賴丕 丕賱丕賯丕賵賷賱 ..賵 丕賱賷賳丕 賯丿 鬲賯鬲賱賴丕 丕賱賰賱賲丞
丕賱禺賵賮 賲賮鬲丕丨 丕賱賷賳丕.. 賵 丕賱鬲兀乇噩丨 毓賱賶 丨亘賱 丕賱禺胤乇 賲賮鬲丕丨 賱賷賱丕
賴賱 賴賷 氐丿賮丞 丕賳 丕賱賮乇賯 亘賷賳 丕賱丕爻賲賷賳 賲噩乇丿 丨乇賮 賵丕丨丿責責
毓賳 丕賱禺夭賶.. 鬲丨賰賶 賱賳丕 賮賷乇丕賳鬲賷 賰賲丕 賱賲 鬲賮毓賱 賰丕鬲亘丞 賲賳 賯亘賱 丕賱禺夭賶 賲賳 丕賰鬲卮丕賮賰 丕賱賲亘賰乇 賱賱噩賵賴乇 丕賱丿賳賷亍 "賱乇噩丕賱 丕爻乇鬲賰"責
丕賱禺夭賶 賲賳 丕爻鬲爻賱丕賲賰 賱乇睾亘丕鬲 亘賴賷賲賷丞/ 卮賴賵丕鬲 胤丕卅卮丞
丕賱禺夭賷 賲賳 夭賷賮 賱丕 賷丿乇賰賴 爻賵丕賰
丕賱禺夭賶 賲賳 賮賯乇 賲丿賯毓 賵 賲賳亘鬲 賲鬲賵丕囟毓 鬲亘丿賵 丕孬丕乇賴 丿賵賲丕
丕賱禺夭賶 丕賱匕賷 賰丕賳 賷噩亘 丕賳 賷卮毓乇 亘賴"丕睾賳賷丕亍" 賷丨丕賮馗賵賳 毓賱賶 孬乇丕亍賴賲 亘丕賱丿賷丕孬丞 /賲孬賯賮賷賳 賷丨丕賮馗賵賳 毓賱賶 乇賵賳賯賴賲 亘丕賱賴乇賵亘 丕賱賲鬲毓丕賱賷
毓賳 丕賱丿賵賳賷丞..丕賱鬲賷 賷賵乇孬賴丕 丕賱賮賯乇 賲賴賲丕 丕睾鬲賳賷鬲
丕賱鬲賷 鬲丐賰丿賴丕 賯賳丕毓丕鬲 丕賱胤賮賵賱丞 賲賴賲丕 丕乇鬲賯賷鬲
賵 賱賳 鬲賲丨賵賴丕 丕賳噩丕夭丕鬲賰 ..賲賴賲丕 鬲賮賵賯鬲
毓賳 賳馗乇鬲賰 賱賳賮爻賰 賵 賳锟斤拷乇丞 乇賮賷賯 乇賵丨賰 賱賰
毓賳 丕賱爻賮乇 丕賱匕賷 鬲賰鬲卮賮 賮賷賴 丨賯丕 賳賮賵爻 賲賳 毓丕卮乇鬲賴賲 賱爻賳賷賳
毓賳 賲賰丕爻亘賰 賵 禺爻丕卅乇賴 賮賷 孬賲丕賳賷 爻賳賵丕鬲 賴賲 丕賱丕賴賲 賮賷 丨賷丕丞 賰賱 丕賳爻丕賳
丕賱賳丕爻 賷爻鬲睾乇賯賵賳 賵賯鬲丕 胤賵賷賱丕 賱賱鬲賲賷賷夭 亘賷賳 丕賱禺賷乇 賵 丕賱卮乇*
*賵 賱賰賷 鬲爻丕毓丿賴賲 賷噩亘 丕禺鬲賷丕乇 丕賱賱丨馗丞 丕賱賲賳丕爻亘丞 賱賮鬲丨 丕毓賷賳賴賲
賵 賮賷 馗賱 爻乇丿 賲賳爻丕亘 亘亘爻丕胤丞 鬲匕賴賱賰 賵 賷賲爻賰 亘鬲賱丕亘賷亘賰 亘毓賳賮 賵 丕賷囟丕 亘賳丕亍 乇賵丕卅賷 毓亘賯乇賶 賲賱賷亍 亘丕賱賮賱丕卮 亘丕賰 丕賱匕賷 賷匕賰乇賰 亘鬲賱賰 丕賱丿賲賷 丕賱乇賵爻賷丞 丕賱賲鬲丿丕禺賱丞 賵 賱賰賳 亘丿賵賳 賮匕賱賰丞 丕賵 睾賲賵囟 賵 賷鬲噩賱賶 賮賷 賳賴丕賷鬲賴 賵噩賴 丕賱丿賳賷丕 丕賱禺賮賷/ 丕賱賯匕乇 賮賷 丕禺鬲賷丕乇 賲賵賯毓 丕賱賲卮賴丿賷賳 丕賱丕禺賷乇賷賳 賱賱乇賵丕賷丞
賮賯丿 馗賱鬲 丕賱賱丨賵賲 丕賱賲氐賳毓丞 賵 丕賱賲賯丿丿丞 乇賲夭/賲氐丿乇 丕賱孬乇丕亍 毓亘乇 丕賱兀丨丿丕孬. .賵 賳賮丕噩兀 亘丕賱賰賵丕賱賷爻 丕賱賲賯夭夭丞/ 丕賱賯匕乇丞 賱氐賳丕毓鬲賴丕 賮賷 賲氐賳毓 亘毓賷丿 丨賯賷乇 賱賰賳 卮賴賷乇
賵 賮賷 賳賯賱丞 禺亘賷孬丞 賳賳鬲賯賱 賱賳丿賵丞 孬賯丕賮賷丞 賱賲賳丕賯卮丞/賳賯丿 乇賵丕賷丞 亘賰賱 賲丕 賳毓乇賮賴 賲賳 賰賵丕賱賷爻 丕賱賲孬賯賮賷賳 丕賱亘丕卅爻丞
*賯乇丕亍丞 賲卮鬲乇賰丞 爻毓丿鬲 亘賴丕 賲毓 乇丨賲丞 賵 丕爻乇丕亍 賵 乇賮賷賯 丕賱噩夭亍 丕賱丕賵賱 賰賲丕賱
賴匕賴 賱賷賳賰丕鬲 賱乇賷賮賷賵賴丕鬲 丕噩夭丕亍 丕賱孬賱丕孬丞 丕賱丕禺乇賶 賳 乇亘丕毓賷丞 賳丕亘賵賱賷
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... 氐丿賷賯鬲賷 丕賱賲匕賴賱丞
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... 丕賱賴丕乇亘賵賳 賵 丕賱亘丕賯賵賳
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丕賱胤賮賱丞 丕賱囟丕卅毓丞
賵丕禺賷乇丕 鬲丐賰丿 賮賷乇丕賳鬲賷 賱賱賳爻丕亍 亘賯爻賵丞 ..丕賳賴 賱丕 卮賷亍 賯丕亘賱丕 賱賱乇亘丨 賮賷 賴匕賴 丕賱丨賷丕丞
丕亘乇賷丕亍 賵 賲匕賳亘賷賳..噩亘賳丕亍 賵 噩爻賵乇賷賳..賲卮鬲乇賷賳 賵 亘丕卅毓賷賳
賵 毓賳丿賲丕 賷鬲賲 亘賷毓賰 賱賷賱丞 丕賳鬲氐丕乇賰
賵 鬲賰鬲卮賮賶 丕賳賰 賱丕 鬲爻丕賵賷賳 丕賰鬲乇 賲賳 丨匕丕亍 賷丿賵賶 賯丿賷賲
丕匕賳 賱賯丿 鬲賲 匕亘丨賰 賵 賱鬲丨丿孬賷賳丕 亘毓丿賴丕
毓賳 丕爻胤賵乇丞 丕賱丕賳賯丕匕
毓賳 丕賰匕賵亘丞 丕賱噩賲丕賱
毓賳 禺丿賷毓丞 丕賱丕爻鬲賲乇丕乇
毓賳 丕鬲賯丕亍 丕賱丨賯丕卅賯 亘鬲氐賳毓 丕賱丕賰丕匕賷亘
丕賳賴丕 丕賱賲乇丕賴賯丞 丕匕賳 亘賯丿乇鬲賴丕 丕賱賮丕卅賯丞 毓賱賶 鬲丿賲賷乇 賲爻鬲賯亘賱賰 賱毓賯賵丿
丕賳賴丕 丕賱兀賳賵孬丞 丕賱賲賱毓賵賳丞 賵 賲丕 賷氐丕丨亘賴丕 賲賳 胤丕賲毓賷賳
*賲丕 鬲乇丕賴 賲賴賲丕 丕賱丕賳 賱賳 鬲賱鬲賮鬲 丕賱賷賴 丕亘丿丕 亘毓丿 丨賷賳*
賳鬲丕亘毓 丕賱毓賱丕賯丞 丕賱氐丕禺亘丞 亘賷賳 丕賱賳丕亘賵賱賷鬲賷賳 賱賷賱丕 賵 賱賷賳丕 丕賱鬲賷 賯乇乇鬲 丕賳 鬲氐亘丨 氐丿賶/乇丿 賮毓賱 賱氐丿賷賯鬲賴丕 ..賱賷賱丕 亘丕爻賲賴丕 丕賱噩丿賷丿 賰夭賵噩丞 丕賱賱丨丕賲 爻鬲賷賮丕賳賵 賰丕乇丕鬲卮賷 賵 丕賱賷賳丕 賰胤丕賱亘丞 孬丕賳賵賶 鬲乇鬲賯賷 亘丕賱毓賱賲..賵 賱兀賳賴 鬲賲 匕亘丨 賱賷賱丕貨 賮鬲氐乇賮丕鬲賴丕 賱賲 鬲鬲毓丿賶 賮乇賮乇丞 丕賱賲匕亘賵丨賷賳貨 賵 賴賰匕丕 鬲禺亘胤鬲 氐丿賷賯鬲賴丕 丕賷囟丕 賵 氐丕乇 亘賷賳賴賲 毓賱丕賯丞 胤乇丿賷丞 睾乇賷亘丞
毓賳丿賲丕 鬲鬲兀賳賯 賱賷賳丕 鬲鬲爻禺 賱賷賱丕
毓賳丿賲丕 鬲爻毓丿 賱賷賱丕 鬲丨夭賳 賱賷賳丕
毓賳丿賲丕 鬲氐毓丿 賱賷賳丕 鬲賴亘胤 賱賷賱丕
毓賳丿賲丕 鬲丨亘 賱賷賱丕 鬲賰乇賴 賱賷賳丕
賱賷賱丕 丕毓氐丕乇丕 賲丿賵賷丕 賵 賱賷賳丕 噩丿賵賱丕 賲賳爻丕亘丕
賱賷賱丕 賱丕 賷賴賲賴丕 丕賱丕賯丕賵賷賱 ..賵 丕賱賷賳丕 賯丿 鬲賯鬲賱賴丕 丕賱賰賱賲丞
丕賱禺賵賮 賲賮鬲丕丨 丕賱賷賳丕.. 賵 丕賱鬲兀乇噩丨 毓賱賶 丨亘賱 丕賱禺胤乇 賲賮鬲丕丨 賱賷賱丕
賴賱 賴賷 氐丿賮丞 丕賳 丕賱賮乇賯 亘賷賳 丕賱丕爻賲賷賳 賲噩乇丿 丨乇賮 賵丕丨丿責責
毓賳 丕賱禺夭賶.. 鬲丨賰賶 賱賳丕 賮賷乇丕賳鬲賷 賰賲丕 賱賲 鬲賮毓賱 賰丕鬲亘丞 賲賳 賯亘賱 丕賱禺夭賶 賲賳 丕賰鬲卮丕賮賰 丕賱賲亘賰乇 賱賱噩賵賴乇 丕賱丿賳賷亍 "賱乇噩丕賱 丕爻乇鬲賰"責
丕賱禺夭賶 賲賳 丕爻鬲爻賱丕賲賰 賱乇睾亘丕鬲 亘賴賷賲賷丞/ 卮賴賵丕鬲 胤丕卅卮丞
丕賱禺夭賷 賲賳 夭賷賮 賱丕 賷丿乇賰賴 爻賵丕賰
丕賱禺夭賶 賲賳 賮賯乇 賲丿賯毓 賵 賲賳亘鬲 賲鬲賵丕囟毓 鬲亘丿賵 丕孬丕乇賴 丿賵賲丕
丕賱禺夭賶 丕賱匕賷 賰丕賳 賷噩亘 丕賳 賷卮毓乇 亘賴"丕睾賳賷丕亍" 賷丨丕賮馗賵賳 毓賱賶 孬乇丕亍賴賲 亘丕賱丿賷丕孬丞 /賲孬賯賮賷賳 賷丨丕賮馗賵賳 毓賱賶 乇賵賳賯賴賲 亘丕賱賴乇賵亘 丕賱賲鬲毓丕賱賷
毓賳 丕賱丿賵賳賷丞..丕賱鬲賷 賷賵乇孬賴丕 丕賱賮賯乇 賲賴賲丕 丕睾鬲賳賷鬲
丕賱鬲賷 鬲丐賰丿賴丕 賯賳丕毓丕鬲 丕賱胤賮賵賱丞 賲賴賲丕 丕乇鬲賯賷鬲
賵 賱賳 鬲賲丨賵賴丕 丕賳噩丕夭丕鬲賰 ..賲賴賲丕 鬲賮賵賯鬲
毓賳 賳馗乇鬲賰 賱賳賮爻賰 賵 賳锟斤拷乇丞 乇賮賷賯 乇賵丨賰 賱賰
毓賳 丕賱爻賮乇 丕賱匕賷 鬲賰鬲卮賮 賮賷賴 丨賯丕 賳賮賵爻 賲賳 毓丕卮乇鬲賴賲 賱爻賳賷賳
毓賳 賲賰丕爻亘賰 賵 禺爻丕卅乇賴 賮賷 孬賲丕賳賷 爻賳賵丕鬲 賴賲 丕賱丕賴賲 賮賷 丨賷丕丞 賰賱 丕賳爻丕賳
丕賱賳丕爻 賷爻鬲睾乇賯賵賳 賵賯鬲丕 胤賵賷賱丕 賱賱鬲賲賷賷夭 亘賷賳 丕賱禺賷乇 賵 丕賱卮乇*
*賵 賱賰賷 鬲爻丕毓丿賴賲 賷噩亘 丕禺鬲賷丕乇 丕賱賱丨馗丞 丕賱賲賳丕爻亘丞 賱賮鬲丨 丕毓賷賳賴賲
賵 賮賷 馗賱 爻乇丿 賲賳爻丕亘 亘亘爻丕胤丞 鬲匕賴賱賰 賵 賷賲爻賰 亘鬲賱丕亘賷亘賰 亘毓賳賮 賵 丕賷囟丕 亘賳丕亍 乇賵丕卅賷 毓亘賯乇賶 賲賱賷亍 亘丕賱賮賱丕卮 亘丕賰 丕賱匕賷 賷匕賰乇賰 亘鬲賱賰 丕賱丿賲賷 丕賱乇賵爻賷丞 丕賱賲鬲丿丕禺賱丞 賵 賱賰賳 亘丿賵賳 賮匕賱賰丞 丕賵 睾賲賵囟 賵 賷鬲噩賱賶 賮賷 賳賴丕賷鬲賴 賵噩賴 丕賱丿賳賷丕 丕賱禺賮賷/ 丕賱賯匕乇 賮賷 丕禺鬲賷丕乇 賲賵賯毓 丕賱賲卮賴丿賷賳 丕賱丕禺賷乇賷賳 賱賱乇賵丕賷丞
賮賯丿 馗賱鬲 丕賱賱丨賵賲 丕賱賲氐賳毓丞 賵 丕賱賲賯丿丿丞 乇賲夭/賲氐丿乇 丕賱孬乇丕亍 毓亘乇 丕賱兀丨丿丕孬. .賵 賳賮丕噩兀 亘丕賱賰賵丕賱賷爻 丕賱賲賯夭夭丞/ 丕賱賯匕乇丞 賱氐賳丕毓鬲賴丕 賮賷 賲氐賳毓 亘毓賷丿 丨賯賷乇 賱賰賳 卮賴賷乇
賵 賮賷 賳賯賱丞 禺亘賷孬丞 賳賳鬲賯賱 賱賳丿賵丞 孬賯丕賮賷丞 賱賲賳丕賯卮丞/賳賯丿 乇賵丕賷丞 亘賰賱 賲丕 賳毓乇賮賴 賲賳 賰賵丕賱賷爻 丕賱賲孬賯賮賷賳 丕賱亘丕卅爻丞
*賯乇丕亍丞 賲卮鬲乇賰丞 爻毓丿鬲 亘賴丕 賲毓 乇丨賲丞 賵 丕爻乇丕亍 賵 乇賮賷賯 丕賱噩夭亍 丕賱丕賵賱 賰賲丕賱
賴匕賴 賱賷賳賰丕鬲 賱乇賷賮賷賵賴丕鬲 丕噩夭丕亍 丕賱孬賱丕孬丞 丕賱丕禺乇賶 賳 乇亘丕毓賷丞 賳丕亘賵賱賷
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... 氐丿賷賯鬲賷 丕賱賲匕賴賱丞
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... 丕賱賴丕乇亘賵賳 賵 丕賱亘丕賯賵賳
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丕賱胤賮賱丞 丕賱囟丕卅毓丞
賵丕禺賷乇丕 鬲丐賰丿 賮賷乇丕賳鬲賷 賱賱賳爻丕亍 亘賯爻賵丞 ..丕賳賴 賱丕 卮賷亍 賯丕亘賱丕 賱賱乇亘丨 賮賷 賴匕賴 丕賱丨賷丕丞
February 9, 2017
What's your ugly place?
We all have one. We all have a place we quite deliberately do not go to. That we are aware is there, but have developed systems and defensive walls and jokes and denials in order to keep it out of the light of day. It's the place you can't help but end up sometimes when something particularly embarrassing happens to you, something tragic, an epiphany about yourself that you didn't particularly want occurs to you. It's the place where you were the person you never, ever wanted to be lives, and the memories of when that person came out that one time that you never want to think about again.
That deep down dark pit of your stomach feeling that鈥檚 welling up and over as that image comes to your brain? That鈥檚 it. That鈥檚 the visceral level of vulnerability, insecurity, ugliness and pain that I saw there. And there is where you need to be to understand everything I'm about to tell you.
Because that place is where this novel goes. This thing hit me where I live.
Which means, as you can probably tell already, that reading Story of a New Name is not something I would recommend for anyone in a fragile emotional state. It isn鈥檛 for anyone who is still too close to being an insecure, bookish not-quite-teenager anymore with major self esteem issues. Even a few years ago, I think reading this might have sent me into a depressive, melodramatic spiral like when I saw Melancholia, which had to have been the literal worst thing I could have chosen to see while writing my thesis in a foreign country at a school full of people smarter than me. I saw it three times and lost a weekend before I could see straight again.
Which is what may happen with Elena Ferrante. Which is totally insane, when you read these books objectively. Or at least, I think it would be, I have no way of really telling right now. Her style is, for the most part, this totally bare, bald-faced thing that just tells you exactly what is happening to her characters in their mundane, perfectly ordinary 1960s poor Italian lives. The engine driving the drama that the things that keep happening keep right on damn happening to them and the second volume is no better. Ferrante is as merciless as time, marching on without a thought for her characters and their development, who really could use some more time in this stage of their personal development or other. Ferrante, like the harsh Naples neighborhood she raises her characters in, doesn鈥檛 allow herself to give a damn. I can absolutely guarantee you, whatever you sign up for, you should sign up for some 鈥渟hit happens鈥� and very little mercy granted, because that鈥檚 how it goes with Ferrante. (Sometimes I think that the main narrator鈥檚 school and career arc is the mercy bone she threw us just to keep us from looking away.)
The second volume of this series focuses on the girls鈥� late adolescence and post-adolescence, the years that for most of us would be covered by late high school, college and your first post-college job. As with the first novel, the pages of the novel are covered over with a powerful atmosphere that burns right through the pages until you鈥檙e sitting right with Lila and Elena with sand in your outdated bathing suit on the beach at Ischia, standing on a street corner watching a too-flashy sports car go by, catching a glimpse of a movie star that looks like your friend, with Elena in a cramped corner of a bedroom like a modern Italian Fanny Price, angrily swatting at mosquitoes and trying to keep still in the suffocating heat. The courtyards of broken glass, wailing from the windows, and women, uncommented upon, wearing bruises to work the next day is as sickeningly evoked as ever.
One of the more fascinating atmospheric elements that Ferrante added demonstrated the stage of development where you become aware that you are not the center of the universe in a variety of ways- in this case for characters living in poverty and powerlessness, most of them borne in forcibly upon you whether you like it or not. Ferrante starts to introduce the gradual intrusion of politics and political identity- tellingly, it mostly shows in one more tribal identity, one more way for the kids to divide themselves- mostly in increased accusations of 鈥淔ascist pig!鈥� and 鈥淩ed communist!鈥� thrown around in place of remarks on one鈥檚 face and person, and one kid going to one meeting and one going to another. Elena also encounters this world, but again, not in itself, but as a piece of currency in the game of the class system, another piece of another kind of tribal mask that she鈥檚 trying hard to don:
鈥漃rofessor Airota and his daughter, had, for example, affectionate skirmishes on political subjects that I had heard about from Pasquale, from Nino, but whose substance I knew almost nothing about. Arguments like: you鈥檝e been trapped by inter-class collaboration, you call it a trap, I call it mediation; mediation in which the Christian Democrats always and only win; you鈥檙e not reforming a thing; in our place what would you do; revolution, revolution and revolution; revolution is taking Italy out of the middle ages鈥�.
Like that, a swift back and forth: a polemical exercise that they both obviously enjoyed鈥�. What I had never had and, I now knew, would always lack. What was it? I wasn鈥檛 able to say precisely: the training, perhaps, to feel that the questions of the world were deeply connected to me; the capacity to feel them as crucial and not purely as information to display at an exam, in view of a good grade; a mental conformation that didn鈥檛 reduce everything to my own individual battle, to the effort to be successful.鈥�
That one hit me hard. This is is a really tough book on the class system and the unseen, building damage that it does to the psyche. The sort of psychology on display here is the sort of thing I learned in my urban teacher training program, or learned first hand when faced with some of my students. Elena spends a great deal of the back half of this book anxiously trying to decode and adopt the unwritten rules of being middle class- the words, the clothes, what I was trained to call the 鈥渃ultural knapsack鈥� that middle class kids often get seemingly by osmosis. Ferrante shows the utter human waste that happens as a result- invisible waste, as far as we鈥檙e concerned- the brilliant minds that never get a chance to take over the world, the fruit seller who is unexpectedly good at math, the entrepreneurial ideas crushed by self-confidence issues and family squabbles. It鈥檚 much harder to look at than any of the wasted landscapes or shabby apartments that she describes.
And watching Elena sew her middle class mask onto her face tighter and tighter, laboring at it for years, and watching the ugly ugly road that it takes to get there (of which Ferrante only tells you the barest part, but it isn鈥檛 hard to guess) it鈥� well鈥� did anyone else watch Battlestar Galatica? Do you remember that time that Baltar was in jail after fucking up yet again, and he talks to鈥� Lee, I think, finally opening up to him a little bit about where he鈥檚 from? Fuck, I wish I could find it. But while he鈥檚 talking to him, hanging his head in the darkness with his hair covering his face, he slowly lets his cultured British accent morph into a thick, gravelly, hick voice that is clearly his natural tone. He makes it as scary as possible, throwing it at aristocratic Lee like a weapon, moving to the bars with red eyes, like he鈥檚 morphing himself into the monster he believes himself to be.
It鈥檚 like that, but mannered, expressed in ladylike, spare lines like this:
鈥濃€�. I was so glad that no one in that nice little family had asked me, as happened frequently, where I came from, what my father did and my mother, I was I, I, I.鈥�
It makes sense why, later in the novel, there鈥檚 a passage about how so many characters are confused when Lila wants to go take a job in the center of the city. She鈥檚 a veritable queen in the old neighborhood, and can lord it over anyone there, lend them money, show them up in clothes, people are now afraid to cross her鈥�. Why would she want to go to the nicer part of town, where her illusions will be shattered? Why would she want to take that away that illusion from herself?
This class angle had a lot to do with the ugly place I was telling you about before, which is the deep-seeded insecurity that runs throughout this entire book. But while class and place and atmosphere are the bedrock reasons, the insecurity I鈥檓 talking about here has to do with friendship. This series is, after all, about a friendship. No matter what other powerful stuff buttresses it under the surface, that provided it with its foundation, we鈥檙e far enough along into the lives of these girls that the friendship has now taken on a life of its own.
We鈥檝e reached the point, as happens in a lot of long-running friendships, where the thing has become overripe- it鈥檚 become something rotten and possibly poisonous, something that probably should have been dumped overboard a long time ago. But you鈥檙e still at the place where you can鈥檛 quite let it go.
Especially when it鈥檚 a powerful relationship with someone as charismatic as Lila- someone you looked up to, someone you put on a pedestal and set up as a sort of personal muse/deity/devil. It鈥檚 a fascinating, minute examination of a part of the consequences of an expanding consciousness of the world- namely that you realize that you, your friend, and your courtyard are no longer the center of the universe. Elena is starting to become aware, in fits and starts, of the fact that Lila has a personality and limits, just like she does. She starts to say things like 鈥渢his is what she does.鈥� She starts to express annoyance, and there鈥檚 even a few times, where she pathetically tries to keep Lila out:
鈥淚n the past there had been Lila, a continuous happy detour into surprising lands. Now everything I was I wanted to get from myself. I was almost nineteen, I would never again depend on someone, and I would never again miss someone.鈥�
And even a whole chapter where she experiments writing about her own life without referencing Lila at all, something neat, clean, undisturbed鈥�. And something that lasts two pages before Lila returns:
鈥淗ow easy it is to tell the story of myself without Lila: time quiets down and the important facts slide along the thread of the years like suitcases on a conveyor belt at an airport; you pick them up and put them on a page and it鈥檚 done.
It鈥檚 more complicated to recount what happened to her in those years. The belt slows down, accelerates, swerves abruptly, goes off the tracks. The suitcases fall off, fly open, her things end up among mine: to accommodate them, I am compelled to return to the narrative concerning me (and that had come to be unobstructed) and expand phrases that now sound too concise鈥�. My life forces me to imagine what hers would have been if what happened to me had happened to her, what use she would have made of my luck. And her life continuously appears in mine, in the words that I鈥檝e uttered, in which there鈥檚 often an echo of hers, in a particular gesture that is an adaptation of a gesture of hers, in may less which is such because of her more, in my more which is yielding to the force of her less.鈥�
She can鈥檛 leave her behind. There鈥檚 a lot of reasons why, but at the heart of it is another class battle of sorts to do with Elena鈥檚 identification as an intellectual, and a discussion of different kinds of intelligence and which one is 鈥渂etter鈥�. Lila鈥檚 is the kind that poets romanticize, people are magnetically drawn to, that succeeds when it shouldn鈥檛, but also continues to push and push until it inevitably breaks something. ( 鈥淚s it possible that you must always do harm, Lila? When will you stop? When will your energy diminish, will you be distracted, when will you finally collapse like a sleepy sentinel? When will you grow wide and sit at the cash register in the new neighborhood, with your stomach swelling and make Pinuccia and aunt, and me, me, me, leave to go my own way?鈥�- runs the imagined inner monologue of one of the characters) While Elena鈥檚鈥� well, Elena鈥檚 is kind that gets you through high school and college and into a steady job and the plaudits of those around you.
It鈥檚 the sort of self-punishing struggle that most intellectuals put themselves through at some point, and probably most of their lives, if they identify as or are put into the role of a 鈥渟mart kid鈥� early enough. You were that kid, right? A lot of us were. But then you met that other kid, right? The one who was smarter than you. If you鈥檙e me, you met a whole group of them in which you were the least intelligent person. If you鈥檙e lucky, you felt challenged, you felt yourself blossom. If you weren鈥檛, you felt inadequate, like your identity had melted away and you never quite recovered. If you鈥檙e super unlucky, like Elena, you get the triple double horrible punch of feeling elated/exhilarated/proud/betrayed/insecure/unhappy/angry/sad every time you see this person wasting themselves away. If you鈥檝e never had that sort of deep friendship, the kind that鈥檚 gone wrong and back around the corner again (or even if it never quite come back again), the sort that鈥檚 steered your life, I don鈥檛 know how to explain it to you.
The closest I can come is that Cathy Heathcliff thing, it鈥檚 that thing where Cathy tells people that Heathcliff is a part of her, and that really sucks and it鈥檚 no pleasure to her most of the time, but there he is and there鈥檚 really no way to tear him out again and you鈥檙e going to have to live with the goddamn thing because if you don't, you'll pull out such a big piece of you that what you consider your Self will effectively die.
She burns it up again at the end though, even after everything we see them go through. That end, man. I can鈥檛 leave without talking about it. Elena goes to see Lila, to share some important, happy news with her, news that she is convinced will change things, will ignite something good in her again. And she does, but then Lila鈥檚 reaction, what she sees her do in response. And what happens to her- what she thinks she realizes- It was a gut punch that I can only describe by going back to Baltar again. Remember in the last episoe- he鈥檚 with Six and they鈥檙e trying to figure out how they鈥檙e going to get by on the new planet and he says, in the most broken little voice you鈥檝e ever heard, like he absolutely can鈥檛 believe he鈥檚 bringing it up: 鈥淵ou know, I know about farming?鈥�
If you were the person who, like me, was utterly destroyed by that moment, then you need to read this book. If you were any of the people described above, or if you have that ugly place, you need to read this book. If you鈥檙e looking to be transported, if you鈥檙e looking for something that can consume you for days, you need to read this book.
So I guess, really, I would say that if you鈥檙e alive in any way, I鈥檓 sure that there鈥檚 a reason that you should probably read this book.
Instant personal classic, instant all-time favorites list, will be re-reading this once a decade for the rest of my life. Why?
鈥溾€he was explaining to me that I had won nothing, that in the world there is nothing to win, that her life was full of varied and foolish adventures as much as mine, and that time simply slipped away without any meaning, and it was good just to see each other every so often to hear the mad sound of one brain echo in the mad sound of the brain of the other.鈥�
That鈥檚 why.
(This review originally appeared on my blog at: )
We all have one. We all have a place we quite deliberately do not go to. That we are aware is there, but have developed systems and defensive walls and jokes and denials in order to keep it out of the light of day. It's the place you can't help but end up sometimes when something particularly embarrassing happens to you, something tragic, an epiphany about yourself that you didn't particularly want occurs to you. It's the place where you were the person you never, ever wanted to be lives, and the memories of when that person came out that one time that you never want to think about again.
That deep down dark pit of your stomach feeling that鈥檚 welling up and over as that image comes to your brain? That鈥檚 it. That鈥檚 the visceral level of vulnerability, insecurity, ugliness and pain that I saw there. And there is where you need to be to understand everything I'm about to tell you.
Because that place is where this novel goes. This thing hit me where I live.
Which means, as you can probably tell already, that reading Story of a New Name is not something I would recommend for anyone in a fragile emotional state. It isn鈥檛 for anyone who is still too close to being an insecure, bookish not-quite-teenager anymore with major self esteem issues. Even a few years ago, I think reading this might have sent me into a depressive, melodramatic spiral like when I saw Melancholia, which had to have been the literal worst thing I could have chosen to see while writing my thesis in a foreign country at a school full of people smarter than me. I saw it three times and lost a weekend before I could see straight again.
Which is what may happen with Elena Ferrante. Which is totally insane, when you read these books objectively. Or at least, I think it would be, I have no way of really telling right now. Her style is, for the most part, this totally bare, bald-faced thing that just tells you exactly what is happening to her characters in their mundane, perfectly ordinary 1960s poor Italian lives. The engine driving the drama that the things that keep happening keep right on damn happening to them and the second volume is no better. Ferrante is as merciless as time, marching on without a thought for her characters and their development, who really could use some more time in this stage of their personal development or other. Ferrante, like the harsh Naples neighborhood she raises her characters in, doesn鈥檛 allow herself to give a damn. I can absolutely guarantee you, whatever you sign up for, you should sign up for some 鈥渟hit happens鈥� and very little mercy granted, because that鈥檚 how it goes with Ferrante. (Sometimes I think that the main narrator鈥檚 school and career arc is the mercy bone she threw us just to keep us from looking away.)
The second volume of this series focuses on the girls鈥� late adolescence and post-adolescence, the years that for most of us would be covered by late high school, college and your first post-college job. As with the first novel, the pages of the novel are covered over with a powerful atmosphere that burns right through the pages until you鈥檙e sitting right with Lila and Elena with sand in your outdated bathing suit on the beach at Ischia, standing on a street corner watching a too-flashy sports car go by, catching a glimpse of a movie star that looks like your friend, with Elena in a cramped corner of a bedroom like a modern Italian Fanny Price, angrily swatting at mosquitoes and trying to keep still in the suffocating heat. The courtyards of broken glass, wailing from the windows, and women, uncommented upon, wearing bruises to work the next day is as sickeningly evoked as ever.
One of the more fascinating atmospheric elements that Ferrante added demonstrated the stage of development where you become aware that you are not the center of the universe in a variety of ways- in this case for characters living in poverty and powerlessness, most of them borne in forcibly upon you whether you like it or not. Ferrante starts to introduce the gradual intrusion of politics and political identity- tellingly, it mostly shows in one more tribal identity, one more way for the kids to divide themselves- mostly in increased accusations of 鈥淔ascist pig!鈥� and 鈥淩ed communist!鈥� thrown around in place of remarks on one鈥檚 face and person, and one kid going to one meeting and one going to another. Elena also encounters this world, but again, not in itself, but as a piece of currency in the game of the class system, another piece of another kind of tribal mask that she鈥檚 trying hard to don:
鈥漃rofessor Airota and his daughter, had, for example, affectionate skirmishes on political subjects that I had heard about from Pasquale, from Nino, but whose substance I knew almost nothing about. Arguments like: you鈥檝e been trapped by inter-class collaboration, you call it a trap, I call it mediation; mediation in which the Christian Democrats always and only win; you鈥檙e not reforming a thing; in our place what would you do; revolution, revolution and revolution; revolution is taking Italy out of the middle ages鈥�.
Like that, a swift back and forth: a polemical exercise that they both obviously enjoyed鈥�. What I had never had and, I now knew, would always lack. What was it? I wasn鈥檛 able to say precisely: the training, perhaps, to feel that the questions of the world were deeply connected to me; the capacity to feel them as crucial and not purely as information to display at an exam, in view of a good grade; a mental conformation that didn鈥檛 reduce everything to my own individual battle, to the effort to be successful.鈥�
That one hit me hard. This is is a really tough book on the class system and the unseen, building damage that it does to the psyche. The sort of psychology on display here is the sort of thing I learned in my urban teacher training program, or learned first hand when faced with some of my students. Elena spends a great deal of the back half of this book anxiously trying to decode and adopt the unwritten rules of being middle class- the words, the clothes, what I was trained to call the 鈥渃ultural knapsack鈥� that middle class kids often get seemingly by osmosis. Ferrante shows the utter human waste that happens as a result- invisible waste, as far as we鈥檙e concerned- the brilliant minds that never get a chance to take over the world, the fruit seller who is unexpectedly good at math, the entrepreneurial ideas crushed by self-confidence issues and family squabbles. It鈥檚 much harder to look at than any of the wasted landscapes or shabby apartments that she describes.
And watching Elena sew her middle class mask onto her face tighter and tighter, laboring at it for years, and watching the ugly ugly road that it takes to get there (of which Ferrante only tells you the barest part, but it isn鈥檛 hard to guess) it鈥� well鈥� did anyone else watch Battlestar Galatica? Do you remember that time that Baltar was in jail after fucking up yet again, and he talks to鈥� Lee, I think, finally opening up to him a little bit about where he鈥檚 from? Fuck, I wish I could find it. But while he鈥檚 talking to him, hanging his head in the darkness with his hair covering his face, he slowly lets his cultured British accent morph into a thick, gravelly, hick voice that is clearly his natural tone. He makes it as scary as possible, throwing it at aristocratic Lee like a weapon, moving to the bars with red eyes, like he鈥檚 morphing himself into the monster he believes himself to be.
It鈥檚 like that, but mannered, expressed in ladylike, spare lines like this:
鈥濃€�. I was so glad that no one in that nice little family had asked me, as happened frequently, where I came from, what my father did and my mother, I was I, I, I.鈥�
It makes sense why, later in the novel, there鈥檚 a passage about how so many characters are confused when Lila wants to go take a job in the center of the city. She鈥檚 a veritable queen in the old neighborhood, and can lord it over anyone there, lend them money, show them up in clothes, people are now afraid to cross her鈥�. Why would she want to go to the nicer part of town, where her illusions will be shattered? Why would she want to take that away that illusion from herself?
This class angle had a lot to do with the ugly place I was telling you about before, which is the deep-seeded insecurity that runs throughout this entire book. But while class and place and atmosphere are the bedrock reasons, the insecurity I鈥檓 talking about here has to do with friendship. This series is, after all, about a friendship. No matter what other powerful stuff buttresses it under the surface, that provided it with its foundation, we鈥檙e far enough along into the lives of these girls that the friendship has now taken on a life of its own.
We鈥檝e reached the point, as happens in a lot of long-running friendships, where the thing has become overripe- it鈥檚 become something rotten and possibly poisonous, something that probably should have been dumped overboard a long time ago. But you鈥檙e still at the place where you can鈥檛 quite let it go.
Especially when it鈥檚 a powerful relationship with someone as charismatic as Lila- someone you looked up to, someone you put on a pedestal and set up as a sort of personal muse/deity/devil. It鈥檚 a fascinating, minute examination of a part of the consequences of an expanding consciousness of the world- namely that you realize that you, your friend, and your courtyard are no longer the center of the universe. Elena is starting to become aware, in fits and starts, of the fact that Lila has a personality and limits, just like she does. She starts to say things like 鈥渢his is what she does.鈥� She starts to express annoyance, and there鈥檚 even a few times, where she pathetically tries to keep Lila out:
鈥淚n the past there had been Lila, a continuous happy detour into surprising lands. Now everything I was I wanted to get from myself. I was almost nineteen, I would never again depend on someone, and I would never again miss someone.鈥�
And even a whole chapter where she experiments writing about her own life without referencing Lila at all, something neat, clean, undisturbed鈥�. And something that lasts two pages before Lila returns:
鈥淗ow easy it is to tell the story of myself without Lila: time quiets down and the important facts slide along the thread of the years like suitcases on a conveyor belt at an airport; you pick them up and put them on a page and it鈥檚 done.
It鈥檚 more complicated to recount what happened to her in those years. The belt slows down, accelerates, swerves abruptly, goes off the tracks. The suitcases fall off, fly open, her things end up among mine: to accommodate them, I am compelled to return to the narrative concerning me (and that had come to be unobstructed) and expand phrases that now sound too concise鈥�. My life forces me to imagine what hers would have been if what happened to me had happened to her, what use she would have made of my luck. And her life continuously appears in mine, in the words that I鈥檝e uttered, in which there鈥檚 often an echo of hers, in a particular gesture that is an adaptation of a gesture of hers, in may less which is such because of her more, in my more which is yielding to the force of her less.鈥�
She can鈥檛 leave her behind. There鈥檚 a lot of reasons why, but at the heart of it is another class battle of sorts to do with Elena鈥檚 identification as an intellectual, and a discussion of different kinds of intelligence and which one is 鈥渂etter鈥�. Lila鈥檚 is the kind that poets romanticize, people are magnetically drawn to, that succeeds when it shouldn鈥檛, but also continues to push and push until it inevitably breaks something. ( 鈥淚s it possible that you must always do harm, Lila? When will you stop? When will your energy diminish, will you be distracted, when will you finally collapse like a sleepy sentinel? When will you grow wide and sit at the cash register in the new neighborhood, with your stomach swelling and make Pinuccia and aunt, and me, me, me, leave to go my own way?鈥�- runs the imagined inner monologue of one of the characters) While Elena鈥檚鈥� well, Elena鈥檚 is kind that gets you through high school and college and into a steady job and the plaudits of those around you.
It鈥檚 the sort of self-punishing struggle that most intellectuals put themselves through at some point, and probably most of their lives, if they identify as or are put into the role of a 鈥渟mart kid鈥� early enough. You were that kid, right? A lot of us were. But then you met that other kid, right? The one who was smarter than you. If you鈥檙e me, you met a whole group of them in which you were the least intelligent person. If you鈥檙e lucky, you felt challenged, you felt yourself blossom. If you weren鈥檛, you felt inadequate, like your identity had melted away and you never quite recovered. If you鈥檙e super unlucky, like Elena, you get the triple double horrible punch of feeling elated/exhilarated/proud/betrayed/insecure/unhappy/angry/sad every time you see this person wasting themselves away. If you鈥檝e never had that sort of deep friendship, the kind that鈥檚 gone wrong and back around the corner again (or even if it never quite come back again), the sort that鈥檚 steered your life, I don鈥檛 know how to explain it to you.
The closest I can come is that Cathy Heathcliff thing, it鈥檚 that thing where Cathy tells people that Heathcliff is a part of her, and that really sucks and it鈥檚 no pleasure to her most of the time, but there he is and there鈥檚 really no way to tear him out again and you鈥檙e going to have to live with the goddamn thing because if you don't, you'll pull out such a big piece of you that what you consider your Self will effectively die.
She burns it up again at the end though, even after everything we see them go through. That end, man. I can鈥檛 leave without talking about it. Elena goes to see Lila, to share some important, happy news with her, news that she is convinced will change things, will ignite something good in her again. And she does, but then Lila鈥檚 reaction, what she sees her do in response. And what happens to her- what she thinks she realizes- It was a gut punch that I can only describe by going back to Baltar again. Remember in the last episoe- he鈥檚 with Six and they鈥檙e trying to figure out how they鈥檙e going to get by on the new planet and he says, in the most broken little voice you鈥檝e ever heard, like he absolutely can鈥檛 believe he鈥檚 bringing it up: 鈥淵ou know, I know about farming?鈥�
If you were the person who, like me, was utterly destroyed by that moment, then you need to read this book. If you were any of the people described above, or if you have that ugly place, you need to read this book. If you鈥檙e looking to be transported, if you鈥檙e looking for something that can consume you for days, you need to read this book.
So I guess, really, I would say that if you鈥檙e alive in any way, I鈥檓 sure that there鈥檚 a reason that you should probably read this book.
Instant personal classic, instant all-time favorites list, will be re-reading this once a decade for the rest of my life. Why?
鈥溾€he was explaining to me that I had won nothing, that in the world there is nothing to win, that her life was full of varied and foolish adventures as much as mine, and that time simply slipped away without any meaning, and it was good just to see each other every so often to hear the mad sound of one brain echo in the mad sound of the brain of the other.鈥�
That鈥檚 why.
(This review originally appeared on my blog at: )
December 26, 2022
AMICHE GENIALI
Herbert List
La lingua napoletana, che con generosit脿, a volte invadenza, ci viene offerta, o imposta, dagli scrittori e dagli abitanti di quella splendida citt脿, qui manca del tutto.
Ho l'impressione che manchi perfino pi霉 che nel primo episodio di questa saga, e quasi se ne sente la mancanza: forse perch茅 a volte Ferrante si prodiga a spiegarci il tipo di dialetto che sta usando un suo personaggio invece di farcelo leggere, invece di farcelo sentire.
Elena e Lila da bambine e da adolescenti protagoniste della serie TV.
Credo sia il suo bisogno di comunicare a tutti indistintamente, di essere capita e non rischiare di essere fraintesa: in queste pagine c鈥櫭� un鈥檜rgenza di racconto che sembra ansia.
Eppure, la lingua 猫 sempre controllata, la comprensione sempre agevolata, il pensiero e il sentimento di Ferrante passano a me lettore senza filtri e senza intralci.
Magia del talento, della grande letteratura.
Il rione
Man mano, questo libro 猫 diventato una droga in senso letterale: non ne potevo fare a meno, non potevo lasciarlo 鈥� ho perfino messo da parte il Dampyr del mese, che di solito brucia nelle mani finch茅 non lo leggo, e invece questa volta 猫 passato in secondo ordine.
Perch茅 Lenuccia e Lila m鈥檌nteressavano di pi霉, mi assorbivano del tutto.
Non che Ferrante racconti eventi, o misteri, o fatti speciali: si legge di amori, matrimoni, fidanzamenti, rotture, tradimenti, concepimenti, serate in pizzeria, chiacchiere tra amiche, negozi che aprono, gente che fa affari, altra che fallisce, vacanze a Ischia, appuntamenti d鈥檃more, studi e scuola鈥�.
In pratica, l鈥檜niverso intero: niente di speciale, nessun evento, nessun mistero...
Cos鈥櫭� che di quest'opera prende in modo cos矛 irresistibile?
Il ritmo del racconto?
La fluidit脿 della scrittura?
La trama alla quale 猫 facile 鈥榩artecipare鈥�?
La qualit脿 delle protagoniste?
O il coro dei comprimari sempre presente?
Ma, c鈥櫭� qualcosa che allontana questa saga da altre pi霉 o meno simili: la 鈥榗attiveria鈥� di Lila, che 猫 forza di carattere determinazione e coraggio di una giovane (giovanissima) che all鈥檌nizio degli anni Sessanta, in un 鈥榬ione鈥� di Napoli capitale del Meridione d鈥橧talia, entra nel matrimonio, diventa sposa e moglie, e non vuole mollare, non vuole trasformarsi (鈥渟marginarsi鈥� *) e soccombere come ha visto succedere a sua madre e a tante altre donne, non vuole essere annullata in una condizione femminile che respinge e non riconosce come sua (si potrebbe darle torto? Si pu貌 in tutta sincerit脿 dire che 猫 storia vecchia, conclusa e superata?) 鈥� vuole 鈥渁mare鈥� invece di 鈥渧olere bene鈥�, amare come succede solo nei libri e al cinema, nel rione non lo dice e non lo pensa nessuno.
尝鈥檈诲耻肠补锄颈辞苍别
Ma anche la sua amica io narrante, anche Elena/Len霉, che vede i suoi presunti limiti serrarla, che si giudica fragile e perdente in partenza, anche lei ha la stessa forza di carattere determinazione e coraggio, che la spingono a completare la scuola nonostante povert脿 e opposizione familiare, nonostante intorno a lei la scuola sia dai pi霉 considerata inutile e destinata a pochi privilegiati.
Lenuccia trova proprio nello studio, nel superamento del dialetto, nell鈥檃ppropriarsi della lingua italiana, nell鈥檃gognata laurea, trova riscatto e riconoscimento. (Se ti insegnano le cose fin da piccola, da grande si fa meno fatica in tutto, diventi una che sembra nata imparata.)
Si esce dalla miseria, quella dei soldi e quella dello spirito, dalle periferie e dalla marginalit脿, conquistando il sapere, la lingua, il rispetto umano, la dignit脿 della persona.
Cos矛 poco attuale il 鈥渕essaggio鈥� di questa Ferrante, cos矛 fuori dal mondo e da come vanno davvero le cose, cos矛 rinfrescante鈥�
Il documentario 鈥滷errante Fever鈥� con le animazioni di Mara Cerri e Magda Guidi.
Lila ed Elena crescono, maturano, cambiano, evitano la smarginatura: e intorno a loro l鈥檕rizzonte si allarga, dal rione, da Napoli, passiamo al resto d鈥橧talia, il Centro e anche il Nord, Pisa, Milano鈥�
Il paese si trasforma, e a me lettore non resta che attendere il prossimo capitolo del ciclo: per sapere cose che gi脿 conosco, ma che nessuno mi ha mai raccontato cos矛.
Mauro Santini: Fl貌r da Baixa.
*La smarginatura
Che le persone ancor pi霉 delle cose, perdessero i loro margini e dilagassero senza forma 猫 ci貌 che ha spaventato di pi霉 Lila nel corso della sua vita. L鈥檃veva atterrita lo smarginarsi del fratello, che amava pi霉 di ogni altro suo familiare, e l鈥檃veva terrorizzata il disfarsi di Stefano nel passaggio da fidanzato a marito. Ho saputo solo dai suoi quaderni quanto l鈥檃vesse segnata la sua prima notte di nozze e come temesse il possibile stravolgersi del corpo del marito, il suo deformarsi per le spinte interne delle voglie e delle rabbie o, al contrario, dei disegni subdoli, della vilt脿. Specialmente di notte temeva di svegliarsi e di trovarlo sformato nel letto, ridotto a escrescenze che scoppiavano per troppo umore, la carne che colava disciolta, e con essa ogni cosa intorno, i mobili, l鈥檌ntero appartamento e lei stessa, sua moglie, spaccata, risucchiata in quel flusso sporco di materia viva.
鈥漋ia Curiel鈥� di Mara Cerri e Magda Guidi.
鈥漋ia Curiel鈥� di Mara Cerri e Magda Guidi.
Herbert List
La lingua napoletana, che con generosit脿, a volte invadenza, ci viene offerta, o imposta, dagli scrittori e dagli abitanti di quella splendida citt脿, qui manca del tutto.
Ho l'impressione che manchi perfino pi霉 che nel primo episodio di questa saga, e quasi se ne sente la mancanza: forse perch茅 a volte Ferrante si prodiga a spiegarci il tipo di dialetto che sta usando un suo personaggio invece di farcelo leggere, invece di farcelo sentire.
Elena e Lila da bambine e da adolescenti protagoniste della serie TV.
Credo sia il suo bisogno di comunicare a tutti indistintamente, di essere capita e non rischiare di essere fraintesa: in queste pagine c鈥櫭� un鈥檜rgenza di racconto che sembra ansia.
Eppure, la lingua 猫 sempre controllata, la comprensione sempre agevolata, il pensiero e il sentimento di Ferrante passano a me lettore senza filtri e senza intralci.
Magia del talento, della grande letteratura.
Il rione
Man mano, questo libro 猫 diventato una droga in senso letterale: non ne potevo fare a meno, non potevo lasciarlo 鈥� ho perfino messo da parte il Dampyr del mese, che di solito brucia nelle mani finch茅 non lo leggo, e invece questa volta 猫 passato in secondo ordine.
Perch茅 Lenuccia e Lila m鈥檌nteressavano di pi霉, mi assorbivano del tutto.
Non che Ferrante racconti eventi, o misteri, o fatti speciali: si legge di amori, matrimoni, fidanzamenti, rotture, tradimenti, concepimenti, serate in pizzeria, chiacchiere tra amiche, negozi che aprono, gente che fa affari, altra che fallisce, vacanze a Ischia, appuntamenti d鈥檃more, studi e scuola鈥�.
In pratica, l鈥檜niverso intero: niente di speciale, nessun evento, nessun mistero...
Cos鈥櫭� che di quest'opera prende in modo cos矛 irresistibile?
Il ritmo del racconto?
La fluidit脿 della scrittura?
La trama alla quale 猫 facile 鈥榩artecipare鈥�?
La qualit脿 delle protagoniste?
O il coro dei comprimari sempre presente?
Ma, c鈥櫭� qualcosa che allontana questa saga da altre pi霉 o meno simili: la 鈥榗attiveria鈥� di Lila, che 猫 forza di carattere determinazione e coraggio di una giovane (giovanissima) che all鈥檌nizio degli anni Sessanta, in un 鈥榬ione鈥� di Napoli capitale del Meridione d鈥橧talia, entra nel matrimonio, diventa sposa e moglie, e non vuole mollare, non vuole trasformarsi (鈥渟marginarsi鈥� *) e soccombere come ha visto succedere a sua madre e a tante altre donne, non vuole essere annullata in una condizione femminile che respinge e non riconosce come sua (si potrebbe darle torto? Si pu貌 in tutta sincerit脿 dire che 猫 storia vecchia, conclusa e superata?) 鈥� vuole 鈥渁mare鈥� invece di 鈥渧olere bene鈥�, amare come succede solo nei libri e al cinema, nel rione non lo dice e non lo pensa nessuno.
尝鈥檈诲耻肠补锄颈辞苍别
Ma anche la sua amica io narrante, anche Elena/Len霉, che vede i suoi presunti limiti serrarla, che si giudica fragile e perdente in partenza, anche lei ha la stessa forza di carattere determinazione e coraggio, che la spingono a completare la scuola nonostante povert脿 e opposizione familiare, nonostante intorno a lei la scuola sia dai pi霉 considerata inutile e destinata a pochi privilegiati.
Lenuccia trova proprio nello studio, nel superamento del dialetto, nell鈥檃ppropriarsi della lingua italiana, nell鈥檃gognata laurea, trova riscatto e riconoscimento. (Se ti insegnano le cose fin da piccola, da grande si fa meno fatica in tutto, diventi una che sembra nata imparata.)
Si esce dalla miseria, quella dei soldi e quella dello spirito, dalle periferie e dalla marginalit脿, conquistando il sapere, la lingua, il rispetto umano, la dignit脿 della persona.
Cos矛 poco attuale il 鈥渕essaggio鈥� di questa Ferrante, cos矛 fuori dal mondo e da come vanno davvero le cose, cos矛 rinfrescante鈥�
Il documentario 鈥滷errante Fever鈥� con le animazioni di Mara Cerri e Magda Guidi.
Lila ed Elena crescono, maturano, cambiano, evitano la smarginatura: e intorno a loro l鈥檕rizzonte si allarga, dal rione, da Napoli, passiamo al resto d鈥橧talia, il Centro e anche il Nord, Pisa, Milano鈥�
Il paese si trasforma, e a me lettore non resta che attendere il prossimo capitolo del ciclo: per sapere cose che gi脿 conosco, ma che nessuno mi ha mai raccontato cos矛.
Mauro Santini: Fl貌r da Baixa.
*La smarginatura
Che le persone ancor pi霉 delle cose, perdessero i loro margini e dilagassero senza forma 猫 ci貌 che ha spaventato di pi霉 Lila nel corso della sua vita. L鈥檃veva atterrita lo smarginarsi del fratello, che amava pi霉 di ogni altro suo familiare, e l鈥檃veva terrorizzata il disfarsi di Stefano nel passaggio da fidanzato a marito. Ho saputo solo dai suoi quaderni quanto l鈥檃vesse segnata la sua prima notte di nozze e come temesse il possibile stravolgersi del corpo del marito, il suo deformarsi per le spinte interne delle voglie e delle rabbie o, al contrario, dei disegni subdoli, della vilt脿. Specialmente di notte temeva di svegliarsi e di trovarlo sformato nel letto, ridotto a escrescenze che scoppiavano per troppo umore, la carne che colava disciolta, e con essa ogni cosa intorno, i mobili, l鈥檌ntero appartamento e lei stessa, sua moglie, spaccata, risucchiata in quel flusso sporco di materia viva.
鈥漋ia Curiel鈥� di Mara Cerri e Magda Guidi.
鈥漋ia Curiel鈥� di Mara Cerri e Magda Guidi.
November 20, 2019
This is a marvelous novel with heart and soul, Neapolitan heart and soul that is. The second installment in the famous Elena Ferrante tetralogy, for me anyway, exceeded the first book in originality and plot line. I found it moving and a very quick read despite its nearly 500 page length.
For this review, I wanted to focus on the title and the importance of names in Ferrante's work. First off, there is, it seems to me, a Proustian reference here to "Le nom du pays - Le nom" which is the somewhat ambiguous subtitle of one of the early sections of La Recherche du Temps Perdu. There are some similarities between Proust's style of describing Marcel's youth to how Ms. Ferrante describes Elena's youth. There is also a second subtle Proustian technique: we learn in this book that the narrator writes her first book and publishes it under her name "Elena" and we know the author's name is given as Elena, so as the same ambiguity exists between Marcel and Elena the narrators, Marcel and Elena the characters, and Marcel and Elena the authors of the book. Underneath this, in the narrative itself, names play a huge role in the story. The, and I apologize for the overwrought term "ambiguity" once again, ambiguous frontier between Elena/Lina/Lenucchia and Lila/Len霉 is apparent in their names and their nicknames. [As an aside, is it me or does the Italian language have an incredible plethora of nicknames?] Elena's search for identity is complex and goes through ups and downs, a reason for this is precisely how hard it is for her to distinguish herself from Lila in her own head - complex because their trajectories, their looks, their families are both so incredibly different and yet Elena has this magnetic, inevitable attraction to her friend and this impedes her search for self.
We pick up the lives of Lila and Elena in the 60s after Lila's mariage to Stefano and during Elena's studies in high school and at university in Pisa. The themes that were present in My Brilliant Friend resonate here once again, especially those of the subjugation of women and the problems of class. Elena's sexual initiation and the battering of Lila by Stefano serve as examples of the former whereas both characters struggles to escape the Neopolitan slums permeate both of their stories. What fascinates me as a reader is the raw, realistic descriptions of Elena's success in gaining some recognition in "good society" and her complex feelings of shame and pride that envelope her. As for Lila, her attempts to escape her disastrous mariage lead her to mistreat Elena time and time again, and despite her heart-stopping beauty and sensuality, she seems inescapably tied to the neighborhood - the Camorra as represented by the Solari brothers and her dialect which binds her to her fate as well.
What also strikes me is the lucid interpretation of the characters' actions. When Nino kisses Elena on the cheek, and then, fatefully, Lila, "[I]n his view it meant: Let's get rid of all the filters that prevent us from fully savoring our being here and now, real" (p. 223). This is actually another theme of the book, how do we live authentically despite the constraints of our culture and our upbringing. The dialogs are rapid-fire and full of irony and meaning. I regret that I cannot read in Italian because I imagine that the passages between Italian and dialect and the intertextual inferences must be even better in the original. The perception of our own self-deception on a daily basis also pervades the text: "There are moments when we resort to senseless formulations and advance absurd claims to hide straightforward feelings" (p. 271) is a lucid truth that is observed by the narrator again and again. Time and time again, Elena is led down corridors of moral ambivalence, "I was there on the island, the air stirred by the cab's movement assailed me with the intense odors of the vegetation from which the night was evaporating. But it was a mortified presence, submissive to the demands of others" (p. 284). In this way, both Naples and Ischia are also characters in the story in how they form the personality of the protagonists. The real problem for Elena is her own lack of self-identity, self-love: "Their passion invaded me, disturbed me. I loved them both and so I couldn't love myself, feel myself, affirm myself with a need for life of my own, one that had the same blind, mute force as theirs, So it seemed to me." (p. 284) There is a gorgeous passage on page 289 of soul-searching on the beach where we feel her pain, her alienation from herself that was literally painful to read: "Lila is right, the beauty of things is a trick, the sky is the throne of fear." Powerful words. Water and the sea are a consistent metaphor for the narrator's self-loathing: "And if on the surface my condition might seem more solid, more compact, here instead, beside Lila, I felt sodden, earth too soaked with water." (p. 294) Yet, it is at this point, after the fateful night away from Nunzio that Elena starts to change once again and find herself. This passage was brilliant: "And her life continuously appears in mine, in the words that I've uttered, in which there's often an echo of hers, in a particular gesture that is an adaptation of a gesture of hers, in my less which is such because of her more, in my more which is the yielding to the force of her less. Not to mention what she never said but let me guess, what I didn't know and read later in her notebooks. Thus the story of the facts has to reckon with filters, deferments, partial truths, half lies: from it comes an arduous measurement of time passed that is based completely on the unreliable measuring device of words." (p. 337). And yet those words are where Elena will find vindication and meaning as she is finally able to put them on paper and write her first book. This comes, of course, after more tribulation in Pisa where Elena feels the social distance between her and the academic society: "Gone was the pleasure of re-educating my voice, my gestures, my way of dressing and walking, as if I were competing for the prize of the best disguise, the mask worn so well that is was almost a face." (p. 400) This passage reminded me a lot of the Bal des Masques in Le Temps Retrouv茅. And it is precisely at this moment of reflection that she writes her book.
I can't wait to read the third volume of this series and can't emphasize enough how engaging a read these books are. I hope my review will incite you to read or reread this magnificent book. C'mon library, hurry up! :)
For this review, I wanted to focus on the title and the importance of names in Ferrante's work. First off, there is, it seems to me, a Proustian reference here to "Le nom du pays - Le nom" which is the somewhat ambiguous subtitle of one of the early sections of La Recherche du Temps Perdu. There are some similarities between Proust's style of describing Marcel's youth to how Ms. Ferrante describes Elena's youth. There is also a second subtle Proustian technique: we learn in this book that the narrator writes her first book and publishes it under her name "Elena" and we know the author's name is given as Elena, so as the same ambiguity exists between Marcel and Elena the narrators, Marcel and Elena the characters, and Marcel and Elena the authors of the book. Underneath this, in the narrative itself, names play a huge role in the story. The, and I apologize for the overwrought term "ambiguity" once again, ambiguous frontier between Elena/Lina/Lenucchia and Lila/Len霉 is apparent in their names and their nicknames. [As an aside, is it me or does the Italian language have an incredible plethora of nicknames?] Elena's search for identity is complex and goes through ups and downs, a reason for this is precisely how hard it is for her to distinguish herself from Lila in her own head - complex because their trajectories, their looks, their families are both so incredibly different and yet Elena has this magnetic, inevitable attraction to her friend and this impedes her search for self.
We pick up the lives of Lila and Elena in the 60s after Lila's mariage to Stefano and during Elena's studies in high school and at university in Pisa. The themes that were present in My Brilliant Friend resonate here once again, especially those of the subjugation of women and the problems of class. Elena's sexual initiation and the battering of Lila by Stefano serve as examples of the former whereas both characters struggles to escape the Neopolitan slums permeate both of their stories. What fascinates me as a reader is the raw, realistic descriptions of Elena's success in gaining some recognition in "good society" and her complex feelings of shame and pride that envelope her. As for Lila, her attempts to escape her disastrous mariage lead her to mistreat Elena time and time again, and despite her heart-stopping beauty and sensuality, she seems inescapably tied to the neighborhood - the Camorra as represented by the Solari brothers and her dialect which binds her to her fate as well.
What also strikes me is the lucid interpretation of the characters' actions. When Nino kisses Elena on the cheek, and then, fatefully, Lila, "[I]n his view it meant: Let's get rid of all the filters that prevent us from fully savoring our being here and now, real" (p. 223). This is actually another theme of the book, how do we live authentically despite the constraints of our culture and our upbringing. The dialogs are rapid-fire and full of irony and meaning. I regret that I cannot read in Italian because I imagine that the passages between Italian and dialect and the intertextual inferences must be even better in the original. The perception of our own self-deception on a daily basis also pervades the text: "There are moments when we resort to senseless formulations and advance absurd claims to hide straightforward feelings" (p. 271) is a lucid truth that is observed by the narrator again and again. Time and time again, Elena is led down corridors of moral ambivalence, "I was there on the island, the air stirred by the cab's movement assailed me with the intense odors of the vegetation from which the night was evaporating. But it was a mortified presence, submissive to the demands of others" (p. 284). In this way, both Naples and Ischia are also characters in the story in how they form the personality of the protagonists. The real problem for Elena is her own lack of self-identity, self-love: "Their passion invaded me, disturbed me. I loved them both and so I couldn't love myself, feel myself, affirm myself with a need for life of my own, one that had the same blind, mute force as theirs, So it seemed to me." (p. 284) There is a gorgeous passage on page 289 of soul-searching on the beach where we feel her pain, her alienation from herself that was literally painful to read: "Lila is right, the beauty of things is a trick, the sky is the throne of fear." Powerful words. Water and the sea are a consistent metaphor for the narrator's self-loathing: "And if on the surface my condition might seem more solid, more compact, here instead, beside Lila, I felt sodden, earth too soaked with water." (p. 294) Yet, it is at this point, after the fateful night away from Nunzio that Elena starts to change once again and find herself. This passage was brilliant: "And her life continuously appears in mine, in the words that I've uttered, in which there's often an echo of hers, in a particular gesture that is an adaptation of a gesture of hers, in my less which is such because of her more, in my more which is the yielding to the force of her less. Not to mention what she never said but let me guess, what I didn't know and read later in her notebooks. Thus the story of the facts has to reckon with filters, deferments, partial truths, half lies: from it comes an arduous measurement of time passed that is based completely on the unreliable measuring device of words." (p. 337). And yet those words are where Elena will find vindication and meaning as she is finally able to put them on paper and write her first book. This comes, of course, after more tribulation in Pisa where Elena feels the social distance between her and the academic society: "Gone was the pleasure of re-educating my voice, my gestures, my way of dressing and walking, as if I were competing for the prize of the best disguise, the mask worn so well that is was almost a face." (p. 400) This passage reminded me a lot of the Bal des Masques in Le Temps Retrouv茅. And it is precisely at this moment of reflection that she writes her book.
I can't wait to read the third volume of this series and can't emphasize enough how engaging a read these books are. I hope my review will incite you to read or reread this magnificent book. C'mon library, hurry up! :)
July 6, 2022
*vlog 卯n curs de filmare鈥�* 馃馃徎
December 29, 2018
"For your whole life you love people and you never really know who they are." (Nunzia to Len霉, p.215)
This one's a heartbreaker. So exquisitely rendered that you'll recognize your own hideous pain rising up to assail you again, dear Reader; your losses, your miseries in the cause of love. Ferrante makes universal the disparate pain all loving creatures suffer. Toward the end, when reality becomes too much for some of the characters, they descend into scarily dissociative states that surprise and rattle.
The novel's narrative pleasure is dizzying. Every action naturally folds into the next; the continuity is superb. The clarity is extraordinary, it never relents. I found myself slowing down to take in the richness as I would when reading a poem. That's the paradox Ferrante incites in readers: between wanting to gallop through the stunning tale, to just gobble it up like cake, and slowing down to take in the beauty of its structure and language.
It's the early 1960s in Naples and Lina Carracci (n茅e Cerullo) is newly and miserably married and living in virtual purdah with her husband, Stefano, whom she has quickly learned to hate because he is a tool of the Solaras, who are Cammora. Mr. and Mrs. Carracci live quite well in a new apartment with modern decor and lots of money because of their connection to these local criminals.
Lina, we will recall from volume one, , was unable to go on with her education at age ten or so and was made to work in her father's shoe shop. Her chance of a higher education gone鈥攅ven though she was the smartest girl in the school鈥攕he then had to resort to other means of self advancement, namely marriage. In the early going here it's not going so well. She feels, not without justification, that Stefano tricked her into marriage. So she refuses him the great gift and he beats her to a pulp regularly, in effect raping his wife.
In her friend Len霉, our narrator, Lina sees her own lost dream of education still alive. Yet Len霉's having her man problems too. Her lover, Antonio, a car mechanic, suspects her of interest in another fellow, Nino, who is intellectually Len霉's match in a way Antonio can never be. Len霉 stays with the blue collar Antonio, though, because she doesn't feel worthy of Nino, having come from a background much like Antonio's. Len霉 disparages her intellect and achievements, lusting over the distant Nino. She is trying to make that leap but can't see how she might do it.
This is all a little silly when you consider that Nino is actually from her own neighborhood. She's known him since she was a child. But his father moved out of the neighborhood many years ago and became a college professor. And now Len霉 feels Nino's somehow out of her league.
Suffice it to say, Nino is more available then Len霉 suspects. That's the problem. I say no more. Read.
The long interlude on the beach at Ischia reminds me very much of Cesare Pavese's novellas, particularly "The Beach," as found in . One of Nino's sisters is even named Clelia. Another work, which harrowingly evokes the terrors of youthful sexual awakening, is brought to mind by The Story Of A New Name, and that's Knut Hamsun's . See my reviews of both books.
On to Volume 3....
This one's a heartbreaker. So exquisitely rendered that you'll recognize your own hideous pain rising up to assail you again, dear Reader; your losses, your miseries in the cause of love. Ferrante makes universal the disparate pain all loving creatures suffer. Toward the end, when reality becomes too much for some of the characters, they descend into scarily dissociative states that surprise and rattle.
The novel's narrative pleasure is dizzying. Every action naturally folds into the next; the continuity is superb. The clarity is extraordinary, it never relents. I found myself slowing down to take in the richness as I would when reading a poem. That's the paradox Ferrante incites in readers: between wanting to gallop through the stunning tale, to just gobble it up like cake, and slowing down to take in the beauty of its structure and language.
It's the early 1960s in Naples and Lina Carracci (n茅e Cerullo) is newly and miserably married and living in virtual purdah with her husband, Stefano, whom she has quickly learned to hate because he is a tool of the Solaras, who are Cammora. Mr. and Mrs. Carracci live quite well in a new apartment with modern decor and lots of money because of their connection to these local criminals.
Lina, we will recall from volume one, , was unable to go on with her education at age ten or so and was made to work in her father's shoe shop. Her chance of a higher education gone鈥攅ven though she was the smartest girl in the school鈥攕he then had to resort to other means of self advancement, namely marriage. In the early going here it's not going so well. She feels, not without justification, that Stefano tricked her into marriage. So she refuses him the great gift and he beats her to a pulp regularly, in effect raping his wife.
In her friend Len霉, our narrator, Lina sees her own lost dream of education still alive. Yet Len霉's having her man problems too. Her lover, Antonio, a car mechanic, suspects her of interest in another fellow, Nino, who is intellectually Len霉's match in a way Antonio can never be. Len霉 stays with the blue collar Antonio, though, because she doesn't feel worthy of Nino, having come from a background much like Antonio's. Len霉 disparages her intellect and achievements, lusting over the distant Nino. She is trying to make that leap but can't see how she might do it.
This is all a little silly when you consider that Nino is actually from her own neighborhood. She's known him since she was a child. But his father moved out of the neighborhood many years ago and became a college professor. And now Len霉 feels Nino's somehow out of her league.
There was no escape. No, neither Lina nor I would ever become like the [sophisticated] girl who had waited for Nino after school. We both lacked something intangible but fundamental, which was obvious in her even if you simply saw her from a distance, and which one possessed or did not, because to have that thing it was not enough to learn Latin or Greek or philosophy, nor was the money from groceries or shoes of any use. (p. 84)
Suffice it to say, Nino is more available then Len霉 suspects. That's the problem. I say no more. Read.
The long interlude on the beach at Ischia reminds me very much of Cesare Pavese's novellas, particularly "The Beach," as found in . One of Nino's sisters is even named Clelia. Another work, which harrowingly evokes the terrors of youthful sexual awakening, is brought to mind by The Story Of A New Name, and that's Knut Hamsun's . See my reviews of both books.
On to Volume 3....
March 9, 2025
Aaahhhhhhhhh
Full review to come鈥� currently too busy screaming, crying, and immediately starting the next book in this series.
Full review to come鈥� currently too busy screaming, crying, and immediately starting the next book in this series.
February 14, 2022
The hearts, minds and souls of two young women seep from the pages as in the first book of the series where they were little girls, best friends growing up in a rough neighborhood in Naples. In this second book, Ferrante brings her readers back fully into the lives of Lila and Elena, not gently, but with full force. I was fully immersed into their harsh realities that were painfully raw and graphic at times, into the messiness of relationships of a cast of characters, especially the complex friendship between Elena and Lila . I was gutted at times and stunned, but I couldn鈥檛 put it down.
I read the first book six years ago and I wish I hadn鈥檛 waited so long to continue with their story. I was drawn back to them because I was taken in by the HBO adaptation of the books . I watched two seasons, the second of which was based on this book. I came away amazed at how closely the series followed the books in scenes and tone, dialog and characterization. Season 3 based on the third book begins on February 28th. I plan to read the third book before then, but I鈥檒l wait a few days to absorb the intensity of this one. I will, of course, be reading the forth and last book as well, but I have a feeling it will be hard to say goodbye.
January 28, 2024
[From L'amie prodigieuse]
Choice of role
You can be either a bad girl or a good girl. When you have played a bit more, you can even try combining these two roles! See "Advanced options" below.
Bad girl
If you are a bad girl, you will be able to speak your mind and express your sexuality freely, but you will be beaten, raped and called a whore and a witch. You may also be subjected to other punishments, such as being disowned by your family or forced into a dangerous and poorly remunerated job.
Good girl
If you are a good girl, you will be grudgingly accepted by society, but you will have to work twenty-four hours a day to learn the complex rules you need to follow, you will constantly feel that you are a fraud and an imposter, and you will need to sleep with people who do not attract you while pretending that they do.
Goal of the game
Your goal is to have children and live long enough to see them grow up only mildly damaged. You will find that this is harder than it sounds, but that's all part of the fun!
Advanced options
When you have played the game a few times, you may want to try combining the bad girl and good girl roles. You may for example be a bad girl who gets married and tries to stay faithful to her husband, or a good girl who writes a daring and truthful novel about her life. Note however that none of these strategies will actually let you win.
Useful tips
If you decide to get serious about WOMAN鈩�, there are several excellent books which will help you improve your skills. Elena Ferrante's series is particularly good. Go out and buy a copy tomorrow, you won't regret it!
WARNING
Spending too much time playing WOMAN鈩� can be very depressing. Make sure you take frequent breaks, and remember that it's only a game.
Enjoy!
[To Celle qui fuit et celle qui reste]
Choice of role
You can be either a bad girl or a good girl. When you have played a bit more, you can even try combining these two roles! See "Advanced options" below.
Bad girl
If you are a bad girl, you will be able to speak your mind and express your sexuality freely, but you will be beaten, raped and called a whore and a witch. You may also be subjected to other punishments, such as being disowned by your family or forced into a dangerous and poorly remunerated job.
Good girl
If you are a good girl, you will be grudgingly accepted by society, but you will have to work twenty-four hours a day to learn the complex rules you need to follow, you will constantly feel that you are a fraud and an imposter, and you will need to sleep with people who do not attract you while pretending that they do.
Goal of the game
Your goal is to have children and live long enough to see them grow up only mildly damaged. You will find that this is harder than it sounds, but that's all part of the fun!
Advanced options
When you have played the game a few times, you may want to try combining the bad girl and good girl roles. You may for example be a bad girl who gets married and tries to stay faithful to her husband, or a good girl who writes a daring and truthful novel about her life. Note however that none of these strategies will actually let you win.
Useful tips
If you decide to get serious about WOMAN鈩�, there are several excellent books which will help you improve your skills. Elena Ferrante's series is particularly good. Go out and buy a copy tomorrow, you won't regret it!
WARNING
Spending too much time playing WOMAN鈩� can be very depressing. Make sure you take frequent breaks, and remember that it's only a game.
Enjoy!
[To Celle qui fuit et celle qui reste]
March 31, 2017
4.5 stars
"Yes, it鈥檚 Lila who makes writing difficult. My life forced me to imagine what hers would have been if what happened to me had happened to her, what use she would have made of my luck. And her life continuously appears in mine, in the words that I鈥檝e uttered, in which there鈥檚 often an echo of hers, in my less which is such because of her more, in my more which is the yielding to the force of her less."
This second book in Elena Ferrante鈥檚 Neapolitan series continues the story of two childhood friends, now young adults, Lila and Elena. Just as riveting as My Brilliant Friend, The Story of a New Name captured my attention from page one. It鈥檚 quite dramatic really, and I found that at times my head was spinning from the depth of the penetrating look at the lives, behaviors, motivations and innermost thoughts of this pair. Now, a book that sets my head spinning can be a good thing 鈥� and it was here. An accomplished writer like Ferrante can draw you in like you are watching the drama play out right in front of you. It did require, however, a step back from time to time to relax and catch my breath. A bit of re-energizing is necessary to take it all in! Imagine yourself a teenager still, with all the complexities of emotions, the uncertainties, the jealousies, and the sometimes rash behaviors attributed to you and your friends and acquaintances. But now add in a degree of poverty that most of us are fortunately not accustomed to, violence that I pray most are not subjected to, and the expectations and obstacles faced by women in the late 1950s and early 1960s. This is precisely what Lila and Elena deal with and what we as readers are privy to through the lens provided to us.
Now, if you haven鈥檛 read the first book in the series, you may want to stop reading this review at this point. I鈥檓 not revealing any spoilers, but I personally didn鈥檛 want any details before reading and you may feel the same. I just want to talk about Lila and Elena a little bit more. Throughout the novel, I found myself reflecting on the two and who was better off, who the stronger of the two characters, etc. I think the opening quote to my review really sums up the relationship between the two and I came to my own conclusion, whether right or wrong, that each completes the other. Elena may have had more educational opportunities, but without the encouragement of Lila as well as a sense of competition, she may not have had the drive to take advantage of those opportunities. Lila finds herself in a marriage that does not suit her from the beginning, but she will fight for something more. She has more material possessions, and after all, wasn鈥檛 that the dream these two had as little girls? Wasn鈥檛 that the goal of going to school and receiving an education? They wanted to become rich! But happiness is elusive. Perhaps riches are not enough. Is it too late to re-make oneself and achieve something more? I think Lila can sustain herself knowing that Elena has been successful with her studies. Maybe there are more ways to rise above the poverty and the violence of the neighborhood other than money. The narrative is written from Elena鈥檚 point of view, but we also get occasional glimpses from Lila鈥檚 point of view through a series of notebooks she entrusted to Elena. Notebooks that Elena was not given permission to read, but that is neither here nor there! If your best friend gave you her diary for safekeeping, what would you do?! Maybe your friend gave you the diary because she couldn鈥檛 express the deepest feelings in her heart, and she knew that you would not be able to resist? In this way, you can share your thoughts in a less confrontational manner perhaps. I don鈥檛 really know, but it was certainly a clever means for us to glean more than just Elena鈥檚 point of view here.
I don鈥檛 know that I can say much more about this book or this series 鈥� it鈥檚 one that I could contemplate for an indefinite amount of time! So much happens in these pages, but none of it is confusing. There are a lot of names and variations of names for the same person. A guide at the front of the book helps with this. Otherwise, it flows seamlessly and is written skillfully. There is drama, but I don鈥檛 mean to say it鈥檚 melodramatic. Not in the least. I will admit that it is addicting! Oh, and that ending! I will read the next in the series, albeit with a bit of a break in between.
"Yes, it鈥檚 Lila who makes writing difficult. My life forced me to imagine what hers would have been if what happened to me had happened to her, what use she would have made of my luck. And her life continuously appears in mine, in the words that I鈥檝e uttered, in which there鈥檚 often an echo of hers, in my less which is such because of her more, in my more which is the yielding to the force of her less."
This second book in Elena Ferrante鈥檚 Neapolitan series continues the story of two childhood friends, now young adults, Lila and Elena. Just as riveting as My Brilliant Friend, The Story of a New Name captured my attention from page one. It鈥檚 quite dramatic really, and I found that at times my head was spinning from the depth of the penetrating look at the lives, behaviors, motivations and innermost thoughts of this pair. Now, a book that sets my head spinning can be a good thing 鈥� and it was here. An accomplished writer like Ferrante can draw you in like you are watching the drama play out right in front of you. It did require, however, a step back from time to time to relax and catch my breath. A bit of re-energizing is necessary to take it all in! Imagine yourself a teenager still, with all the complexities of emotions, the uncertainties, the jealousies, and the sometimes rash behaviors attributed to you and your friends and acquaintances. But now add in a degree of poverty that most of us are fortunately not accustomed to, violence that I pray most are not subjected to, and the expectations and obstacles faced by women in the late 1950s and early 1960s. This is precisely what Lila and Elena deal with and what we as readers are privy to through the lens provided to us.
Now, if you haven鈥檛 read the first book in the series, you may want to stop reading this review at this point. I鈥檓 not revealing any spoilers, but I personally didn鈥檛 want any details before reading and you may feel the same. I just want to talk about Lila and Elena a little bit more. Throughout the novel, I found myself reflecting on the two and who was better off, who the stronger of the two characters, etc. I think the opening quote to my review really sums up the relationship between the two and I came to my own conclusion, whether right or wrong, that each completes the other. Elena may have had more educational opportunities, but without the encouragement of Lila as well as a sense of competition, she may not have had the drive to take advantage of those opportunities. Lila finds herself in a marriage that does not suit her from the beginning, but she will fight for something more. She has more material possessions, and after all, wasn鈥檛 that the dream these two had as little girls? Wasn鈥檛 that the goal of going to school and receiving an education? They wanted to become rich! But happiness is elusive. Perhaps riches are not enough. Is it too late to re-make oneself and achieve something more? I think Lila can sustain herself knowing that Elena has been successful with her studies. Maybe there are more ways to rise above the poverty and the violence of the neighborhood other than money. The narrative is written from Elena鈥檚 point of view, but we also get occasional glimpses from Lila鈥檚 point of view through a series of notebooks she entrusted to Elena. Notebooks that Elena was not given permission to read, but that is neither here nor there! If your best friend gave you her diary for safekeeping, what would you do?! Maybe your friend gave you the diary because she couldn鈥檛 express the deepest feelings in her heart, and she knew that you would not be able to resist? In this way, you can share your thoughts in a less confrontational manner perhaps. I don鈥檛 really know, but it was certainly a clever means for us to glean more than just Elena鈥檚 point of view here.
I don鈥檛 know that I can say much more about this book or this series 鈥� it鈥檚 one that I could contemplate for an indefinite amount of time! So much happens in these pages, but none of it is confusing. There are a lot of names and variations of names for the same person. A guide at the front of the book helps with this. Otherwise, it flows seamlessly and is written skillfully. There is drama, but I don鈥檛 mean to say it鈥檚 melodramatic. Not in the least. I will admit that it is addicting! Oh, and that ending! I will read the next in the series, albeit with a bit of a break in between.
November 13, 2018
Loved it just as much the 2nd time reading it. I adore these characters and would read 100 books about them.
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4.5 stars Update: Bumping this one up to a 5 stars because after a few months of thinking about it, it's definitely my favorite in the series. I keep finding myself thinking of certain scenes and elements of this installment, and I love it.
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I'm not sure if I can write a coherent review of this book right now. There are so many layers to this story, so much to unpack, and yet still, as this is book 2 of 4, so much left to discover.
I am incredibly impressed by Ferrante's ability to develop characters that are real, more real than almost any other characters I have read before. They have ambition, are flawed, fight and love and inspire.
There is high probability I will come back and give this book a 5 star rating later, but for now I want to finish the series and accumulate my thoughts. Oh, and this book has one of the best pages of literature I've ever read, so there's that.
I can't wait to read books 3 & 4!
-----
-----
I'm not sure if I can write a coherent review of this book right now. There are so many layers to this story, so much to unpack, and yet still, as this is book 2 of 4, so much left to discover.
I am incredibly impressed by Ferrante's ability to develop characters that are real, more real than almost any other characters I have read before. They have ambition, are flawed, fight and love and inspire.
There is high probability I will come back and give this book a 5 star rating later, but for now I want to finish the series and accumulate my thoughts. Oh, and this book has one of the best pages of literature I've ever read, so there's that.
I can't wait to read books 3 & 4!
March 21, 2018
I tore through this in a kind of furious curiosity, annoyed with myself for being so involved and annoyed with Ferrante for taking so long to do what she does. The plot, heavy on frustrated emotion, is drawn out with intense internal monologues and telenovela miscommunications 鈥� and yet the actual characters are so real, built with such psychological verisimilitude, that you are fascinated despite yourself. The effect is as though Doris Lessing spent a season guest-writing for Days of our Lives.
I personally find Ferrante's writing unexciting; there is something a little laborious about the way she assembles her story, something flat about the way narrative events are introduced. 鈥楾he day went smoothly, apart from two episodes that apparently had no repercussions,鈥� she'll write. 鈥楬ere's the first.鈥� Clunk, clunk. Sometimes the translation does not help, either:
This just sounds so strange, so formal, especially for someone who's supposed to be angry. That 鈥榠t's I who do鈥� is one of those weird artefacts of translationese where rigid grammatical correctness is placed above any sense of naturalism. When I hit a line like this, I drop out of the story until I've rewritten it in my head (You're both wrong: I'm the one doing what Lina wants, not the other way round). But despite all this, the characterisation is excellent: you just believe everything she says about these people. It's a talent some musicians have, too. Tom Waits can sing 鈥楽ha la la la la la la la鈥� and make it sound like an insight. Len霉 and Lina are insightful, three-dimensional people, however bland I sometimes find the prose.
The characters' lifelikeness is perhaps the more surprising for how tightly constrained all their behaviour is by codes of convention. This is particularly true of the men, whose social obligations to be aggressive gave me faint but nevertheless exhausting flashbacks to the stupid expectations that groups of boys have about getting angry, about hitting people. And my upbringing was, by comparison, a ludicrously comfortable and middle-class one. Whereas in the Naples suburbi, the most innocuous comment about your sister or girlfriend can necessitate the extreme and immediate application of violence, thanks to what Ferrante describes as 鈥榯he incredibly detailed male regulations鈥� dictating their lives.
It almost feels against the grain to talk about how men are treated in Ferrante, but I found it fascinating. She's not in the least censorious about their propensity for violence; she depicts it very organically as something imposed on them by an external 鈥� social 鈥� force. When Stefano is beating his wife, Ferrante describes him as
And she is punctilious about showing how these imperatives are fostered by the women just as much as by the other men. 鈥楾hat was what we said, we girls, when someone didn't care much about us: that he wasn't a man.鈥� When Lila explains away her bruises by saying that she fell, Ferrante's understanding of the scene is exquisite:
The curious thing about that passage is that she ascribes to Lila a command of irony that she, Ferrante, does not display herself. It's interesting in light of a line from a review in The Australian which has been splashed all over the covers of these novels: 鈥業magine if Jane Austen got angry鈥�. This has the air of someone reaching for the only famous female novelist they can think of; but anyway, my point is that Austen would not have needed to explain that Lila's tone or her friends' belief was ironic, because for Austen the irony was embedded in the narrative voice itself 鈥� and was the more deadly for it.
In spite of all that stuff, let the record show that I have immediately started reading book three and that I hate myself.
I personally find Ferrante's writing unexciting; there is something a little laborious about the way she assembles her story, something flat about the way narrative events are introduced. 鈥楾he day went smoothly, apart from two episodes that apparently had no repercussions,鈥� she'll write. 鈥楬ere's the first.鈥� Clunk, clunk. Sometimes the translation does not help, either:
I got mad, I said, 鈥淵ou are both mistaken: it's I who do what Lina wants, not the opposite.鈥�
This just sounds so strange, so formal, especially for someone who's supposed to be angry. That 鈥榠t's I who do鈥� is one of those weird artefacts of translationese where rigid grammatical correctness is placed above any sense of naturalism. When I hit a line like this, I drop out of the story until I've rewritten it in my head (You're both wrong: I'm the one doing what Lina wants, not the other way round). But despite all this, the characterisation is excellent: you just believe everything she says about these people. It's a talent some musicians have, too. Tom Waits can sing 鈥楽ha la la la la la la la鈥� and make it sound like an insight. Len霉 and Lina are insightful, three-dimensional people, however bland I sometimes find the prose.
The characters' lifelikeness is perhaps the more surprising for how tightly constrained all their behaviour is by codes of convention. This is particularly true of the men, whose social obligations to be aggressive gave me faint but nevertheless exhausting flashbacks to the stupid expectations that groups of boys have about getting angry, about hitting people. And my upbringing was, by comparison, a ludicrously comfortable and middle-class one. Whereas in the Naples suburbi, the most innocuous comment about your sister or girlfriend can necessitate the extreme and immediate application of violence, thanks to what Ferrante describes as 鈥榯he incredibly detailed male regulations鈥� dictating their lives.
It almost feels against the grain to talk about how men are treated in Ferrante, but I found it fascinating. She's not in the least censorious about their propensity for violence; she depicts it very organically as something imposed on them by an external 鈥� social 鈥� force. When Stefano is beating his wife, Ferrante describes him as
trying to assimilate fully an order that was coming to him from very far away, perhaps even from before he was born. The order was: be a man, Ste'鈥�
And she is punctilious about showing how these imperatives are fostered by the women just as much as by the other men. 鈥楾hat was what we said, we girls, when someone didn't care much about us: that he wasn't a man.鈥� When Lila explains away her bruises by saying that she fell, Ferrante's understanding of the scene is exquisite:
She had used, in telling that lie, a sarcastic tone and they had all sarcastically believed her, especially the women, who knew what had to be said when the men who loved them and whom they loved beat them severely. Besides, there was no one in the neighborhood, especially of the female sex, who did not think that she had needed a good thrashing for a long time. So the beatings did not cause outrage, and in fact sympathy and respect for [her husband] increased鈥攖here was someone who knew how to be a man.
The curious thing about that passage is that she ascribes to Lila a command of irony that she, Ferrante, does not display herself. It's interesting in light of a line from a review in The Australian which has been splashed all over the covers of these novels: 鈥業magine if Jane Austen got angry鈥�. This has the air of someone reaching for the only famous female novelist they can think of; but anyway, my point is that Austen would not have needed to explain that Lila's tone or her friends' belief was ironic, because for Austen the irony was embedded in the narrative voice itself 鈥� and was the more deadly for it.
In spite of all that stuff, let the record show that I have immediately started reading book three and that I hate myself.
Want to read
July 14, 2024it would be so off brand for me not to like this series
October 11, 2017
I鈥檓 still a bit puzzled about the phenomen that Ferrante鈥檚 cycle is. I don鈥檛 find writing particuralry brilliant, I think I didn鈥檛 mark any single quote here and yet enjoyed the story. I thought it was very predictible at times, I could see what was coming and mostly hadn鈥檛 been suprised by the course of events and still kept reading. I can't say it was innovative or imaginative yet Ferrante managed to draw me in her world entirely. Maybe I鈥檓 mistaken, but as I mentioned in the review of MBF, I still haven鈥檛 spotted in the second volume anything to not maintain that Ferrante is excorcising her past. Her writing here feels too intimate, too personal to think about this one only as a fictional story. Perhaps her case is similar to other writers, including Edward St. Aubyn and his Patrick Melrose or My struggle by Karl Ove Knausg氓rd that I鈥檓 reading now, and this is her way to deal with the demons of the past, a necessary step on the way to move on, to finally let go.
I鈥檝e returned to Lila and Elena鈥� story after over two years and I find myself still engaged in their story and difficult friendship, the relationship that actually feels more like challenging than supporting each others. I was suprised how easily I entered their lives again and how much I rememberd from the previous tome. Of course some names eluded me but the main protagonists didn鈥檛 fade in my memory. Like in the first installment this one bases on choices girls had made already and its aftermaths. It鈥檚 useless to describing the plot for you either buy this story or not, either you鈥檙e involved and concerned their fates or are bored and somewhat dismissive, like, you know, such things still happen so what鈥檚 the point to write hundreds pages about it? I for my part was really engaged from the first page and thought that strength of the novel lies just in this meticulous description, this detailed dissection, this ugly at times mundanity and sheer ordinariness of their lives.
The Story of a New Name is about losing old self and identity and by adopting a new name, the husband鈥檚 name, forging the new one. It鈥檚 about struggling to remain oneself in mostly man鈥檚 world, where masculine point of view is sanctity and it鈥檚 highly unreasonable to defy established order. It鈥檚 about violence womens were still subjected to and time-honoured agreement to it. It鈥檚 about humilitian that not only fathers or husbands deliver but also women to themselves. It's about attempting to break the vicious circle of poverty and misery by abandoning not only family home, not even a quarter and neighbourhood but also a city if it needs.
Lila鈥檚 figure is more complicated one and she is far more reckless, rebellious and untamed than in the first volume, she hurts and degradates Elena because she herself is a victim. Their relationship once again is full of mutual resentments and envy and admiration and their sense of closeness more and more precarious. Ferrante doesn鈥檛 shy away from speaking of violence and abuse and rape and wife-beaters; she bluntly describes the ugly face of Lila鈥檚 marriage and where and why it failed. She lets us know the moment when the girls, young women actually, had to acknowledge the truth that no matter what they would do, no matter how much money Lila has now or how educated Elena is, they still would have no chance with thoroughbred, that true class and natural grace is not to buy or imitate.
I think I鈥檓 enjoying the story because it has an air of something tangible, it鈥檚 like hearing about people you know in real life, people you're supporting in their struggling. I don鈥檛 expect anything spectacular or flamboyant or bigger than life. And I think I鈥檒l stop here.
May 9, 2023
Reading Elena Ferrante鈥檚 second book in her Neapolitan series felt like a return to a time when working-class teens married young and were forced to play the role of adults. How well Ferrante captured this mix of adult responsibility and adolescent urge in each character, as well as in the overall tone! I felt immersed in the delicious excitement of girlhood friendship and first times, and how all decisions must be navigated within the loyalty of the one friendship that matters most.
Lately, I feel like everything matters more than it used to. The problems we鈥檙e all dealing with seem now to be of the highest stakes. But perhaps life is really a series of crossing thresholds? I believe one of the hardest is the transition to adulthood: going from that place where your stomach is in knots from all that happens to you, to being faced with the choices that will shape the rest of your life.
This book is wonderful at capturing what it鈥檚 like to rise above your community of origin, and what it鈥檚 like to abandon it even if it means you fall. Here, the experiences are of ambitious, intelligent, female teens marked by a working class neighborhood where violence is the primary language. The friendship between the two women is symbiotic: They live without each other for long stretches, but the threads of one another are permanently interwoven, forcing a constant seesaw of success and sacrifice. Of course, this leads to betrayals.
Ferrante also wonderfully captures the fate of a smart, gorgeous, hard-working girl whose only choice for her future lies in which man she will attach to, and how she will use other influential males in the community. We see how she tries to let academic learning fall away because there鈥檚 no use for it in her every day, and yet her drive to devour ideas is not easily thwarted. To change would mean to no longer be compatible with the world she grew up in. So, one half of this pair makes the decision to go, one to stay; both decisions can be lonely, both exciting, both incomplete.
Ferrante is good. I like her more than I thought I would. Her first two novels in this series are relatable and immersive, and of the first three, this was my favorite. I liked book-one more than I thought I would, too. This one goes deeper, and I think a reader can start here, and later read the first for background. Be warned, however: this one ends on a cliffhanger.
Lately, I feel like everything matters more than it used to. The problems we鈥檙e all dealing with seem now to be of the highest stakes. But perhaps life is really a series of crossing thresholds? I believe one of the hardest is the transition to adulthood: going from that place where your stomach is in knots from all that happens to you, to being faced with the choices that will shape the rest of your life.
This book is wonderful at capturing what it鈥檚 like to rise above your community of origin, and what it鈥檚 like to abandon it even if it means you fall. Here, the experiences are of ambitious, intelligent, female teens marked by a working class neighborhood where violence is the primary language. The friendship between the two women is symbiotic: They live without each other for long stretches, but the threads of one another are permanently interwoven, forcing a constant seesaw of success and sacrifice. Of course, this leads to betrayals.
Ferrante also wonderfully captures the fate of a smart, gorgeous, hard-working girl whose only choice for her future lies in which man she will attach to, and how she will use other influential males in the community. We see how she tries to let academic learning fall away because there鈥檚 no use for it in her every day, and yet her drive to devour ideas is not easily thwarted. To change would mean to no longer be compatible with the world she grew up in. So, one half of this pair makes the decision to go, one to stay; both decisions can be lonely, both exciting, both incomplete.
Ferrante is good. I like her more than I thought I would. Her first two novels in this series are relatable and immersive, and of the first three, this was my favorite. I liked book-one more than I thought I would, too. This one goes deeper, and I think a reader can start here, and later read the first for background. Be warned, however: this one ends on a cliffhanger.
July 18, 2024
i鈥檓 a yapper at heart but this book has rendered me speechless
August 16, 2016
When we get to the end of the second book in Ferrante鈥檚 quartet of novels, we think we see the genesis of that quartet: a twenty-day writing exercise that took the angst out of university graduation for Elena Greco, also called Len霉. Although I struggled through this volume, listening to the voices of teens talking about their confusion and noting their lack of confidence while they strode boldly ahead, all was forgiven in the last one hundred pages.
The girls are now women, having earned a few hard-won truths they will use to the end of their days. The first lessons last longest. Lina and Len霉, the names barely distinguishable when heard, have discovered that in early 1960鈥檚 Italy, it is still a man鈥檚 world. Lina is unafraid and almost preternaturally resistant to control. She is curious, and furious. She is still the one we look to when we want to know what comes next. Her refusal to take what鈥檚 coming to her makes everyone, paradoxically, jealous of her.
Len霉 is soft and bosomy and tries very hard to rustle up indignation about world peace, about Lina taking a lover (Len霉's lover), about her prospects after university. She wants to feel things as deeply and as ardently as Lina. When she sees Lina again at the end of this novel, we can tell she knows she will never reach those depths. And perhaps it is just as well. One must have the whole package if one is to survive those depths: a fierce, innovative intelligence and an unrelenting determination to survive on one鈥檚 own terms.
Put in the context of world literature, this series is developing into something remarkable. The voices of women in a man鈥檚 world are so seldom heard without interference or distortion. While that may not be true today, it was certainly true in 1960鈥檚 Italy, and to have even a glimpse behind the veil is something precious. But this is fiction, you protest. Ah, nobody could make a world so complete, so filled with recognizable motivations, were it not at least close to a kind of universal truth.
Besides that, there is the style of the work: it is so accessible, so female, so filled with things men would never say, never contemplate saying. We all grew up reading the writing of men, so we can consider ourselves experts. This work is different. It dwells on minutiae. The aspects of characters are raked over, head to foot, for what they reveal about that character鈥檚 state of mind and intention. The story slows while we contemplate their dilemmas, and like women everywhere, put ourselves in their place. It is a kind of soap opera, but the very best kind. It is the kind that teaches us something about how the world works and how other have dealt with circumstances we might encounter.
But it may be the language that is the most remarkable thing of all. Throughout the novel we hear Len霉 talking about dialect versus Italian, implying that there are things that can be said in Italian that can not be conveyed in dialect. Well, it seems that there is also a kind of alchemy here that relates to the language Ferrante uses that gives us direct access to the hearts and minds of two women on the cusp of adulthood. Other people have tried to do this, but Ferrante has succeeded beyond the borders of her own country, beyond her generation, beyond her sex. When Elena says she went to Lina at the end of the novel to 鈥渟how her what she had lost and what I had won,鈥� we wait for it鈥ait for the penny to drop鈥�
For those following this series, or those put off by the covers, please note there is a debate raging in literary circles about just this topic: explaining the publisher's point in deciding on the covers as they are.
The girls are now women, having earned a few hard-won truths they will use to the end of their days. The first lessons last longest. Lina and Len霉, the names barely distinguishable when heard, have discovered that in early 1960鈥檚 Italy, it is still a man鈥檚 world. Lina is unafraid and almost preternaturally resistant to control. She is curious, and furious. She is still the one we look to when we want to know what comes next. Her refusal to take what鈥檚 coming to her makes everyone, paradoxically, jealous of her.
Len霉 is soft and bosomy and tries very hard to rustle up indignation about world peace, about Lina taking a lover (Len霉's lover), about her prospects after university. She wants to feel things as deeply and as ardently as Lina. When she sees Lina again at the end of this novel, we can tell she knows she will never reach those depths. And perhaps it is just as well. One must have the whole package if one is to survive those depths: a fierce, innovative intelligence and an unrelenting determination to survive on one鈥檚 own terms.
Put in the context of world literature, this series is developing into something remarkable. The voices of women in a man鈥檚 world are so seldom heard without interference or distortion. While that may not be true today, it was certainly true in 1960鈥檚 Italy, and to have even a glimpse behind the veil is something precious. But this is fiction, you protest. Ah, nobody could make a world so complete, so filled with recognizable motivations, were it not at least close to a kind of universal truth.
Besides that, there is the style of the work: it is so accessible, so female, so filled with things men would never say, never contemplate saying. We all grew up reading the writing of men, so we can consider ourselves experts. This work is different. It dwells on minutiae. The aspects of characters are raked over, head to foot, for what they reveal about that character鈥檚 state of mind and intention. The story slows while we contemplate their dilemmas, and like women everywhere, put ourselves in their place. It is a kind of soap opera, but the very best kind. It is the kind that teaches us something about how the world works and how other have dealt with circumstances we might encounter.
But it may be the language that is the most remarkable thing of all. Throughout the novel we hear Len霉 talking about dialect versus Italian, implying that there are things that can be said in Italian that can not be conveyed in dialect. Well, it seems that there is also a kind of alchemy here that relates to the language Ferrante uses that gives us direct access to the hearts and minds of two women on the cusp of adulthood. Other people have tried to do this, but Ferrante has succeeded beyond the borders of her own country, beyond her generation, beyond her sex. When Elena says she went to Lina at the end of the novel to 鈥渟how her what she had lost and what I had won,鈥� we wait for it鈥ait for the penny to drop鈥�
"[Lina] was explaining to me that I had won nothing, that in the world there is nothing to win, that her life was as full of varied and foolish adventures as much as mine, and that time slipped away without any meaning, and it was good just to see each other very so often to hear the mad sound of the brain of one echo in the mad sound of the brain of the other."Ferrante deserves the attention she has had from this series of novels. It is world-class literature that deserves a place in the pantheon. I am looking forward to .
For those following this series, or those put off by the covers, please note there is a debate raging in literary circles about just this topic: explaining the publisher's point in deciding on the covers as they are.
November 22, 2024
丕夭 爻乇蹖 乇蹖賵蹖賵賴丕蹖 睾蹖亘鬲 氐睾乇蹖
鬲丕 丨丕賱丕 卮丿賴 讴賴 丕賲鬲丿丕丿鬲賵賳 乇賵 丿乇 鬲賳 丿蹖诏賴鈥屫й� 亘亘蹖賳蹖賳責 丕賳诏丕乇 賳爻禺賴鈥屰� 賲鬲賮丕賵鬲蹖 丕夭 卮賲丕 亘丕 卮乇丕蹖胤 鬲賯乇蹖亘丕 丕蹖丿賴鈥屫①� 亘賴 夭賳丿诏蹖 丕丿丕賲賴 賲蹖丿賴. 亘賴 賲賵賯毓蹖鬲鈥屬囏й屰� 讴賴 爻乇 乇丕賴卮 賯乇丕乇 賲蹖鈥屭屫辟囏� 賮讴乇 賲蹖鈥屭┵嗃屬�. 丕蹖賳讴賴 丕诏乇 賲賳 賴賲 噩丕蹖 丕賵賳 亘賵丿賲貙 卮丕蹖丿 夭賳丿诏蹖賲 亘賴 丕蹖賳 賲賳賵丕賱 賳賲蹖鈥屭柏簇�. 趩蹖 卮丿 讴賴 丕賵賳 禺賵丕爻鬲 賵 鬲賵賳爻鬲 丕賲丕 賲賳 禺賵丕爻鬲賲 賵 賳鬲賵賳爻鬲賲責 趩賴 丕鬲賮丕賯蹖 丕賮鬲丕丿 讴賴 賲賳 賲睾乇賵賯 卮丿賲 賵 丕賵賳 賳噩丕鬲 倬蹖丿丕 讴乇丿責 賲诏賴 賲丕 賲孬賱 賴賲 賳亘賵丿蹖賲責 倬爻 趩乇丕 夭賳丿诏蹖 亘丕 賲賳 禺賵亘 鬲丕 賳讴乇丿 賵 爻乇 丕賵賳 賵乇賯 亘乇诏卮鬲責 賲賳 卮丿賲 爻丕蹖賴鈥屫й� 讴賴 亘賴 趩卮賲 賳賲蹖丕丿. 亘賴 亘胤丕賱鬲 乇賮鬲賲. 倬跇賲乇丿賲 賵 禺賵丕爻鬲賲 夭賳丿诏蹖 賳夭蹖爻鬲賴鈥屸€屫й� 讴賴 禺賵丕賴丕賳卮 亘賵丿賲 乇賵 亘賴 卮蹖賵賴鈥屰� 禺賵丿賲 亘趩卮賲.
丕賲丕 蹖賴 趩蹖夭蹖 讴賲賴. 丨賮乇賴鈥屫й� 賵噩賵丿 丿丕乇賴. 爻蹖丕賴鈥屭嗀з勝団€屫й� 讴賴 賴賲賴 趩蹖 乇賵 丿乇 禺賵丿卮 賲蹖鈥屫ㄙ勜官� 丿丕乇賴 讴丕乇賲 乇賵 禺乇丕亘 賲蹖鈥屭┵嗁�. 賲賳 賲爻禺 卮丿賲. 夭蹖亘丕蹖蹖賲 乇賵 亘賴 夭賵丕賱 乇賮鬲. 丕卮鬲蹖丕賯賲 讴卮鬲賴 卮丿. 夭蹖乇 丕蹖賳 亘丕乇 賴賵賱賳丕讴貙 讴賲乇 禺賲 讴乇丿賲. 鬲賵 賳亘賵丿蹖 讴賴 亘亘蹖賳蹖 趩蹖 亘賴 爻乇賲 丕賵賲丿. 賲賳 卮丿賲 賴賲賵賳蹖 讴賴 丕夭卮 賲蹖鈥屫必驰屫�. 鬲賵 倬乇 讴卮蹖丿蹖 賵賱蹖 賳丿蹖丿蹖 讴賴 趩胤賵乇 亘丕賱鈥屬囏з� 乇賵 卮讴爻鬲賳. 倬乇賵丕夭 丌乇夭賵蹖 丿蹖乇蹖賳賴鈥屬呝堎� 亘賵丿 賵賱蹖 蹖丕丿賲 乇賮鬲 讴賴 爻賯賵胤蹖 賴爻鬲. 賵 賲賳 亘丕 爻乇 夭賲蹖賳 禺賵乇丿賲.
亘丕乇賴丕 鬲賱丕卮 讴乇丿賲 賲孬賱 鬲賵 夭賳丿诏蹖 讴賳賲貨 趩賵賳 鬲賵 卮丕蹖丿 禺賵丿 賲賳蹖 賵賱蹖 亘賴 丕爻賲 丿蹖诏賴. 賲賳 趩蹖夭蹖 讴賲鬲乇 丕夭 鬲賵 賳丿丕卮鬲賲 丕賲丕 卮乇丕蹖胤賲賵賳 賮乇賯 丿丕卮鬲. 亘賴 丕蹖賳 禺丕胤乇 乇丕賴賲賵賳 噩丿丕 卮丿責 賲賳 丕夭 丿爻鬲 乇賮鬲賲 賵 鬲賵 亘賴 丿爻鬲 丌賵乇丿蹖. 丕賲丕 賴乇 丿賵 丕賳诏丕乇 丿乇 賴賲 鬲賳蹖丿賴 卮丿賴 亘賵丿蹖賲. 亘賴 丿蹖诏乇蹖 睾亘胤賴 賲蹖鈥屫堌必屬�. 丨爻乇鬲 賳賲丕蹖丕賳 亘賵丿. 乇賯丕亘鬲 禺賵丿賳賲丕蹖蹖 賲蹖鈥屭┴必�. 賴乇 丿賵 丕夭 蹖賴 噩丕 倬丕 亘賴 丕蹖賳 丿賳蹖丕 诏匕丕卮鬲蹖賲. 蹖賴 賲丨賱賴貙 蹖賴 賲丿乇爻賴貙 蹖賴 讴賱丕爻貙 蹖賴 賲毓賱賲. 賵賱蹖 賳卮丿 讴賴 亘卮賴. 乇賵夭诏丕乇蹖 賲賳 亘賴鬲乇蹖賳 亘賵丿賲 賵 丨丕賱丕 乇賵 亘賴 夭賵丕賱賲. 丨丕賱丕 鬲賵 丕蹖賳 噩丕蹖诏丕賴 乇賵 丿丕乇蹖 賵 卮讴賵賮丕 卮丿蹖.
卮丕蹖丿 睾賲賳丕讴鈥屫臂屬� 鬲賵氐蹖賮 丕夭 丕蹖賳 鬲賲丕蹖夭 趩卮賲诏蹖乇 丿乇 鬲讴賴鈥屰� 夭蹖乇 禺賱丕氐賴 賲蹖卮賴:
乇丕賵蹖 賵 爻賵丕賳 賲噩賲賵毓賴鈥屰� 丿乇 噩爻鬲噩賵蹖 夭賲丕賳 丕夭 丿爻鬲 乇賮鬲賴貙 讴賱丕乇蹖爻丕 賵 爻倬鬲蹖賲賵爻 禺丕賳賲 丿賱賵蹖貙 賴賳蹖亘丕賱 賵 賵蹖賱 賲噩賲賵毓賴鈥屰� 賴賳蹖亘丕賱 賱讴鬲乇 賵 丨丕賱丕 賴賲 賱蹖鈥屬勜� 賵 賱賳賵蹖 賲噩賲賵毓賴鈥屰� 賳丕倬賱. 卮禺氐蹖鬲鈥屬囏й屰� 讴賴 丿乇 禺蹖賱蹖 丕夭 賲賵丕乇丿 賲賵 賳賲蹖鈥屫操嗁� 賵賱蹖 賲孬賱 賴賲 亘賴 夭蹖爻鬲賳 丕丿丕賲賴 賳賲蹖丿賳. 乇丕賴 賵 乇賵卮鈥屬囏� 亘賴 丿賵乇 丕夭 蹖讴丿蹖诏賴貙 丕賳鬲禺丕亘丕鬲蹖 賲鬲賮丕賵鬲貙 卮乇丕蹖胤蹖 賲鬲賲丕蹖夭 賵 賮乇氐鬲鈥屬囏й屰� 賲禺鬲賱賮. 丕蹖賳 蹖讴蹖 丕夭 卮讴賳賳丿賴鈥屫臂屬� 讴賳丕乇 賴賲 賯乇丕乇诏蹖乇蹖 賲禺賱賵賯丕鬲 賲蹖鈥屫堎嗁� 亘丕卮賴. 亘賴 毓賲丿 丿賵 賳賮乇 乇賵 讴賳丕乇 賴賲 賲蹖匕丕乇蹖 鬲丕 賳卮賵賳 亘丿蹖 夭賳丿诏蹖 賴賲蹖賳賴貙 乇丨賲 賵 賲乇賵鬲 賳丿丕乇賴. 蹖讴蹖 亘丕 賴賲賵賳 禺氐賱鬲鈥屬囏� 鬲亘丕賴 賲蹖卮賴 賵 丿蹖诏乇蹖 賳賴. 丕賵賳 蹖讴蹖 禺賵丿讴卮蹖 賲蹖讴賳賴 賵 丿蹖诏乇蹖 丕賲蹖丿 亘賴 夭賳丿诏蹖 倬蹖丿丕 賲蹖讴賳賴. 蹖讴蹖 丌丿賲鈥屭┴� 賲蹖卮賴 賵 丿蹖诏乇蹖 亘丕夭乇爻. 賵 丕賱賳丕 賮乇丕賳鬲賴 趩賴 賲蹖讴賳賴責
丕蹖賳 夭賳 賲賳 乇賵 丕夭 倬丕 賲蹖賳丿丕夭賴. 趩卮賲鈥屬囏й屰� 讴賴 丕夭 卮丕丿蹖 亘乇賯 賲蹖鈥屫操嗁� 乇賵 鬲賵氐蹖賮 賲蹖鈥屭┵嗁�. 鬲賵 丿賱鬲 乇賵 亘賴 丕賵賳 賳诏丕賴 禺賵卮 賲蹖鈥屭┵嗃�. 賲蹖鈥屫ㄛ屬嗃� 讴賴 趩賯丿乇 胤乇丕賵鬲 賵 爻乇夭賳丿诏蹖 丿乇卮 賳賴賮鬲賴鈥屫池� 丕賲丕 爻蹖賱蹖 賲蹖鈥屫堌臂�. 賲鬲賵噩賴 賲蹖卮蹖 賴賲賵賳 夭蹖亘丕蹖蹖鈥屫й� 讴賴 倬乇 丕夭 丕卮鬲蹖丕賯 亘賵丿貙 蹖賴賵 倬卮鬲 毓蹖賳讴 丌賮鬲丕亘蹖 賲禺賮蹖 卮丿賴. 賳賲蹖鈥屬佡囐呟� 趩乇丕 丕賵賳 毓蹖賳讴 乇賵 亘乇賳賲蹖鈥屫ж辟�. 丿賱鬲 亘乇丕蹖 丿蹖丿賳卮 賱讴 夭丿賴. 賳丕诏賴丕賳 毓蹖賳讴 讴賳丕乇 賲蹖乇賴. 夭蹖乇 趩卮賲鈥屬囏� 讴亘賵丿. 賲乇丿賲讴鈥屬囏� 睾賲賳丕讴 賵 丿乇丿丕賳诏蹖夭. 丕蹖賳 丿賵 鬲蹖賱賴 賴賲賵賳丕蹖蹖鈥屫з� 讴賴 鬲丕 賯亘賱 亘丕賴丕卮賵賳 賲賵丕噩賴 卮丿賴 亘賵丿蹖責 趩蹖 亘賴 爻乇卮賵賳 丕賵賲丿責 趩乇丕 亘丕賴丕卮賵賳 睾乇蹖亘蹖 賲蹖鈥屭┵嗁呚�
丕賵賳 鬲丕 丕賳鬲賴丕蹖 賲噩賲賵毓賴 卮賲丕 乇賵 亘丕 賲賳鈥屬囏й� 賲鬲賮丕賵鬲 賲賵丕噩賴 賲蹖鈥屭┵嗁�. 丕蹖賳讴賴 蹖賴 丌丿賲 趩賯丿乇 賲蹖鈥屫堎嗁� 亘丕 倬爻鬲蹖 賵 亘賱賳丿蹖鈥屬囏й� 夭賳丿诏蹖 鬲睾蹖蹖乇 讴賳賴. 丕夭 毓乇卮 亘賴 賮乇卮 亘乇爻賴. 丕夭 丨丕賱 禺賵亘 亘賴 丨丕賱 亘丿. 丕夭 丌丿賲 賳丕賲賳丕爻亘 亘賴 丌丿賲 賲賳丕爻亘. 丕夭 賳賮乇鬲 亘賴 毓卮賯 賵 丕夭 賳蹖爻鬲蹖 亘賴 賴爻鬲蹖.
賳诏丕賴鈥� 噩夭卅蹖 亘賴 讴鬲丕亘 (亘丿賵賳 禺胤乇 賱賵 乇賮鬲賳)
噩賱丿 丕賵賱 丕蹖賳 賲噩賲賵毓賴 丕夭 讴賵丿讴蹖 鬲丕 郾鄱 爻丕賱诏蹖 丿賵 卮禺氐蹖鬲 丕氐賱蹖 蹖毓賳蹖 賱賳賵 賵 賱蹖鈥屬勜� 乇賵 乇賵丕蹖鬲 賲蹖鈥屭┴必�. 丕蹖賳 噩賱丿 丕夭 郾鄱 鬲丕 鄄鄢 爻丕賱诏蹖 乇賵 丿乇 亘乇 賲蹖鈥屭屫辟�. 丿睾丿睾賴鈥屬囏� 亘賴 爻胤丨 噩丿蹖丿蹖 乇爻蹖丿賳. 賲卮讴賱丕鬲 噩丿蹖鈥屫臂� 丿乇 噩乇蹖丕賳賴. 賴賲賴 趩蹖夭 乇賳诏 亘蹖卮鬲乇蹖 丕夭 賵丕賯毓蹖鬲 乇賵 亘賴 鬲氐賵蹖乇 賲蹖鈥屭┴促� 賵 氐丨賳賴鈥屬囏й� 丿賱鈥屫必ж� 賵 賳丕賴賳噩丕乇 丿賵趩賳丿丕賳蹖 賳賲丕蹖丕賳賴.
禺卮賵賳鬲 禺丕賳诏蹖 乇禺賳賴 讴乇丿賴. 鬲丨讴賲貙 夭賵乇 诏賮鬲賳 賵 賵丕 丿丕卮鬲賳 夭賳 亘賴 丕賲乇蹖 讴賴 禺賵丕賴丕賳卮 賳蹖爻鬲 亘賴鈥屭┴必ж� 丿蹖丿賴 賲蹖卮賴. 夭賳 賳賴 賲蹖诏賴 賵 卮賵賴乇 亘賱賴 鬲賱賯蹖 賲蹖鈥屭┵嗁�. 夭賳 禺爻鬲賴鈥屫池� 賵 卮賵賴乇 爻讴爻 賲蹖鈥屫堌ж�. 夭賳 賲賲丕賳毓鬲 賲蹖鈥屭┵嗁� 賵 卮賵賴乇 亘賴 胤乇夭 賵丨卮蹖丕賳賴鈥屫й� 亘賴 讴丕賱亘丿 夭賳 賳賮賵匕 賲蹖鈥屭┵嗁�. 丕蹖賳噩丕 毓卮賯 倬乇 賲蹖鈥屭┴促�. 賴賲爻乇 亘賴 亘賱賴 賯乇亘丕賳鈥屭� 亘丕蹖丿 鬲亘丿蹖賱 卮賴. 丕诏乇 亘乇禺賱丕賮 賲蹖賱 乇賮鬲丕乇 讴賳賴貙 爻蹖丕賴 賵 讴亘賵丿 賲蹖卮賴. 鬲毓丕乇蹖賮 賯丿蹖賲蹖 丕夭 賲乇丿丕賳诏蹖 乇賵 賲胤乇丨 賲蹖鈥屭┵嗁�. 丕蹖賳讴賴 賳爻賱 亘賴 賳爻賱 亘賴 丕乇孬 乇爻蹖丿賴 賵 丿乇 乇賵丕亘胤 噩丿蹖丿 賴賲 乇禺賳賴 讴乇丿賴.
噩賱丿 賯亘賱 亘賴 鬲睾蹖蹖乇丕鬲 噩爻賲蹖 賵 乇賵丨蹖 丿乇 丿賵乇丕賳 亘賱賵睾 丕卮丕乇丕鬲 夭蹖丕丿蹖 賲蹖鈥屭┴必�. 丕賲丕 丿乇 丕蹖賳 噩賱丿 亘丕 丕夭 丿爻鬲 丿丕丿賳蹖 賲賵丕噩賴蹖賲 讴賴 胤蹖 夭賳丿诏蹖 亘丿丌蹖賳丿 乇禺 賲蹖丿賴. 亘丿賳蹖 讴賴 亘丕 讴丕乇 胤丕賯鬲鈥屬佖必池� 乇賵 亘賴 夭賵丕賱 賲蹖乇賴. 噩爻賲蹖 讴賴 亘丕 亘丕乇丿丕乇蹖 賳丕禺賵丕爻鬲賴 丿趩丕乇 鬲睾蹖蹖乇 賲蹖卮賴. 賳诏丕賴 亘蹖鈥屫з嗃� 讴賴 亘賴 倬賵爻鬲賴鈥屸€屫� 賲蹖鬲賵賳蹖 亘賳丿丕夭蹖 賵 鬲賵 乇賵 亘賴 賵乇胤賴鈥屰� 丕囟胤乇丕亘 賵 賵丨卮鬲 爻賵賯 賲蹖丿賴.
丕賳夭賵丕貙 鬲賳賴丕蹖蹖 賵 亘蹖賲丕乇蹖鈥屬囏й� 賮乇丕诏蹖乇蹖 讴賴 賵噩賵丿 丿丕乇賴 賵 丕賯丿丕賲蹖 亘乇丕蹖 丿乇賲丕賳卮賵賳 氐賵乇鬲 賳賲蹖鈥屭屫辟� 賴賲 丕夭 賲爻丕卅賱 亘丨孬鈥屫ㄘ必з嗂屫� 噩賱丿 賲丨爻賵亘 賲蹖卮賴 讴賴 亘賴 丿賱丕蹖賱 賲禺鬲賱賮蹖 賲蹖鈥屫堎嗁� 卮讴賱 亘诏蹖乇賴 賵 鬲卮丿蹖丿 卮賴. 夭賳蹖 讴賴 亘丕亘鬲 丕夭丿賵丕噩 亘賴 賲賮賴賵賲 噩丿蹖丿蹖 丕夭 鬲賳賴丕蹖蹖 賲亘鬲賱丕爻鬲. 亘蹖賵賴鈥屫й� 讴賴 亘丕亘鬲 賮卮丕乇 乇賵丨蹖 賵 乇賵丕賳蹖鈥屫й� 讴賴 賲鬲丨賲賱 賲蹖卮賴 賵 亘乇賵夭 賳賲蹖丿賴貙 亘賴 胤乇蹖賯賴鈥屫й� 賵蹖乇丕賳鈥屭┵嗁嗀� 丿趩丕乇 賮乇賵倬丕卮蹖 賲蹖卮賴. 爻乇亘丕夭蹖 讴賴 丕夭 賳馗乇 毓氐亘蹖 丿趩丕乇 丕禺鬲賱丕賱 卮丿賴. 丌丿賲蹖 讴賴 丕夭 賲丨賱賴鈥屫� 丿賱 賲蹖鈥屭┵嗁�. 亘乇丕蹖 賲賵賮賯蹖鬲 亘賴 爻乇夭賲蹖賳 丿蹖诏乇蹖 丿賱 禺賵卮 賲蹖鈥屭┵嗁�. 丕賲丕 乇诏賴鈥屬囏й屰� 丕夭 夭賳丿诏蹖 讴賴賳卮 亘乇 噩丕蹖 賲賵賳丿賴. 賱賴噩賴鈥屫й� 讴賴 丿乇 丿丕賳卮诏丕賴 賲賳噩乇 亘賴 鬲賲爻禺乇 丕夭 胤乇賮 賴賲鈥屭┵勜ж驰屸€屬囏ж池�. 倬賵卮卮蹖 讴賴 賲丿乇賳 賳蹖爻鬲 賵 丕賳鬲禺丕亘丕鬲 賲丨丿賵丿蹖 亘丕亘鬲 賮賯乇蹖 讴賴 亘賴卮 丿趩丕乇賴 丿丕乇賴. 賲賵賯毓蹖鬲鈥屬囏й屰� 讴賴 亘丕亘鬲 賳丿丕卮鬲賳 禺丕賳賵丕丿賴鈥屰� 丕氐蹖賱 賵 爻乇卮賳丕爻 丕夭 丿爻鬲 賲蹖丿賴. 丕囟胤乇丕亘 賵 噩丿丕丕賮鬲丕丿诏蹖鈥屫й� 讴賴 亘丕毓孬 賲蹖卮賴 賲丿丕賲 禺賵丿卮 乇賵 夭蹖乇 爻賵丕賱 亘亘乇賴 賵 丿乇 賱丕讴 禺賵丿卮 倬賳賴丕賳 卮賴. 亘丕 丕蹖賳讴賴 丕夭 賳馗乇 丕爻鬲毓丿丕丿 賵 鬲賵丕賳丕蹖蹖 丿乇 賲乇鬲亘賴鈥屫й� 亘丕賱丕鬲乇 賯乇丕乇 丿丕乇賴 丕賲丕 丕蹖賳鈥屬囏� 亘乇丕蹖 丿爻鬲蹖丕亘蹖 亘賴 賲賵賮賯蹖鬲 賵 賲賵賯毓蹖鬲鈥屬囏й� 亘賴鬲乇 讴丕賮蹖 賳蹖爻鬲賳.
毓丿賲 賲乇丕賯亘鬲 倬夭卮讴蹖 讴賴 賲賳噩乇 亘賴 亘丿鬲乇 卮丿賳 爻賱丕賲鬲 卮禺氐蹖鬲鈥屬囏� 賲蹖卮賴. 丕賮爻乇丿诏蹖鈥屫й� 讴賴 亘賴 賯胤毓 乇丕亘胤賴 亘丕 丿蹖诏乇丕賳 禺鬲賲 賲蹖卮賴. 卮讴爻鬲 賲賴賱讴蹖 讴賴 亘丕 丕賳鬲禺丕亘 丕卮鬲亘丕賴 爻毓蹖 丿乇 丕賱鬲蹖丕賲 丿丕乇賴. 卮蹖胤丕賳蹖 鬲賱賯蹖 讴乇丿賳 噩爻賲蹖 讴賴 鬲賵丕賳丕蹖蹖 亘丕乇丿丕乇蹖 賳丿丕乇賴 賵賱蹖 賲賵囟賵毓 丕夭 亘蹖賲丕乇蹖鈥屫й� 噩丿蹖 賳卮兀鬲 賲蹖鈥屭屫辟� 讴賴 賳賴 卮賳丕爻丕蹖蹖 賲蹖卮賴 賵 賳賴 亘賴亘賵丿蹖 丨丕氐賱 賲蹖卮賴.
禺賵丕賳賳丿賴 亘丕 胤蹖賮 賵爻蹖毓蹖 丕夭 趩賳蹖賳 丌丿賲鈥屬囏й屰� 乇賵丿乇乇賵 賲蹖卮賴. 卮禺氐蹖鬲鈥屬囏й屰� 讴賴 亘賴鈥屬堐屭樫� 丕夭 丿乇賵賳 賲鬲賱丕卮蹖鈥屫з� 賵 丿爻鬲 賳賵丕夭卮蹖 亘乇 爻乇卮賵賳 賯乇丕乇 賳賲蹖鈥屭屫辟�. 賴蹖賵賱丕蹖 賮賯乇 賵 賳亘賵丿 丌賲賵夭卮 賵 倬蹖诏蹖乇蹖 賵囟毓蹖鬲 噩爻賲丕賳蹖 賵 乇賵丨丕賳蹖 亘丕毓孬 賲蹖卮賴 讴賴 毓賵丕賯亘 噩亘乇丕賳鈥屬嗀з矩佰屫臂� 丿乇 丕賳鬲馗丕乇卮賵賳 亘丕卮賴.
丕賱賳丕 賮乇丕賳鬲賴 亘賴 賲爻丕卅賱 噩賳爻蹖 丕賴賲蹖鬲 賵蹖跇賴鈥屫й� 賲蹖丿賴. 胤賵乇蹖鈥屭┵� 賱匕鬲 鬲賳 賴賲 丿乇 乇賵丕亘胤 亘乇丕卮 賲賴賲賴 賵 賳賲蹖匕丕乇賴 讴賴 亘毓囟蹖 丕夭 卮禺氐蹖鬲鈥屬囏ж� 丕夭 丕蹖賳 賲賵囟賵毓 亘賴乇賴鈥屫й� 賳亘乇賳.
丌丿丕亘 賵 乇爻賵賲 噩賳爻蹖 鬲賵 賲丨賱賴鈥屰� 爻賳鬲蹖 賳丕倬賱 趩賳诏蹖 亘賴 丿賱 賳賲蹖鈥屫操嗁�. 乇賵卮 亘乇禺賵乇丿 賵 賲毓丕卮賯賴貙 夭賲禺鬲 賵 禺蹖賱蹖 丕賵賯丕鬲 亘乇丕蹖 鬲賵賱蹖丿賲孬賱 氐賵乇鬲 賲蹖鈥屭屫辟�. 丕賲丕 禺丕賱賯 亘賴 馗乇丕賮鬲 賵 賱胤丕賮鬲蹖 賲蹖鈥屬矩必ж操� 讴賴 诏丕賴蹖 丕夭 趩丕乇趩賵亘 丕夭丿賵丕噩 禺丕乇噩 賲蹖卮賴 賵 噩匕丕亘蹖鬲 噩賳爻蹖 鬲賵爻胤 賮乇丿 丿蹖诏賴鈥屫й� 丕乇囟丕 賲蹖卮賴.
丕賱亘鬲賴 卮賳蹖丿賳 夭賳蹖 亘賴 賳丕賲 賮丕丨卮賴 賴賳賵夭 讴丕賲賱丕賸 賲毓賲賵賱 賵 毓丕丿蹖賴 賵 亘乇丕蹖 爻乇夭賳卮 夭賳鈥屬囏� 亘賴鈥屭┴必ж� 丕爻鬲賮丕丿賴 賲蹖卮賴. 丕夭 丕賵賳 胤乇賮 賯囟蹖賴貙 賲乇丿賴丕 丕夭 丕蹖賳 賲賱丕賲鬲 乇賴丕 賵 丌夭丕丿賳 賵 亘賴 爻乇讴賵亘 夭賳蹖 讴賴 禺蹖丕賳鬲 讴乇丿賴 賲亘鬲賱丕 賳賲蹖卮賳 賵 噩丕賲毓賴 倬匕蹖乇丕蹖 賵噩賵丿卮賵賳賴.
賴賲趩賳蹖賳 丕匕蹖鬲 賵 丌夭丕乇 噩賳爻蹖 倬乇乇賳诏賴. 亘賴鈥屫焚堌� 賲孬丕賱 爻乇讴丕乇 乇賮鬲賳 丕賲賳蹖 賴賲 賵噩賵丿 賳丿丕乇賴:
賵 蹖丕 噩丕蹖蹖 亘賴 亘丕夭乇爻蹖 亘丿賳蹖 丕卮丕乇賴 賲蹖鈥屭┵嗁� 讴賴 亘丕 賯氐丿 夭蹖乇 丕賳噩丕賲 賲蹖卮賴:
丨鬲蹖 鬲氐丕丨亘 噩爻賲 賴賲爻乇 賴賲 丕诏賴 亘賴 夭賵乇 賵 亘丿賵賳 丌賲丕丿诏蹖 亘丕卮賴 賳卮賵賳 賲蹖丿賴:
賲賵乇丿 丿蹖诏賴 賴賲 鬲兀孬蹖乇 丕夭丿賵丕噩 亘乇 夭賳丿诏蹖賴. 丕爻賲 噩丿蹖丿蹖 讴賴 鬲賵 乇賵 亘賴 賴賵蹖鬲 噩丿蹖丿蹖 爻賵賯 賲蹖丿賴. 賲爻卅賵賱蹖鬲鈥屬囏й� 鬲丕夭賴貙 賲丨丿賵丿蹖鬲鈥屬囏й� 鬲賱禺貙 賵馗丕蹖賮 鬲毓乇蹖賮鈥屫簇囏� 丕賳鬲馗丕乇丕鬲 噩丕賲毓賴 丕夭 鬲賵貙 賴賲爻乇蹖 讴乇丿賳鬲 賵 賮毓賱 賵 丕賳賮毓丕賱丕鬲 亘丿賳鬲 讴賴 丕诏賴 亘賴 亘乇丌賲丿诏蹖 卮讴賲 賵 倬爻鈥屫з嗀ж� 賮乇夭賳丿 賲賳噩乇 賳卮賴貙 夭賳丕賳诏蹖 鬲賵 賵 賲乇丿丕賳诏蹖 賴賲爻乇鬲 賴賲 夭蹖乇 爻丐丕賱 賲蹖鈥屫ㄘ辟�. 賵 丕蹖賳 噩賱丿 賵 亘禺卮 毓馗蹖賲蹖 丕夭卮貙 丿丕爻鬲丕賳 賴賲蹖賳 丕爻賲 噩丿蹖丿賴 :)
丿乇亘丕乇賴鈥屰� 讴鬲丕亘 鬲丕 爻丕毓鬲鈥屬囏� 賲蹖卮賴 丨乇賮 夭丿. 丕夭 丕爻鬲孬賲丕乇 胤亘賯賴鈥屰� 讴丕乇诏乇 鬲丕 賲夭丕蹖丕 賵 爻禺鬲蹖鈥屬囏й� 賲賴丕噩乇鬲. 丕夭 禺蹖丕賳鬲 鬲丕 毓卮賯 賳丕賲鬲賳丕賴蹖 丿賵 丿賵爻鬲. 賵賱蹖 賳讴鬲賴鈥屰� 亘爻蹖丕乇 賲賴賲 丿乇 賯囟丕賵鬲 讴乇丿賳 爻蹖乇 丿丕爻鬲丕賳蹖貙 丿乇 夭丕賵蹖賴鈥屰� 丿蹖丿 賵噩賵丿 丿丕乇賴. 賲丕 鬲賲丕賲蹖 丕鬲賮丕賯丕鬲 乇賵 丕夭 夭亘丕賳 賱賳賵 賲蹖鈥屫促嗁堐屬�. 讴爻蹖 讴賴 賴賲蹖卮賴 禺賵丿卮 乇賵 丕賳鬲賯丕丿 賳賲蹖鈥屭┵嗁� 賵 丨賯蹖賯鬲 賲丨囟 乇賵 丿乇 賳馗乇 賳賲蹖鈥屭屫辟�. 賲賲讴賳賴 丕夭 讴丕賴 讴賵賴 亘爻丕夭賴 賵 丕蹖賳 丕丨鬲賲丕賱 賴賲 賵噩賵丿 丿丕乇賴 讴賴 賵丕賯毓賴鈥屰� 賲賴賲蹖 乇賵 亘蹖丕賳 賳讴賳賴. 倬爻 賳賵毓 賳诏丕賴 賲丕 丕夭 丿乇蹖趩賴鈥屰� 賮賯胤 蹖賴 丌丿賲 賲蹖爻乇賴. 賴賲賵賳鈥屫焚堌� 讴賴 爻乇蹖丕賱 賴賲 亘賴 鬲氐賵蹖乇 讴卮蹖丿賴 賵 诏賲丕賳賴鈥屫操嗃� 乇賵 倬丿蹖丿 賲蹖丕乇賴.
賯賱賲 賮乇丕賳鬲賴 賴賲賴 趩蹖夭 丿乇 禺賵丿卮 丿丕乇賴. 丿睾丿睾賴鈥屬呝嗀� 亘賵丿賳 賵 倬乇丿丕禺鬲賳 亘賴 丕亘毓丕丿 賲禺鬲賱賮 蹖賴 噩丕賲毓賴 亘丕 賮乇丕賲賵卮 賳讴乇丿賳 夭賳丿诏蹖 丨鬲蹖 蹖賴 卮禺氐蹖鬲 賮乇毓蹖 賵 夭賳丿賴 讴乇丿賳 賵噩賵賴 賯丕亘賱 賱賲爻 亘丕 卮蹖賵丕鬲乇蹖賳 讴賱丕賲 賲賲讴賳. 趩賴 丕夭 讴鬲丕亘鈥屬囏� 賵 趩賴 爻乇蹖丕賱卮 亘蹖鈥屬嗁囏й屫� 賱匕鬲 賲蹖鈥屫ㄘ辟� 賵 乇賳噩 賲蹖鈥屭┴促�. 倬爻 亘賴 爻乇丕睾 丕蹖賳 夭賳 丕诏乇 賲蹖鈥屫③屰屫� 賳乇賲 賵 丌賴爻鬲賴 賯丿賲 亘乇丿丕乇蹖丿...
丿乇 賳賴丕蹖鬲 賴賲 丕夭 毓賱蹖 賵 賴賲乇丕賴蹖卮 賲賲賳賵賳賲 讴賴 禺賵丕賳卮 丕蹖賳 讴鬲丕亘 乇賵 亘賴 蹖讴蹖 丕夭 禺丕胤乇賴鈥屫з嗂屫藏臂屬嗏€屬囏й� 丕賲爻丕賱賲 鬲亘丿蹖賱 讴乇丿.
鬲丕 丨丕賱丕 卮丿賴 讴賴 丕賲鬲丿丕丿鬲賵賳 乇賵 丿乇 鬲賳 丿蹖诏賴鈥屫й� 亘亘蹖賳蹖賳責 丕賳诏丕乇 賳爻禺賴鈥屰� 賲鬲賮丕賵鬲蹖 丕夭 卮賲丕 亘丕 卮乇丕蹖胤 鬲賯乇蹖亘丕 丕蹖丿賴鈥屫①� 亘賴 夭賳丿诏蹖 丕丿丕賲賴 賲蹖丿賴. 亘賴 賲賵賯毓蹖鬲鈥屬囏й屰� 讴賴 爻乇 乇丕賴卮 賯乇丕乇 賲蹖鈥屭屫辟囏� 賮讴乇 賲蹖鈥屭┵嗃屬�. 丕蹖賳讴賴 丕诏乇 賲賳 賴賲 噩丕蹖 丕賵賳 亘賵丿賲貙 卮丕蹖丿 夭賳丿诏蹖賲 亘賴 丕蹖賳 賲賳賵丕賱 賳賲蹖鈥屭柏簇�. 趩蹖 卮丿 讴賴 丕賵賳 禺賵丕爻鬲 賵 鬲賵賳爻鬲 丕賲丕 賲賳 禺賵丕爻鬲賲 賵 賳鬲賵賳爻鬲賲責 趩賴 丕鬲賮丕賯蹖 丕賮鬲丕丿 讴賴 賲賳 賲睾乇賵賯 卮丿賲 賵 丕賵賳 賳噩丕鬲 倬蹖丿丕 讴乇丿責 賲诏賴 賲丕 賲孬賱 賴賲 賳亘賵丿蹖賲責 倬爻 趩乇丕 夭賳丿诏蹖 亘丕 賲賳 禺賵亘 鬲丕 賳讴乇丿 賵 爻乇 丕賵賳 賵乇賯 亘乇诏卮鬲責 賲賳 卮丿賲 爻丕蹖賴鈥屫й� 讴賴 亘賴 趩卮賲 賳賲蹖丕丿. 亘賴 亘胤丕賱鬲 乇賮鬲賲. 倬跇賲乇丿賲 賵 禺賵丕爻鬲賲 夭賳丿诏蹖 賳夭蹖爻鬲賴鈥屸€屫й� 讴賴 禺賵丕賴丕賳卮 亘賵丿賲 乇賵 亘賴 卮蹖賵賴鈥屰� 禺賵丿賲 亘趩卮賲.
丕賲丕 蹖賴 趩蹖夭蹖 讴賲賴. 丨賮乇賴鈥屫й� 賵噩賵丿 丿丕乇賴. 爻蹖丕賴鈥屭嗀з勝団€屫й� 讴賴 賴賲賴 趩蹖 乇賵 丿乇 禺賵丿卮 賲蹖鈥屫ㄙ勜官� 丿丕乇賴 讴丕乇賲 乇賵 禺乇丕亘 賲蹖鈥屭┵嗁�. 賲賳 賲爻禺 卮丿賲. 夭蹖亘丕蹖蹖賲 乇賵 亘賴 夭賵丕賱 乇賮鬲. 丕卮鬲蹖丕賯賲 讴卮鬲賴 卮丿. 夭蹖乇 丕蹖賳 亘丕乇 賴賵賱賳丕讴貙 讴賲乇 禺賲 讴乇丿賲. 鬲賵 賳亘賵丿蹖 讴賴 亘亘蹖賳蹖 趩蹖 亘賴 爻乇賲 丕賵賲丿. 賲賳 卮丿賲 賴賲賵賳蹖 讴賴 丕夭卮 賲蹖鈥屫必驰屫�. 鬲賵 倬乇 讴卮蹖丿蹖 賵賱蹖 賳丿蹖丿蹖 讴賴 趩胤賵乇 亘丕賱鈥屬囏з� 乇賵 卮讴爻鬲賳. 倬乇賵丕夭 丌乇夭賵蹖 丿蹖乇蹖賳賴鈥屬呝堎� 亘賵丿 賵賱蹖 蹖丕丿賲 乇賮鬲 讴賴 爻賯賵胤蹖 賴爻鬲. 賵 賲賳 亘丕 爻乇 夭賲蹖賳 禺賵乇丿賲.
亘丕乇賴丕 鬲賱丕卮 讴乇丿賲 賲孬賱 鬲賵 夭賳丿诏蹖 讴賳賲貨 趩賵賳 鬲賵 卮丕蹖丿 禺賵丿 賲賳蹖 賵賱蹖 亘賴 丕爻賲 丿蹖诏賴. 賲賳 趩蹖夭蹖 讴賲鬲乇 丕夭 鬲賵 賳丿丕卮鬲賲 丕賲丕 卮乇丕蹖胤賲賵賳 賮乇賯 丿丕卮鬲. 亘賴 丕蹖賳 禺丕胤乇 乇丕賴賲賵賳 噩丿丕 卮丿責 賲賳 丕夭 丿爻鬲 乇賮鬲賲 賵 鬲賵 亘賴 丿爻鬲 丌賵乇丿蹖. 丕賲丕 賴乇 丿賵 丕賳诏丕乇 丿乇 賴賲 鬲賳蹖丿賴 卮丿賴 亘賵丿蹖賲. 亘賴 丿蹖诏乇蹖 睾亘胤賴 賲蹖鈥屫堌必屬�. 丨爻乇鬲 賳賲丕蹖丕賳 亘賵丿. 乇賯丕亘鬲 禺賵丿賳賲丕蹖蹖 賲蹖鈥屭┴必�. 賴乇 丿賵 丕夭 蹖賴 噩丕 倬丕 亘賴 丕蹖賳 丿賳蹖丕 诏匕丕卮鬲蹖賲. 蹖賴 賲丨賱賴貙 蹖賴 賲丿乇爻賴貙 蹖賴 讴賱丕爻貙 蹖賴 賲毓賱賲. 賵賱蹖 賳卮丿 讴賴 亘卮賴. 乇賵夭诏丕乇蹖 賲賳 亘賴鬲乇蹖賳 亘賵丿賲 賵 丨丕賱丕 乇賵 亘賴 夭賵丕賱賲. 丨丕賱丕 鬲賵 丕蹖賳 噩丕蹖诏丕賴 乇賵 丿丕乇蹖 賵 卮讴賵賮丕 卮丿蹖.
卮丕蹖丿 睾賲賳丕讴鈥屫臂屬� 鬲賵氐蹖賮 丕夭 丕蹖賳 鬲賲丕蹖夭 趩卮賲诏蹖乇 丿乇 鬲讴賴鈥屰� 夭蹖乇 禺賱丕氐賴 賲蹖卮賴:
亘賱賴貙 賱蹖鈥屬勜ж池� 讴賴 賳賵卮鬲賳 乇丕 爻禺鬲 賲蹖鈥屭┵嗀�. 夭賳丿诏蹖鈥屫з呚� 賵丕丿丕乇賲 賲蹖鈥屭┵嗀� 鬲氐賵乇 讴賳賲貙 夭賳丿诏蹖鈥屫ж� 趩诏賵賳賴 賲蹖鈥屫簇� 丕诏乇 丌賳趩賴 亘乇丕蹖 賲賳 丕鬲賮丕賯 丕賮鬲丕丿貙 亘乇丕蹖 丕賵 乇賵蹖 賲蹖鈥屫ж� 趩賴 丕爻鬲賮丕丿賴鈥屫й� 丕夭 卮丕賳爻 禺賵亘 賲賳 賲蹖鈥屭┴必� 賵 夭賳丿诏蹖鈥屫ж� 賲丿丕賲 丿乇 夭賳丿诏蹖鈥屫з� 馗丕賴乇 賲蹖鈥屫促堌� 丿乇 讴賱賲丕鬲蹖 讴賴 亘乇 夭亘丕賳 賲蹖鈥屫①堌辟呚� 丿乇 丌賳鈥屬囏ж� 睾丕賱亘丕 倬跇賵丕讴蹖 丕夭 讴賱賲丕鬲 丕賵 亘賴 诏賵卮 賲蹖鈥屫必池� 丿乇 丨乇讴鬲 禺丕氐蹖 讴賴 丕賯鬲亘丕爻蹖 丕夭 丨乇讴鬲 丕賵爻鬲貙 丿乇 讴賲鈥屫� 亘賵丿賳 賲賳 讴賴 亘賴鈥屫ж坟� 亘蹖卮鈥屫� 亘賵丿賳 丕賵爻鬲貙 丿乇 亘蹖卮鈥屫� 亘賵丿賳 賲賳 讴賴 鬲爻賱蹖賲 讴賲鈥屫� 亘賵丿賳 丕賵爻鬲.
乇丕賵蹖 賵 爻賵丕賳 賲噩賲賵毓賴鈥屰� 丿乇 噩爻鬲噩賵蹖 夭賲丕賳 丕夭 丿爻鬲 乇賮鬲賴貙 讴賱丕乇蹖爻丕 賵 爻倬鬲蹖賲賵爻 禺丕賳賲 丿賱賵蹖貙 賴賳蹖亘丕賱 賵 賵蹖賱 賲噩賲賵毓賴鈥屰� 賴賳蹖亘丕賱 賱讴鬲乇 賵 丨丕賱丕 賴賲 賱蹖鈥屬勜� 賵 賱賳賵蹖 賲噩賲賵毓賴鈥屰� 賳丕倬賱. 卮禺氐蹖鬲鈥屬囏й屰� 讴賴 丿乇 禺蹖賱蹖 丕夭 賲賵丕乇丿 賲賵 賳賲蹖鈥屫操嗁� 賵賱蹖 賲孬賱 賴賲 亘賴 夭蹖爻鬲賳 丕丿丕賲賴 賳賲蹖丿賳. 乇丕賴 賵 乇賵卮鈥屬囏� 亘賴 丿賵乇 丕夭 蹖讴丿蹖诏賴貙 丕賳鬲禺丕亘丕鬲蹖 賲鬲賮丕賵鬲貙 卮乇丕蹖胤蹖 賲鬲賲丕蹖夭 賵 賮乇氐鬲鈥屬囏й屰� 賲禺鬲賱賮. 丕蹖賳 蹖讴蹖 丕夭 卮讴賳賳丿賴鈥屫臂屬� 讴賳丕乇 賴賲 賯乇丕乇诏蹖乇蹖 賲禺賱賵賯丕鬲 賲蹖鈥屫堎嗁� 亘丕卮賴. 亘賴 毓賲丿 丿賵 賳賮乇 乇賵 讴賳丕乇 賴賲 賲蹖匕丕乇蹖 鬲丕 賳卮賵賳 亘丿蹖 夭賳丿诏蹖 賴賲蹖賳賴貙 乇丨賲 賵 賲乇賵鬲 賳丿丕乇賴. 蹖讴蹖 亘丕 賴賲賵賳 禺氐賱鬲鈥屬囏� 鬲亘丕賴 賲蹖卮賴 賵 丿蹖诏乇蹖 賳賴. 丕賵賳 蹖讴蹖 禺賵丿讴卮蹖 賲蹖讴賳賴 賵 丿蹖诏乇蹖 丕賲蹖丿 亘賴 夭賳丿诏蹖 倬蹖丿丕 賲蹖讴賳賴. 蹖讴蹖 丌丿賲鈥屭┴� 賲蹖卮賴 賵 丿蹖诏乇蹖 亘丕夭乇爻. 賵 丕賱賳丕 賮乇丕賳鬲賴 趩賴 賲蹖讴賳賴責
丕蹖賳 夭賳 賲賳 乇賵 丕夭 倬丕 賲蹖賳丿丕夭賴. 趩卮賲鈥屬囏й屰� 讴賴 丕夭 卮丕丿蹖 亘乇賯 賲蹖鈥屫操嗁� 乇賵 鬲賵氐蹖賮 賲蹖鈥屭┵嗁�. 鬲賵 丿賱鬲 乇賵 亘賴 丕賵賳 賳诏丕賴 禺賵卮 賲蹖鈥屭┵嗃�. 賲蹖鈥屫ㄛ屬嗃� 讴賴 趩賯丿乇 胤乇丕賵鬲 賵 爻乇夭賳丿诏蹖 丿乇卮 賳賴賮鬲賴鈥屫池� 丕賲丕 爻蹖賱蹖 賲蹖鈥屫堌臂�. 賲鬲賵噩賴 賲蹖卮蹖 賴賲賵賳 夭蹖亘丕蹖蹖鈥屫й� 讴賴 倬乇 丕夭 丕卮鬲蹖丕賯 亘賵丿貙 蹖賴賵 倬卮鬲 毓蹖賳讴 丌賮鬲丕亘蹖 賲禺賮蹖 卮丿賴. 賳賲蹖鈥屬佡囐呟� 趩乇丕 丕賵賳 毓蹖賳讴 乇賵 亘乇賳賲蹖鈥屫ж辟�. 丿賱鬲 亘乇丕蹖 丿蹖丿賳卮 賱讴 夭丿賴. 賳丕诏賴丕賳 毓蹖賳讴 讴賳丕乇 賲蹖乇賴. 夭蹖乇 趩卮賲鈥屬囏� 讴亘賵丿. 賲乇丿賲讴鈥屬囏� 睾賲賳丕讴 賵 丿乇丿丕賳诏蹖夭. 丕蹖賳 丿賵 鬲蹖賱賴 賴賲賵賳丕蹖蹖鈥屫з� 讴賴 鬲丕 賯亘賱 亘丕賴丕卮賵賳 賲賵丕噩賴 卮丿賴 亘賵丿蹖責 趩蹖 亘賴 爻乇卮賵賳 丕賵賲丿責 趩乇丕 亘丕賴丕卮賵賳 睾乇蹖亘蹖 賲蹖鈥屭┵嗁呚�
丕賵賳 鬲丕 丕賳鬲賴丕蹖 賲噩賲賵毓賴 卮賲丕 乇賵 亘丕 賲賳鈥屬囏й� 賲鬲賮丕賵鬲 賲賵丕噩賴 賲蹖鈥屭┵嗁�. 丕蹖賳讴賴 蹖賴 丌丿賲 趩賯丿乇 賲蹖鈥屫堎嗁� 亘丕 倬爻鬲蹖 賵 亘賱賳丿蹖鈥屬囏й� 夭賳丿诏蹖 鬲睾蹖蹖乇 讴賳賴. 丕夭 毓乇卮 亘賴 賮乇卮 亘乇爻賴. 丕夭 丨丕賱 禺賵亘 亘賴 丨丕賱 亘丿. 丕夭 丌丿賲 賳丕賲賳丕爻亘 亘賴 丌丿賲 賲賳丕爻亘. 丕夭 賳賮乇鬲 亘賴 毓卮賯 賵 丕夭 賳蹖爻鬲蹖 亘賴 賴爻鬲蹖.
賳诏丕賴鈥� 噩夭卅蹖 亘賴 讴鬲丕亘 (亘丿賵賳 禺胤乇 賱賵 乇賮鬲賳)
噩賱丿 丕賵賱 丕蹖賳 賲噩賲賵毓賴 丕夭 讴賵丿讴蹖 鬲丕 郾鄱 爻丕賱诏蹖 丿賵 卮禺氐蹖鬲 丕氐賱蹖 蹖毓賳蹖 賱賳賵 賵 賱蹖鈥屬勜� 乇賵 乇賵丕蹖鬲 賲蹖鈥屭┴必�. 丕蹖賳 噩賱丿 丕夭 郾鄱 鬲丕 鄄鄢 爻丕賱诏蹖 乇賵 丿乇 亘乇 賲蹖鈥屭屫辟�. 丿睾丿睾賴鈥屬囏� 亘賴 爻胤丨 噩丿蹖丿蹖 乇爻蹖丿賳. 賲卮讴賱丕鬲 噩丿蹖鈥屫臂� 丿乇 噩乇蹖丕賳賴. 賴賲賴 趩蹖夭 乇賳诏 亘蹖卮鬲乇蹖 丕夭 賵丕賯毓蹖鬲 乇賵 亘賴 鬲氐賵蹖乇 賲蹖鈥屭┴促� 賵 氐丨賳賴鈥屬囏й� 丿賱鈥屫必ж� 賵 賳丕賴賳噩丕乇 丿賵趩賳丿丕賳蹖 賳賲丕蹖丕賳賴.
禺卮賵賳鬲 禺丕賳诏蹖 乇禺賳賴 讴乇丿賴. 鬲丨讴賲貙 夭賵乇 诏賮鬲賳 賵 賵丕 丿丕卮鬲賳 夭賳 亘賴 丕賲乇蹖 讴賴 禺賵丕賴丕賳卮 賳蹖爻鬲 亘賴鈥屭┴必ж� 丿蹖丿賴 賲蹖卮賴. 夭賳 賳賴 賲蹖诏賴 賵 卮賵賴乇 亘賱賴 鬲賱賯蹖 賲蹖鈥屭┵嗁�. 夭賳 禺爻鬲賴鈥屫池� 賵 卮賵賴乇 爻讴爻 賲蹖鈥屫堌ж�. 夭賳 賲賲丕賳毓鬲 賲蹖鈥屭┵嗁� 賵 卮賵賴乇 亘賴 胤乇夭 賵丨卮蹖丕賳賴鈥屫й� 亘賴 讴丕賱亘丿 夭賳 賳賮賵匕 賲蹖鈥屭┵嗁�. 丕蹖賳噩丕 毓卮賯 倬乇 賲蹖鈥屭┴促�. 賴賲爻乇 亘賴 亘賱賴 賯乇亘丕賳鈥屭� 亘丕蹖丿 鬲亘丿蹖賱 卮賴. 丕诏乇 亘乇禺賱丕賮 賲蹖賱 乇賮鬲丕乇 讴賳賴貙 爻蹖丕賴 賵 讴亘賵丿 賲蹖卮賴. 鬲毓丕乇蹖賮 賯丿蹖賲蹖 丕夭 賲乇丿丕賳诏蹖 乇賵 賲胤乇丨 賲蹖鈥屭┵嗁�. 丕蹖賳讴賴 賳爻賱 亘賴 賳爻賱 亘賴 丕乇孬 乇爻蹖丿賴 賵 丿乇 乇賵丕亘胤 噩丿蹖丿 賴賲 乇禺賳賴 讴乇丿賴.
賲丕 丕夭 亘趩诏蹖 卮丕賴丿 讴鬲讴 禺賵乇丿賳 賲丕丿乇丕賳 丕夭 倬丿乇丕賳賲丕賳 亘賵丿蹖賲. 亘丕 丕蹖賳 賮讴乇 亘夭乇诏 卮丿賴 亘賵丿蹖賲 讴賴 蹖讴 睾乇蹖亘賴 賳亘丕蹖丿 賱賲爻賲丕賳 讴賳丿貙 丕賲丕 倬丿乇賲丕賳貙 丿賵爻鬲鈥屬矩池辟呚з� 蹖丕 賴賲爻乇賲丕賳貙 賴乇 賵賯鬲 丿賵爻鬲 丿丕卮鬲賳丿貙 亘賴 禺丕胤乇 毓卮賯 亘賴 賲丕貙 亘乇丕蹖 鬲乇亘蹖鬲賲丕賳貙 亘乇丕蹖 亘丕夭丌賲賵夭蹖賲丕賳 賲蹖鈥屫堌з嗁嗀� 賲丕 乇丕 亘夭賳賳丿.
噩賱丿 賯亘賱 亘賴 鬲睾蹖蹖乇丕鬲 噩爻賲蹖 賵 乇賵丨蹖 丿乇 丿賵乇丕賳 亘賱賵睾 丕卮丕乇丕鬲 夭蹖丕丿蹖 賲蹖鈥屭┴必�. 丕賲丕 丿乇 丕蹖賳 噩賱丿 亘丕 丕夭 丿爻鬲 丿丕丿賳蹖 賲賵丕噩賴蹖賲 讴賴 胤蹖 夭賳丿诏蹖 亘丿丌蹖賳丿 乇禺 賲蹖丿賴. 亘丿賳蹖 讴賴 亘丕 讴丕乇 胤丕賯鬲鈥屬佖必池� 乇賵 亘賴 夭賵丕賱 賲蹖乇賴. 噩爻賲蹖 讴賴 亘丕 亘丕乇丿丕乇蹖 賳丕禺賵丕爻鬲賴 丿趩丕乇 鬲睾蹖蹖乇 賲蹖卮賴. 賳诏丕賴 亘蹖鈥屫з嗃� 讴賴 亘賴 倬賵爻鬲賴鈥屸€屫� 賲蹖鬲賵賳蹖 亘賳丿丕夭蹖 賵 鬲賵 乇賵 亘賴 賵乇胤賴鈥屰� 丕囟胤乇丕亘 賵 賵丨卮鬲 爻賵賯 賲蹖丿賴.
丌賳鈥屬囏� 毓氐亘蹖 亘賵丿賳丿貙 鬲爻賱蹖賲 亘賵丿賳丿貙 爻丕讴鬲 亘賵丿賳丿貙 亘丕 賱亘鈥屬囏й� 亘賴 賴賲 賮卮乇丿賴 賵 卮丕賳賴鈥屬囏й� 禺賲 卮丿賴貙 蹖丕 亘賴 亘趩賴鈥屬囏й屰� 讴賴 丌賳鈥屬囏� 乇丕 亘賴 爻鬲賵賴 賲蹖鈥屫①堌必嗀� 丿卮賳丕賲鈥屬囏й� 賵丨卮鬲賳丕讴 賲蹖鈥屫ж嗀�. 亘蹖卮 丕夭 丨丿 賱丕睾乇貙 亘丕 趩卮賲丕賳 賵 诏賵賳賴鈥屬囏й� 诏賵丿 乇賮鬲賴 蹖丕 亘丕 倬卮鬲鈥屬囏й� 倬賴賳貙 賯賵夭讴鈥屬囏й� 賵乇賲 讴乇丿賴貙 爻蹖賳賴鈥屬囏й� 爻賳诏蹖賳貙 亘爻鬲賴鈥屬囏й� 禺乇蹖丿卮丕賳 乇丕 丨賲賱 賲蹖鈥屭┴必嗀� 賵 亘趩賴鈥屬囏� 亘賴 丿丕賲賳鈥屬囏й屫簇з� 丌賵蹖夭丕賳 卮丿賴 賵 賲蹖鈥屫堌ж池嗀� 亘睾賱卮丕賳 讴賳賳丿. 賵 丕蹖 禺丿丕! 丿賴 蹖丕 丨丿丕讴孬乇 亘蹖爻鬲 爻丕賱 丕夭 賲賳 亘夭乇诏鈥屫� 亘賵丿賳丿. 亘丕 丕蹖賳 賴賲賴貙 亘賴 賳馗乇 賲蹖鈥屫必驰屫� 讴蹖賮蹖鬲 夭賳丕賳賴鈥屫й� 乇丕 讴賴 亘乇丕蹖 賲丕 丿禺鬲乇賴丕 亘爻蹖丕乇 丕賴賲蹖鬲 丿丕卮鬲 乇丕 丕夭 丿爻鬲 丿丕丿賴 亘賵丿賳丿. 讴蹖賮蹖鬲蹖 讴賴 賲丕 丌賳 乇丕 亘丕 賱亘丕爻貙 亘丕 丌乇丕蹖卮 賲卮禺氐 賲蹖鈥屭┴必屬�. 鬲賵丕賳丕蹖蹖 夭賳丕賳賴鈥屰� 丌賳丕賳 亘賴 賵爻蹖賱賴 卮賵賴乇丕賳貙 倬丿乇丕賳 賵 亘乇丕丿乇丕賳 亘賱毓蹖丿賴 賲蹖鈥屫簇� 賵 丿乇 賳賴丕蹖鬲 夭賳丕賳 賴賲 亘賴 丿賱蹖賱 讴丕乇 爻禺鬲貙 亘丕賱丕 乇賮鬲賳 爻賳 蹖丕 亘蹖賲丕乇蹖貙 卮亘蹖賴 丌賳鈥屬囏� 賲蹖鈥屫簇嗀�.
讴蹖 丕蹖賳 丕爻鬲丨丕賱賴 卮乇賵毓 卮丿貙 亘丕 讴丕乇賴丕蹖 禺丕賳賴責 亘丕 丨丕賲賱诏蹖責 亘丕 讴鬲讴 禺賵乇丿賳鈥屬囏ж� 丕賳丿丕賲 賱蹖鈥屬勜� 賴賲 賲孬賱 賳賵賳趩丕听 丕夭 乇蹖禺鬲 賲蹖鈥屫з佖� 賲賲讴賳 丕爻鬲 賮乇賳丕賳丿賵 丕夭 氐賵乇鬲 馗乇蹖賮 丌賳 亘蹖乇賵賳 亘倬乇丿貙 乇丕賴 乇賮鬲锟斤拷 亘乇丕夭賳丿賴鈥屫ж� 賲丕賳賳丿 乇蹖賳賵 卮賵丿貙 亘丕 倬丕賴丕蹖 诏卮丕丿貙 亘丕夭賵賴丕蹖 诏卮賵丿賴 丿乇 讴賳丕乇 爻蹖賳賴鈥屫ж簇� 賵 賲賲讴賳 丕爻鬲 乇賵夭蹖 亘丿賳 賲賳 賴賲貙 賳賴 鬲賳賴丕 亘丕 馗賴賵乇 亘丿賳 賲丕丿乇賲貙 亘丕 亘丿賳 倬丿乇賲 賴賲 賵蹖乇丕賳 卮賵丿責 賵 賲賲讴賳 丕爻鬲 賴乇 趩賴 丿乇 賲丿乇爻賴 蹖丕丿 诏乇賮鬲賲貙 賲丨賵 卮賵丿貙 賲丨賱賴 丿賵亘丕乇賴 賲爻鬲賵賱蹖 卮賵丿貙 賴賲丕賴賳诏蹖鈥屬囏ж� 丌丿丕亘貙 賴賲賴 趩蹖夭 丿乇 亘丕鬲賱丕賯 爻蹖丕賴 丿乇丌賲蹖禺鬲賴 卮賵丿責 丌賳丕讴爻蹖賲丕賳丿乇 賵 倬丿乇賲貙 賮賵賱诏賵乇賴 賵 夭賳 丌讴蹖賱賴貙 馗乇賮蹖鬲鈥屬囏� 賵 丿乇蹖丕趩賴貙 丕賮毓丕賱 賲丕囟蹖 賳丕賲毓蹖賳貙 賴夭蹖賳賴 賵 夭亘丕賳 诏爻鬲丕禺 賵 毓丕賲蹖丕賳賴 爻賵賱丕乇丕賴丕貙 賴賲丕賳 诏賵賳賴 讴賴 胤蹖 賴夭丕乇丕賳 爻丕賱 亘乇 爻乇 丕蹖賳 卮賴乇 丌卮賮鬲賴 賵 鬲丨賯蹖乇 卮丿賴 丌賲丿賴 亘賵丿責
丕賳夭賵丕貙 鬲賳賴丕蹖蹖 賵 亘蹖賲丕乇蹖鈥屬囏й� 賮乇丕诏蹖乇蹖 讴賴 賵噩賵丿 丿丕乇賴 賵 丕賯丿丕賲蹖 亘乇丕蹖 丿乇賲丕賳卮賵賳 氐賵乇鬲 賳賲蹖鈥屭屫辟� 賴賲 丕夭 賲爻丕卅賱 亘丨孬鈥屫ㄘ必з嗂屫� 噩賱丿 賲丨爻賵亘 賲蹖卮賴 讴賴 亘賴 丿賱丕蹖賱 賲禺鬲賱賮蹖 賲蹖鈥屫堎嗁� 卮讴賱 亘诏蹖乇賴 賵 鬲卮丿蹖丿 卮賴. 夭賳蹖 讴賴 亘丕亘鬲 丕夭丿賵丕噩 亘賴 賲賮賴賵賲 噩丿蹖丿蹖 丕夭 鬲賳賴丕蹖蹖 賲亘鬲賱丕爻鬲. 亘蹖賵賴鈥屫й� 讴賴 亘丕亘鬲 賮卮丕乇 乇賵丨蹖 賵 乇賵丕賳蹖鈥屫й� 讴賴 賲鬲丨賲賱 賲蹖卮賴 賵 亘乇賵夭 賳賲蹖丿賴貙 亘賴 胤乇蹖賯賴鈥屫й� 賵蹖乇丕賳鈥屭┵嗁嗀� 丿趩丕乇 賮乇賵倬丕卮蹖 賲蹖卮賴. 爻乇亘丕夭蹖 讴賴 丕夭 賳馗乇 毓氐亘蹖 丿趩丕乇 丕禺鬲賱丕賱 卮丿賴. 丌丿賲蹖 讴賴 丕夭 賲丨賱賴鈥屫� 丿賱 賲蹖鈥屭┵嗁�. 亘乇丕蹖 賲賵賮賯蹖鬲 亘賴 爻乇夭賲蹖賳 丿蹖诏乇蹖 丿賱 禺賵卮 賲蹖鈥屭┵嗁�. 丕賲丕 乇诏賴鈥屬囏й屰� 丕夭 夭賳丿诏蹖 讴賴賳卮 亘乇 噩丕蹖 賲賵賳丿賴. 賱賴噩賴鈥屫й� 讴賴 丿乇 丿丕賳卮诏丕賴 賲賳噩乇 亘賴 鬲賲爻禺乇 丕夭 胤乇賮 賴賲鈥屭┵勜ж驰屸€屬囏ж池�. 倬賵卮卮蹖 讴賴 賲丿乇賳 賳蹖爻鬲 賵 丕賳鬲禺丕亘丕鬲 賲丨丿賵丿蹖 亘丕亘鬲 賮賯乇蹖 讴賴 亘賴卮 丿趩丕乇賴 丿丕乇賴. 賲賵賯毓蹖鬲鈥屬囏й屰� 讴賴 亘丕亘鬲 賳丿丕卮鬲賳 禺丕賳賵丕丿賴鈥屰� 丕氐蹖賱 賵 爻乇卮賳丕爻 丕夭 丿爻鬲 賲蹖丿賴. 丕囟胤乇丕亘 賵 噩丿丕丕賮鬲丕丿诏蹖鈥屫й� 讴賴 亘丕毓孬 賲蹖卮賴 賲丿丕賲 禺賵丿卮 乇賵 夭蹖乇 爻賵丕賱 亘亘乇賴 賵 丿乇 賱丕讴 禺賵丿卮 倬賳賴丕賳 卮賴. 亘丕 丕蹖賳讴賴 丕夭 賳馗乇 丕爻鬲毓丿丕丿 賵 鬲賵丕賳丕蹖蹖 丿乇 賲乇鬲亘賴鈥屫й� 亘丕賱丕鬲乇 賯乇丕乇 丿丕乇賴 丕賲丕 丕蹖賳鈥屬囏� 亘乇丕蹖 丿爻鬲蹖丕亘蹖 亘賴 賲賵賮賯蹖鬲 賵 賲賵賯毓蹖鬲鈥屬囏й� 亘賴鬲乇 讴丕賮蹖 賳蹖爻鬲賳.
毓丿賲 賲乇丕賯亘鬲 倬夭卮讴蹖 讴賴 賲賳噩乇 亘賴 亘丿鬲乇 卮丿賳 爻賱丕賲鬲 卮禺氐蹖鬲鈥屬囏� 賲蹖卮賴. 丕賮爻乇丿诏蹖鈥屫й� 讴賴 亘賴 賯胤毓 乇丕亘胤賴 亘丕 丿蹖诏乇丕賳 禺鬲賲 賲蹖卮賴. 卮讴爻鬲 賲賴賱讴蹖 讴賴 亘丕 丕賳鬲禺丕亘 丕卮鬲亘丕賴 爻毓蹖 丿乇 丕賱鬲蹖丕賲 丿丕乇賴. 卮蹖胤丕賳蹖 鬲賱賯蹖 讴乇丿賳 噩爻賲蹖 讴賴 鬲賵丕賳丕蹖蹖 亘丕乇丿丕乇蹖 賳丿丕乇賴 賵賱蹖 賲賵囟賵毓 丕夭 亘蹖賲丕乇蹖鈥屫й� 噩丿蹖 賳卮兀鬲 賲蹖鈥屭屫辟� 讴賴 賳賴 卮賳丕爻丕蹖蹖 賲蹖卮賴 賵 賳賴 亘賴亘賵丿蹖 丨丕氐賱 賲蹖卮賴.
禺賵丕賳賳丿賴 亘丕 胤蹖賮 賵爻蹖毓蹖 丕夭 趩賳蹖賳 丌丿賲鈥屬囏й屰� 乇賵丿乇乇賵 賲蹖卮賴. 卮禺氐蹖鬲鈥屬囏й屰� 讴賴 亘賴鈥屬堐屭樫� 丕夭 丿乇賵賳 賲鬲賱丕卮蹖鈥屫з� 賵 丿爻鬲 賳賵丕夭卮蹖 亘乇 爻乇卮賵賳 賯乇丕乇 賳賲蹖鈥屭屫辟�. 賴蹖賵賱丕蹖 賮賯乇 賵 賳亘賵丿 丌賲賵夭卮 賵 倬蹖诏蹖乇蹖 賵囟毓蹖鬲 噩爻賲丕賳蹖 賵 乇賵丨丕賳蹖 亘丕毓孬 賲蹖卮賴 讴賴 毓賵丕賯亘 噩亘乇丕賳鈥屬嗀з矩佰屫臂� 丿乇 丕賳鬲馗丕乇卮賵賳 亘丕卮賴.
丕賱賳丕 賮乇丕賳鬲賴 亘賴 賲爻丕卅賱 噩賳爻蹖 丕賴賲蹖鬲 賵蹖跇賴鈥屫й� 賲蹖丿賴. 胤賵乇蹖鈥屭┵� 賱匕鬲 鬲賳 賴賲 丿乇 乇賵丕亘胤 亘乇丕卮 賲賴賲賴 賵 賳賲蹖匕丕乇賴 讴賴 亘毓囟蹖 丕夭 卮禺氐蹖鬲鈥屬囏ж� 丕夭 丕蹖賳 賲賵囟賵毓 亘賴乇賴鈥屫й� 賳亘乇賳.
丌丿丕亘 賵 乇爻賵賲 噩賳爻蹖 鬲賵 賲丨賱賴鈥屰� 爻賳鬲蹖 賳丕倬賱 趩賳诏蹖 亘賴 丿賱 賳賲蹖鈥屫操嗁�. 乇賵卮 亘乇禺賵乇丿 賵 賲毓丕卮賯賴貙 夭賲禺鬲 賵 禺蹖賱蹖 丕賵賯丕鬲 亘乇丕蹖 鬲賵賱蹖丿賲孬賱 氐賵乇鬲 賲蹖鈥屭屫辟�. 丕賲丕 禺丕賱賯 亘賴 馗乇丕賮鬲 賵 賱胤丕賮鬲蹖 賲蹖鈥屬矩必ж操� 讴賴 诏丕賴蹖 丕夭 趩丕乇趩賵亘 丕夭丿賵丕噩 禺丕乇噩 賲蹖卮賴 賵 噩匕丕亘蹖鬲 噩賳爻蹖 鬲賵爻胤 賮乇丿 丿蹖诏賴鈥屫й� 丕乇囟丕 賲蹖卮賴.
丕賱亘鬲賴 卮賳蹖丿賳 夭賳蹖 亘賴 賳丕賲 賮丕丨卮賴 賴賳賵夭 讴丕賲賱丕賸 賲毓賲賵賱 賵 毓丕丿蹖賴 賵 亘乇丕蹖 爻乇夭賳卮 夭賳鈥屬囏� 亘賴鈥屭┴必ж� 丕爻鬲賮丕丿賴 賲蹖卮賴. 丕夭 丕賵賳 胤乇賮 賯囟蹖賴貙 賲乇丿賴丕 丕夭 丕蹖賳 賲賱丕賲鬲 乇賴丕 賵 丌夭丕丿賳 賵 亘賴 爻乇讴賵亘 夭賳蹖 讴賴 禺蹖丕賳鬲 讴乇丿賴 賲亘鬲賱丕 賳賲蹖卮賳 賵 噩丕賲毓賴 倬匕蹖乇丕蹖 賵噩賵丿卮賵賳賴.
賴賲趩賳蹖賳 丕匕蹖鬲 賵 丌夭丕乇 噩賳爻蹖 倬乇乇賳诏賴. 亘賴鈥屫焚堌� 賲孬丕賱 爻乇讴丕乇 乇賮鬲賳 丕賲賳蹖 賴賲 賵噩賵丿 賳丿丕乇賴:
賲乇丕 丕夭 倬賱賴鈥屬囏� 亘丕賱丕 賵 倬丕蹖蹖賳 賲蹖鈥屬佖必池ж� 賮賯胤 亘乇丕蹖 丕蹖賳讴賴 夭蹖乇 丿丕賲賳賲 乇丕 賳诏丕賴 讴賳丿.
賵 蹖丕 噩丕蹖蹖 亘賴 亘丕夭乇爻蹖 亘丿賳蹖 丕卮丕乇賴 賲蹖鈥屭┵嗁� 讴賴 亘丕 賯氐丿 夭蹖乇 丕賳噩丕賲 賲蹖卮賴:
亘賴 爻賲鬲 賳诏賴亘丕賳 丕卮丕乇賴 讴乇丿 賵 诏賮鬲: "賲賵丕馗亘 丕賵賳 亘丕卮貙 賵賯鬲蹖 亘蹖乇賵賳 賲蹖鈥屫臂屫� 亘賴 丨鬲賲 鬲賵 乇賵 賲鬲賴賲 亘賴 丿夭丿蹖丿賳 賲丕乇鬲丕丿賱丕 賲蹖鈥屭┵嗁� 鬲丕 亘鬲賵賳賴 亘诏乇丿丿鬲 賵 丿爻鬲卮 乇賵 乇賵蹖 賴賲賴鈥屰� 亘丿賳鬲 亘讴卮賴."
丨鬲蹖 鬲氐丕丨亘 噩爻賲 賴賲爻乇 賴賲 丕诏賴 亘賴 夭賵乇 賵 亘丿賵賳 丌賲丕丿诏蹖 亘丕卮賴 賳卮賵賳 賲蹖丿賴:
賵賯鬲蹖 倬爻 丕夭 鬲賯賱丕 賵 鬲賱丕卮 丕賵 乇丕 鬲氐丕丨亘 讴乇丿貙 丕賵 丿蹖诏乇 丌賳噩丕 賳亘賵丿. 卮亘貙 丕鬲丕賯貙 鬲禺鬲鈥屫堌жㄘ� 亘賵爻賴鈥屬囏й� 丕賵貙 丿爻鬲丕賳卮 乇賵蹖 亘丿賳 丕賵貙 賴乇 丨爻蹖 丿乇 蹖讴 丕丨爻丕爻 噩匕亘 卮丿賴 亘賵丿賳丿. 丕賵 丕夭 丕爻鬲賮丕賳賵 讴乇丕趩蹖 賲鬲賳賮乇 亘賵丿貙 丕夭 賯丿乇鬲卮 賲鬲賳賮乇 亘賵丿貙 丕夭 賮卮丕乇 亘丿賳卮 乇賵蹖 亘丿賳 禺賵丿 賲鬲賳賮乇 亘賵丿貙 丕夭 丕爻賲 賵 賮丕賲蹖賱卮 賲鬲賳賮乇 亘賵丿.
賲賵乇丿 丿蹖诏賴 賴賲 鬲兀孬蹖乇 丕夭丿賵丕噩 亘乇 夭賳丿诏蹖賴. 丕爻賲 噩丿蹖丿蹖 讴賴 鬲賵 乇賵 亘賴 賴賵蹖鬲 噩丿蹖丿蹖 爻賵賯 賲蹖丿賴. 賲爻卅賵賱蹖鬲鈥屬囏й� 鬲丕夭賴貙 賲丨丿賵丿蹖鬲鈥屬囏й� 鬲賱禺貙 賵馗丕蹖賮 鬲毓乇蹖賮鈥屫簇囏� 丕賳鬲馗丕乇丕鬲 噩丕賲毓賴 丕夭 鬲賵貙 賴賲爻乇蹖 讴乇丿賳鬲 賵 賮毓賱 賵 丕賳賮毓丕賱丕鬲 亘丿賳鬲 讴賴 丕诏賴 亘賴 亘乇丌賲丿诏蹖 卮讴賲 賵 倬爻鈥屫з嗀ж� 賮乇夭賳丿 賲賳噩乇 賳卮賴貙 夭賳丕賳诏蹖 鬲賵 賵 賲乇丿丕賳诏蹖 賴賲爻乇鬲 賴賲 夭蹖乇 爻丐丕賱 賲蹖鈥屫ㄘ辟�. 賵 丕蹖賳 噩賱丿 賵 亘禺卮 毓馗蹖賲蹖 丕夭卮貙 丿丕爻鬲丕賳 賴賲蹖賳 丕爻賲 噩丿蹖丿賴 :)
丿乇亘丕乇賴鈥屰� 讴鬲丕亘 鬲丕 爻丕毓鬲鈥屬囏� 賲蹖卮賴 丨乇賮 夭丿. 丕夭 丕爻鬲孬賲丕乇 胤亘賯賴鈥屰� 讴丕乇诏乇 鬲丕 賲夭丕蹖丕 賵 爻禺鬲蹖鈥屬囏й� 賲賴丕噩乇鬲. 丕夭 禺蹖丕賳鬲 鬲丕 毓卮賯 賳丕賲鬲賳丕賴蹖 丿賵 丿賵爻鬲. 賵賱蹖 賳讴鬲賴鈥屰� 亘爻蹖丕乇 賲賴賲 丿乇 賯囟丕賵鬲 讴乇丿賳 爻蹖乇 丿丕爻鬲丕賳蹖貙 丿乇 夭丕賵蹖賴鈥屰� 丿蹖丿 賵噩賵丿 丿丕乇賴. 賲丕 鬲賲丕賲蹖 丕鬲賮丕賯丕鬲 乇賵 丕夭 夭亘丕賳 賱賳賵 賲蹖鈥屫促嗁堐屬�. 讴爻蹖 讴賴 賴賲蹖卮賴 禺賵丿卮 乇賵 丕賳鬲賯丕丿 賳賲蹖鈥屭┵嗁� 賵 丨賯蹖賯鬲 賲丨囟 乇賵 丿乇 賳馗乇 賳賲蹖鈥屭屫辟�. 賲賲讴賳賴 丕夭 讴丕賴 讴賵賴 亘爻丕夭賴 賵 丕蹖賳 丕丨鬲賲丕賱 賴賲 賵噩賵丿 丿丕乇賴 讴賴 賵丕賯毓賴鈥屰� 賲賴賲蹖 乇賵 亘蹖丕賳 賳讴賳賴. 倬爻 賳賵毓 賳诏丕賴 賲丕 丕夭 丿乇蹖趩賴鈥屰� 賮賯胤 蹖賴 丌丿賲 賲蹖爻乇賴. 賴賲賵賳鈥屫焚堌� 讴賴 爻乇蹖丕賱 賴賲 亘賴 鬲氐賵蹖乇 讴卮蹖丿賴 賵 诏賲丕賳賴鈥屫操嗃� 乇賵 倬丿蹖丿 賲蹖丕乇賴.
賯賱賲 賮乇丕賳鬲賴 賴賲賴 趩蹖夭 丿乇 禺賵丿卮 丿丕乇賴. 丿睾丿睾賴鈥屬呝嗀� 亘賵丿賳 賵 倬乇丿丕禺鬲賳 亘賴 丕亘毓丕丿 賲禺鬲賱賮 蹖賴 噩丕賲毓賴 亘丕 賮乇丕賲賵卮 賳讴乇丿賳 夭賳丿诏蹖 丨鬲蹖 蹖賴 卮禺氐蹖鬲 賮乇毓蹖 賵 夭賳丿賴 讴乇丿賳 賵噩賵賴 賯丕亘賱 賱賲爻 亘丕 卮蹖賵丕鬲乇蹖賳 讴賱丕賲 賲賲讴賳. 趩賴 丕夭 讴鬲丕亘鈥屬囏� 賵 趩賴 爻乇蹖丕賱卮 亘蹖鈥屬嗁囏й屫� 賱匕鬲 賲蹖鈥屫ㄘ辟� 賵 乇賳噩 賲蹖鈥屭┴促�. 倬爻 亘賴 爻乇丕睾 丕蹖賳 夭賳 丕诏乇 賲蹖鈥屫③屰屫� 賳乇賲 賵 丌賴爻鬲賴 賯丿賲 亘乇丿丕乇蹖丿...
丿乇 賳賴丕蹖鬲 賴賲 丕夭 毓賱蹖 賵 賴賲乇丕賴蹖卮 賲賲賳賵賳賲 讴賴 禺賵丕賳卮 丕蹖賳 讴鬲丕亘 乇賵 亘賴 蹖讴蹖 丕夭 禺丕胤乇賴鈥屫з嗂屫藏臂屬嗏€屬囏й� 丕賲爻丕賱賲 鬲亘丿蹖賱 讴乇丿.
August 20, 2023
This picks up immediately after Lila鈥檚 marriage, at the end of the first book. Her life is suddenly utterly different, while Elena continues studying hard at school:
"The usual confused sense of disparity, the impression - recurrent in our story - that I was losing something as she was gaining."
The reverse is equally true, jealousy waxes and wanes, they exploit and cover for each other, and sometimes they鈥檙e barely on speaking terms:
"I felt chained to an intolerable pact of friendship."
And yet they are the deepest, closest friends: BFFs in current parlance. Opposite outcomes from similar starts.
Image: 鈥淭he Remembrance鈥� by Welderwings ()
Some aspects of their lives are grim (abuse of women, particularly), but there's as much love and loyalty as the opposites.
As before, it immerses the reader in the time and place, but it adds the drama of transition to adulthood: competitiveness, attractiveness, love, sex, pushing boundaries, and forging an independent adult identity. But around the middle, it felt indulgently drawn out and repetitive (too much national politics, store wars, and Camorra infighting). Fortunately, it picked up well before the end. But maybe something of that disappointment lingered: I have never left it so long to review a book (five months), even though I reviewed numerous other books in between.
Escape
Growing up, Lila and Elena shared a love of books: knowledge that might lead to literal escape in the long run, and fictional escape in the short-term. Despite many physical horrors, one of the saddest aspects is when Lila loses that and is instead intimidated by books.
鈥�I鈥檝e had it, it鈥檚 always the same story: inside something small there鈥檚 something even smaller that wants to leap out, and outside something large there鈥檚 always something larger that wants to keep it a prisoner. I鈥檓 going to cook.鈥�
They tentatively find ways to leave the neighbourhood, separately, and sometimes together:
鈥�Both of us, evidently, were afraid of escaping ourselves, of erasing in a moment of distraction the mask of self-possession we had given ourselves.鈥�
(Rather tortured syntax.) There's a linguistic angle too: dialect in the neighbourhood, but Italian elsewhere - though some things are easier to express in one than the other.
The friends encounter never-before experienced luxuries, but have very different attitudes to them. Leila is reckless, while Elena is more introspective and judgemental:
鈥�They had the energy of those who successfully seize what they desire, no matter the cost.鈥�
(Shades of the famous line about 鈥渃areless people鈥� in The Great Gatsby.)
Escape is one thing, but what then?
鈥�My parents, my siblings were very proud of me, but, I realized, they didn鈥檛 know why: what was I?... I only complicated their life.鈥�
Any answers will be in the next two volumes.
Image: 鈥淓ndless Blues鈥� by Rozanne Hermelyn Di Silvestro ()
Quotes
鈥� 鈥淟ila always knew what she wanted and got it. I don't want anything.鈥�
鈥� 鈥淚s it possible that our parents never die, that every child inevitably conceals them in himself?鈥�
鈥� 鈥淪he seemed truly engaged in an unrelenting struggle to forget the weight of what she still described, incongruously, as 鈥榓n emptiness inside鈥�.鈥�
鈥� 鈥淚t鈥檚 Lila who makes writing difficult. My life forces me to imagine what hers would have been if what happened to me had happened to her.鈥�
The Neapolitan quartet
1. My Brilliant Friend, read November 鈥�22, 4*, review HERE.
2. The Story of a New Name, read April 鈥�23, 4* (this review).
3. Those Who Leave and Those Who Stay, tbr.
4. The Story of the Lost Child, tbr.
Who's the 鈥渂rilliant鈥� one?
In book 1, Lila calls Elena her brilliant friend.
In book 2, their old teacher says that Lila was the best student she ever taught.
"The usual confused sense of disparity, the impression - recurrent in our story - that I was losing something as she was gaining."
The reverse is equally true, jealousy waxes and wanes, they exploit and cover for each other, and sometimes they鈥檙e barely on speaking terms:
"I felt chained to an intolerable pact of friendship."
And yet they are the deepest, closest friends: BFFs in current parlance. Opposite outcomes from similar starts.
Image: 鈥淭he Remembrance鈥� by Welderwings ()
Some aspects of their lives are grim (abuse of women, particularly), but there's as much love and loyalty as the opposites.
As before, it immerses the reader in the time and place, but it adds the drama of transition to adulthood: competitiveness, attractiveness, love, sex, pushing boundaries, and forging an independent adult identity. But around the middle, it felt indulgently drawn out and repetitive (too much national politics, store wars, and Camorra infighting). Fortunately, it picked up well before the end. But maybe something of that disappointment lingered: I have never left it so long to review a book (five months), even though I reviewed numerous other books in between.
Escape
Growing up, Lila and Elena shared a love of books: knowledge that might lead to literal escape in the long run, and fictional escape in the short-term. Despite many physical horrors, one of the saddest aspects is when Lila loses that and is instead intimidated by books.
鈥�I鈥檝e had it, it鈥檚 always the same story: inside something small there鈥檚 something even smaller that wants to leap out, and outside something large there鈥檚 always something larger that wants to keep it a prisoner. I鈥檓 going to cook.鈥�
They tentatively find ways to leave the neighbourhood, separately, and sometimes together:
鈥�Both of us, evidently, were afraid of escaping ourselves, of erasing in a moment of distraction the mask of self-possession we had given ourselves.鈥�
(Rather tortured syntax.) There's a linguistic angle too: dialect in the neighbourhood, but Italian elsewhere - though some things are easier to express in one than the other.
The friends encounter never-before experienced luxuries, but have very different attitudes to them. Leila is reckless, while Elena is more introspective and judgemental:
鈥�They had the energy of those who successfully seize what they desire, no matter the cost.鈥�
(Shades of the famous line about 鈥渃areless people鈥� in The Great Gatsby.)
Escape is one thing, but what then?
鈥�My parents, my siblings were very proud of me, but, I realized, they didn鈥檛 know why: what was I?... I only complicated their life.鈥�
Any answers will be in the next two volumes.
Image: 鈥淓ndless Blues鈥� by Rozanne Hermelyn Di Silvestro ()
Quotes
鈥� 鈥淟ila always knew what she wanted and got it. I don't want anything.鈥�
鈥� 鈥淚s it possible that our parents never die, that every child inevitably conceals them in himself?鈥�
鈥� 鈥淪he seemed truly engaged in an unrelenting struggle to forget the weight of what she still described, incongruously, as 鈥榓n emptiness inside鈥�.鈥�
鈥� 鈥淚t鈥檚 Lila who makes writing difficult. My life forces me to imagine what hers would have been if what happened to me had happened to her.鈥�
The Neapolitan quartet
1. My Brilliant Friend, read November 鈥�22, 4*, review HERE.
2. The Story of a New Name, read April 鈥�23, 4* (this review).
3. Those Who Leave and Those Who Stay, tbr.
4. The Story of the Lost Child, tbr.
Who's the 鈥渂rilliant鈥� one?
In book 1, Lila calls Elena her brilliant friend.
In book 2, their old teacher says that Lila was the best student she ever taught.
February 21, 2019
賲賷賳 丕賱賱賶 賲賷丨亘卮 賱賷賱丕 賵賱賷賳丕責 賵賲賷賳 丕賱賱賶 賲賷賰乇賴卮 賱賷賱丕 賵賱賷賳丕責
賱賷賱丕 丕賱鬲賶 兀賰乇賴賴丕 賴賶 賱賷賱丕 丕賱賳夭賯丞貙 賱賷賱丕 丕賱鬲賶 賱丕 鬲賰鬲乇孬 亘賲丕 賷丨賰賷賴 丕賱丌禺乇賵賳 賵鬲賴鬲賲 賮賯胤 亘賲丕 鬲丨賰賷賴 賵亘賲丕 賱丿賷賴丕 賲賳 賲睾丕賲乇丕鬲貙 亘丕賱賳爻亘丞 賱賱賷賱丕 丕賱賰賱 毓丿賲 賵賴賶 賮賯胤 賲賳 鬲爻鬲丨賯 兀賳 鬲賵賱賶 丕賱丕賴鬲賲丕賲貙 兀賰乇賴 賱賷賱丕 丕賱禺丕卅賳丞 丕賱鬲賶 鬲噩乇賶 賵乇丕亍 卮賴賵丕鬲賴丕貙 賱賷賱丕 丕賱鬲賶 賲賳丨鬲 - 亘爻匕丕噩丞 睾賷乇 賲毓鬲丕丿丞 賲賳賴丕 鈥� 賳賷賳賵 賰賱 卮卅 賮爻賱亘賴丕 賴賵 賰賱 卮卅 賵賴乇亘 賰胤賮賱貙 兀賰乇賴 賱賷賱丕 賱兀賳賴丕 賳噩丨鬲 賮賶 兀賳 鬲丨胤賲 丨賷丕鬲賴丕 亘丿亍丕賸 賲賳 賯亘賵賱賴丕 亘丕賱夭賵丕噩 賲賳 爻鬲賷賮丕賳賵 賴乇亘丕賸 賲賳 丕亘賳 爻賵賱丕乇丕貙 賲乇賵乇丕賸 亘賳夭賵丕鬲賴丕 賲毓 賳賷賳賵貙 賵賳賴丕賷丞 亘賯亘賵賱賴丕 丕賱毓賲賱 賮賶 賲氐賳毓 亘乇賵賳賵.
賱丿賶 兀爻亘丕亘賶 兀賷囟丕賸 賱賱鬲毓丕胤賮 賵乇亘賲丕 丨亘 賱賷賱丕貙 匕賰丕亍 賱賷賱丕 丕賱丨丕丿貙 爻乇毓丞 亘丿賷賴鬲賴丕貙 賯賵鬲賴丕 賵卮乇丕爻鬲賴丕 丕賱睾賷乇 賯丕亘賱丞 賱賱鬲乇賵賷囟貙 丨亘賴丕 賱匕丕鬲賴丕貙 賯爻賵丞 丕賱兀賷丕賲 賲毓賴丕 丕賱鬲賶 賵囟毓鬲 賮賶 胤乇賷賯賴丕 兀氐賳丕賮 賯匕乇丞 賲賳 丕賱乇噩丕賱 兀賲孬丕賱 丕亘賳 爻賵賱丕乇丕 賵爻鬲賷賮丕賳賵 賵賳賷賳賵 賵乇賷賳賵 賵丨鬲賶 賵丕賱丿賴丕 賮乇賳丕賳丿賵貙 賱賷賱丕 賰丕賳鬲 囟丨賷丞 丕毓鬲乇賮 亘匕賱賰 賵賱賰賳賴丕 賰丕賳鬲 鬲賲賱賰 丕賱賯丿乇丞 亘賮囟賱 匕賰丕卅賴丕 賵賯賵鬲賴丕 賵丨囟賵乇賴丕 丕賱胤丕睾賶 兀賳 鬲丨賵賱 亘賷賳 賴丐賱丕亍 賵亘賷賳 兀賴丿丕賮賴丕貙 賱賰賳 丕賱毓賵夭 賵丕賱丨丕噩丞 賵丕賱賮賯乇 丕賱匕賷賳 毓丕卮鬲 賱賷賱丕 鬲丨鬲 賵胤兀鬲賴賲 賮賶 胤賮賵賱鬲賴丕 乇亘賲丕 賰丕賳鬲 兀爻亘丕亘 丿賮毓鬲 賱賷賱丕 賱賯賳氐 兀賵賱 賮乇氐丞 賱丕丨鬲 賱賴丕 賱賱禺乇賵噩 賲賳 賳賮賯 丕賱賮賯乇 丕賱賲馗賱賲
丨丕賳 丕賱丿賵乇 丕賱丌賳 賱賱丨丿賷孬 毓賳 賱賷賳丕 乇亘賲丕 兀丨亘亘鬲 賱賷賳丕 兀賰孬乇 賲賳 賱賷賱丕 賮賶 丕賱噩夭亍 丕賱丕賵賱 賱賰賳 毓亘乇 丕賱噩夭亍 丕賱孬丕賳賶 鬲賯賱亘鬲 賲卮丕毓乇賶 鬲噩丕賴 賱賷賳丕 賱賷賳丕 乇亘賲丕 賵賯毓鬲 賮乇賷爻丞 賱爻匕丕噩鬲賴丕 鬲丕乇丞 賵賮乇賷爻丞 賱睾賷乇鬲賴丕 丕賱卮丿賷丿丞 賵丨爻丕爻賷鬲賴丕 丕賱賲賮乇胤丞 鬲噩丕賴 氐丿賷賯鬲賴丕 賵賲丨丕賵賱丞 廿孬亘丕鬲 兀賳賴丕 丕賱兀賮囟賱 鬲丕乇丕鬲貙 兀丨亘亘鬲 賱賷賳丕 丕賱賲孬丕亘乇丞 賵丕賱丿丐賵亘丞 毓賱賶 丿乇丕爻鬲賴丕 賵賰乇賴鬲 賱賷賳丕 丕賱賲鬲禺丕匕賱丞 丕賱鬲賶 鬲賮乇胤 賮賶 丿乇賵爻賴丕貙 兀丨亘亘鬲 賱賷賳丕 丕賱氐丿賷賯丞 丕賱賵賮賷丞 賵丕賱鬲賶 鬲丨賲賱鬲 乇毓賵賳丞 氐丿賷賯鬲賴丕 賵噩賱丕賮丞 兀爻賱賵亘賴丕 賵賰乇賴鬲 賱賷賳丕 丕賱鬲賶 鬲丨爻丿 賵鬲鬲賲賳賶 夭賵丕賱 丕賱賳毓賲丞 賲賳 賷丿 氐丿賷賯鬲賴丕貙 兀丨亘亘鬲 賱賷賳丕 毓賳丿賲丕 爻賲丨鬲 賱賯賱亘賴丕 賵毓賮賵賷鬲賴丕 兀賳 鬲賯賵丿賴丕 賵鬲乇鬲亘胤 亘亘賷賷鬲乇賵 賵賰乇賴鬲賴丕 毓賳丿賲丕 兀賱賯鬲 亘賳賮爻賴丕 亘賷賳 亘乇丕孬賳 爻丕乇丕鬲賵乇賶 丕賱兀亘貙 兀丨亘亘鬲 賱賷賳丕 毓賳丿賲丕 賰鬲亘鬲 乇賵丕賷鬲賴丕 丕賱禺丕氐丞 賵賰乇賴鬲 卮睾賮賴丕 亘丕亘賳 爻丕乇丕鬲賵乇賶 賵賴賶 鬲毓乇賮 兀賳賴 賱丕 賷丨亘賴丕 賵乇亘賲丕 賷鬲爻賱賶 亘賴丕 賵亘氐丿賷賯鬲賴丕貙 兀丨亘亘鬲 賱賷賳丕 乇睾賲 賰賱 卮卅
賱賷賳丕 賰丕賳鬲 鬲毓乇賮 賲賰丕賲賳 賯賵鬲賴丕 賵囟毓賮賴丕 賵賴匕丕 兀賴賲 賲丕 賲賷夭 賱賷賳丕 毓賳 賱賷賱丕 賱賰賳賴丕 賱賲 鬲賰賳 鬲毓乇賮 賰賷賮 鬲爻鬲睾賱 賲氐丿乇 賯賵鬲賴丕 賵爻胤賵鬲賴丕 毓賱賶 氐丿賷賯鬲賴丕 賮毓丕卮鬲 胤賮賵賱鬲賴丕 賵賲乇丕賴賯鬲賴丕 馗賱丕賸 鬲丐丿賶 賰賲丕 鬲丐丿賶 賱賷賱丕貙 鬲購丨爻賳 賰賲丕 鬲購丨爻賳 賱賷賱丕貙 賵鬲購爻卅 賰賲丕 鬲購爻卅 賱賷賱丕貙 毓丕卮鬲 胤賮賵賱丞 賵賲乇丕賴賯丞 毓賱賶 睾賷乇 賴丿賶貙 亘胤亘賷毓丞 丕賱丨丕賱 賱賲 賷賰賳 賱兀爻乇鬲賴丕 兀賶 丿賵乇 賮賶 匕賱賰 賵賰丕賳鬲 賵丨丿賴丕 丕賱賲爻卅賵賱丞.
丕賱賮丕乇賯 丕賱噩賵賴乇賶 亘賷賳 賱賷賱丕 賵賱賷賳丕貙 兀賳 丕賱兀賵賱賶 毓丕卮鬲 賱廿乇囟丕亍 賳賮爻賴丕 賮賯胤 賰丕賳鬲 兀賳丕賳賷丞責 賳毓賲 賰丕賳鬲 兀賳丕賳賷丞貙 兀賲丕 賱賷賳丕 賮兀丨亘鬲 兀賳 賷丨亘賴丕 丕賱噩賲賷毓 兀賵 兀賳 鬲賱賯賶 丕賱鬲賯丿賷乇 賵丕賱丕丨鬲乇丕賲 賲賳 丕賱噩賲賷毓 賵賱賰賳賴丕 賱賲 鬲賳噩丨 賮賶 匕賱賰 賵兀禺卮賶 毓賱賷賴丕 賲賳 禺爻丕乇丞 亘賷賷鬲乇賵 賮賶 丕賱兀噩夭丕亍 丕賱鬲丕賱賷丞 廿匕丕 賲丕 丕爻鬲賲乇鬲 賮賶 丕賱賱賴孬 賵乇丕亍 賱賷賱丕 鬲丕乇丞 賵賵乇丕亍 賳賷賳賵 鬲丕乇丕鬲.
賰丕賳鬲 乇丨賱丞 噩丿賷丿丞 乇丕卅毓丞 亘賷賳 賳丕亘賵賱賶 賵亘賷夭丕 賵噩賳賵丞 賵賲賷賱丕賳賵 賵亘丕乇賷爻 亘丿兀鬲賴丕 氐丨亘丞 爻賷丿丞 丕賱噩賵丿乇賷丿夭 賳賷乇丞 丨爻賳 賵乇丨賲丞 賵廿爻乇丕亍 乇亘賲丕 鬲兀禺乇鬲 賮賶 廿賳賴丕亍賴丕 毓賳賴賲 賵賱賰賳 兀賳 鬲氐賱 賲鬲丕禺乇丕賸 禺賷乇 賲賳 兀賳 賱丕 鬲氐賱 兀亘丿丕賸 毓賱賶 賵毓丿 亘兀賳 賱丕 兀鬲兀禺乇 孬丕賳賷丞 賵廿賱賶 丕賱賲賱鬲賯賶 賮賶 丕賱毓丕卮乇 賲賳 賲丕乇爻 賲毓 丕賱噩夭亍 丕賱孬丕賱孬 丕賱賴丕乇亘賵賳 賵丕賱亘丕賯賵賳.
賱賷賱丕 丕賱鬲賶 兀賰乇賴賴丕 賴賶 賱賷賱丕 丕賱賳夭賯丞貙 賱賷賱丕 丕賱鬲賶 賱丕 鬲賰鬲乇孬 亘賲丕 賷丨賰賷賴 丕賱丌禺乇賵賳 賵鬲賴鬲賲 賮賯胤 亘賲丕 鬲丨賰賷賴 賵亘賲丕 賱丿賷賴丕 賲賳 賲睾丕賲乇丕鬲貙 亘丕賱賳爻亘丞 賱賱賷賱丕 丕賱賰賱 毓丿賲 賵賴賶 賮賯胤 賲賳 鬲爻鬲丨賯 兀賳 鬲賵賱賶 丕賱丕賴鬲賲丕賲貙 兀賰乇賴 賱賷賱丕 丕賱禺丕卅賳丞 丕賱鬲賶 鬲噩乇賶 賵乇丕亍 卮賴賵丕鬲賴丕貙 賱賷賱丕 丕賱鬲賶 賲賳丨鬲 - 亘爻匕丕噩丞 睾賷乇 賲毓鬲丕丿丞 賲賳賴丕 鈥� 賳賷賳賵 賰賱 卮卅 賮爻賱亘賴丕 賴賵 賰賱 卮卅 賵賴乇亘 賰胤賮賱貙 兀賰乇賴 賱賷賱丕 賱兀賳賴丕 賳噩丨鬲 賮賶 兀賳 鬲丨胤賲 丨賷丕鬲賴丕 亘丿亍丕賸 賲賳 賯亘賵賱賴丕 亘丕賱夭賵丕噩 賲賳 爻鬲賷賮丕賳賵 賴乇亘丕賸 賲賳 丕亘賳 爻賵賱丕乇丕貙 賲乇賵乇丕賸 亘賳夭賵丕鬲賴丕 賲毓 賳賷賳賵貙 賵賳賴丕賷丞 亘賯亘賵賱賴丕 丕賱毓賲賱 賮賶 賲氐賳毓 亘乇賵賳賵.
賱丿賶 兀爻亘丕亘賶 兀賷囟丕賸 賱賱鬲毓丕胤賮 賵乇亘賲丕 丨亘 賱賷賱丕貙 匕賰丕亍 賱賷賱丕 丕賱丨丕丿貙 爻乇毓丞 亘丿賷賴鬲賴丕貙 賯賵鬲賴丕 賵卮乇丕爻鬲賴丕 丕賱睾賷乇 賯丕亘賱丞 賱賱鬲乇賵賷囟貙 丨亘賴丕 賱匕丕鬲賴丕貙 賯爻賵丞 丕賱兀賷丕賲 賲毓賴丕 丕賱鬲賶 賵囟毓鬲 賮賶 胤乇賷賯賴丕 兀氐賳丕賮 賯匕乇丞 賲賳 丕賱乇噩丕賱 兀賲孬丕賱 丕亘賳 爻賵賱丕乇丕 賵爻鬲賷賮丕賳賵 賵賳賷賳賵 賵乇賷賳賵 賵丨鬲賶 賵丕賱丿賴丕 賮乇賳丕賳丿賵貙 賱賷賱丕 賰丕賳鬲 囟丨賷丞 丕毓鬲乇賮 亘匕賱賰 賵賱賰賳賴丕 賰丕賳鬲 鬲賲賱賰 丕賱賯丿乇丞 亘賮囟賱 匕賰丕卅賴丕 賵賯賵鬲賴丕 賵丨囟賵乇賴丕 丕賱胤丕睾賶 兀賳 鬲丨賵賱 亘賷賳 賴丐賱丕亍 賵亘賷賳 兀賴丿丕賮賴丕貙 賱賰賳 丕賱毓賵夭 賵丕賱丨丕噩丞 賵丕賱賮賯乇 丕賱匕賷賳 毓丕卮鬲 賱賷賱丕 鬲丨鬲 賵胤兀鬲賴賲 賮賶 胤賮賵賱鬲賴丕 乇亘賲丕 賰丕賳鬲 兀爻亘丕亘 丿賮毓鬲 賱賷賱丕 賱賯賳氐 兀賵賱 賮乇氐丞 賱丕丨鬲 賱賴丕 賱賱禺乇賵噩 賲賳 賳賮賯 丕賱賮賯乇 丕賱賲馗賱賲
丨丕賳 丕賱丿賵乇 丕賱丌賳 賱賱丨丿賷孬 毓賳 賱賷賳丕 乇亘賲丕 兀丨亘亘鬲 賱賷賳丕 兀賰孬乇 賲賳 賱賷賱丕 賮賶 丕賱噩夭亍 丕賱丕賵賱 賱賰賳 毓亘乇 丕賱噩夭亍 丕賱孬丕賳賶 鬲賯賱亘鬲 賲卮丕毓乇賶 鬲噩丕賴 賱賷賳丕 賱賷賳丕 乇亘賲丕 賵賯毓鬲 賮乇賷爻丞 賱爻匕丕噩鬲賴丕 鬲丕乇丞 賵賮乇賷爻丞 賱睾賷乇鬲賴丕 丕賱卮丿賷丿丞 賵丨爻丕爻賷鬲賴丕 丕賱賲賮乇胤丞 鬲噩丕賴 氐丿賷賯鬲賴丕 賵賲丨丕賵賱丞 廿孬亘丕鬲 兀賳賴丕 丕賱兀賮囟賱 鬲丕乇丕鬲貙 兀丨亘亘鬲 賱賷賳丕 丕賱賲孬丕亘乇丞 賵丕賱丿丐賵亘丞 毓賱賶 丿乇丕爻鬲賴丕 賵賰乇賴鬲 賱賷賳丕 丕賱賲鬲禺丕匕賱丞 丕賱鬲賶 鬲賮乇胤 賮賶 丿乇賵爻賴丕貙 兀丨亘亘鬲 賱賷賳丕 丕賱氐丿賷賯丞 丕賱賵賮賷丞 賵丕賱鬲賶 鬲丨賲賱鬲 乇毓賵賳丞 氐丿賷賯鬲賴丕 賵噩賱丕賮丞 兀爻賱賵亘賴丕 賵賰乇賴鬲 賱賷賳丕 丕賱鬲賶 鬲丨爻丿 賵鬲鬲賲賳賶 夭賵丕賱 丕賱賳毓賲丞 賲賳 賷丿 氐丿賷賯鬲賴丕貙 兀丨亘亘鬲 賱賷賳丕 毓賳丿賲丕 爻賲丨鬲 賱賯賱亘賴丕 賵毓賮賵賷鬲賴丕 兀賳 鬲賯賵丿賴丕 賵鬲乇鬲亘胤 亘亘賷賷鬲乇賵 賵賰乇賴鬲賴丕 毓賳丿賲丕 兀賱賯鬲 亘賳賮爻賴丕 亘賷賳 亘乇丕孬賳 爻丕乇丕鬲賵乇賶 丕賱兀亘貙 兀丨亘亘鬲 賱賷賳丕 毓賳丿賲丕 賰鬲亘鬲 乇賵丕賷鬲賴丕 丕賱禺丕氐丞 賵賰乇賴鬲 卮睾賮賴丕 亘丕亘賳 爻丕乇丕鬲賵乇賶 賵賴賶 鬲毓乇賮 兀賳賴 賱丕 賷丨亘賴丕 賵乇亘賲丕 賷鬲爻賱賶 亘賴丕 賵亘氐丿賷賯鬲賴丕貙 兀丨亘亘鬲 賱賷賳丕 乇睾賲 賰賱 卮卅
賱賷賳丕 賰丕賳鬲 鬲毓乇賮 賲賰丕賲賳 賯賵鬲賴丕 賵囟毓賮賴丕 賵賴匕丕 兀賴賲 賲丕 賲賷夭 賱賷賳丕 毓賳 賱賷賱丕 賱賰賳賴丕 賱賲 鬲賰賳 鬲毓乇賮 賰賷賮 鬲爻鬲睾賱 賲氐丿乇 賯賵鬲賴丕 賵爻胤賵鬲賴丕 毓賱賶 氐丿賷賯鬲賴丕 賮毓丕卮鬲 胤賮賵賱鬲賴丕 賵賲乇丕賴賯鬲賴丕 馗賱丕賸 鬲丐丿賶 賰賲丕 鬲丐丿賶 賱賷賱丕貙 鬲購丨爻賳 賰賲丕 鬲購丨爻賳 賱賷賱丕貙 賵鬲購爻卅 賰賲丕 鬲購爻卅 賱賷賱丕貙 毓丕卮鬲 胤賮賵賱丞 賵賲乇丕賴賯丞 毓賱賶 睾賷乇 賴丿賶貙 亘胤亘賷毓丞 丕賱丨丕賱 賱賲 賷賰賳 賱兀爻乇鬲賴丕 兀賶 丿賵乇 賮賶 匕賱賰 賵賰丕賳鬲 賵丨丿賴丕 丕賱賲爻卅賵賱丞.
丕賱賮丕乇賯 丕賱噩賵賴乇賶 亘賷賳 賱賷賱丕 賵賱賷賳丕貙 兀賳 丕賱兀賵賱賶 毓丕卮鬲 賱廿乇囟丕亍 賳賮爻賴丕 賮賯胤 賰丕賳鬲 兀賳丕賳賷丞責 賳毓賲 賰丕賳鬲 兀賳丕賳賷丞貙 兀賲丕 賱賷賳丕 賮兀丨亘鬲 兀賳 賷丨亘賴丕 丕賱噩賲賷毓 兀賵 兀賳 鬲賱賯賶 丕賱鬲賯丿賷乇 賵丕賱丕丨鬲乇丕賲 賲賳 丕賱噩賲賷毓 賵賱賰賳賴丕 賱賲 鬲賳噩丨 賮賶 匕賱賰 賵兀禺卮賶 毓賱賷賴丕 賲賳 禺爻丕乇丞 亘賷賷鬲乇賵 賮賶 丕賱兀噩夭丕亍 丕賱鬲丕賱賷丞 廿匕丕 賲丕 丕爻鬲賲乇鬲 賮賶 丕賱賱賴孬 賵乇丕亍 賱賷賱丕 鬲丕乇丞 賵賵乇丕亍 賳賷賳賵 鬲丕乇丕鬲.
賰丕賳鬲 乇丨賱丞 噩丿賷丿丞 乇丕卅毓丞 亘賷賳 賳丕亘賵賱賶 賵亘賷夭丕 賵噩賳賵丞 賵賲賷賱丕賳賵 賵亘丕乇賷爻 亘丿兀鬲賴丕 氐丨亘丞 爻賷丿丞 丕賱噩賵丿乇賷丿夭 賳賷乇丞 丨爻賳 賵乇丨賲丞 賵廿爻乇丕亍 乇亘賲丕 鬲兀禺乇鬲 賮賶 廿賳賴丕亍賴丕 毓賳賴賲 賵賱賰賳 兀賳 鬲氐賱 賲鬲丕禺乇丕賸 禺賷乇 賲賳 兀賳 賱丕 鬲氐賱 兀亘丿丕賸 毓賱賶 賵毓丿 亘兀賳 賱丕 兀鬲兀禺乇 孬丕賳賷丞 賵廿賱賶 丕賱賲賱鬲賯賶 賮賶 丕賱毓丕卮乇 賲賳 賲丕乇爻 賲毓 丕賱噩夭亍 丕賱孬丕賱孬 丕賱賴丕乇亘賵賳 賵丕賱亘丕賯賵賳.
March 30, 2021
This book really blew me away. Book 1 of this series didn't really impress me so I wasn't really sure what to expect. The storytelling is incredible. The attention to detail is remarkable and really adds everything to the story. Funny this story is full of despicable characters. There isn't one that is redeemable. Despite this the story is so engrossing and I can't wait to get on to book 3. It's like a train wreck you can't turn away from. I highly recommend it.
March 29, 2020
Such whirlwind of emotions, it just doesn't give me the chance to settle down. It was hard to put it down. I will definitely write more here but first I want to know what happens next, so now I am on to next book.
May 5, 2015
It is the early-mid 1960s and Naples is experiencing an economic and cultural renaissance: the post-war boom has created a new consumer class, with fancy shoe boutiques staffed by pretty girls dressed up like Jackie O. In university halls, students speak of the two Germanys, Indochina, nuclear arms, and Communism.
But not everything has changed. In the darker neighborhoods on the outskirts of the city, where violence is an accepted means of communication and a woman鈥檚 worth is tallied by first her father, then her husband, tradition vies with progress.
It is here we left Lila on her wedding day, at the end of Book One of Ferrante鈥檚 Neapolitan Novels, My Brilliant Friend. Elena watched from the sidelines as her best friend sashayed into a life of comfort, buoyed by her husband Stefano鈥檚 economic success.
But how quickly fortunes shift. Book Two, The Story of a New Name, is still Lina and Elena鈥檚 story. The new name belongs to the girl who exchanged her father鈥檚 name for her husband鈥檚 yet remains confined to the old way of life, while a new life is granted to the plump, shy, awkward, girl who is able to continue her education. Womanhood awaits them both, but we see how conflicted Elena has become, feeling ever in the shadow of Lila鈥檚 magnetic beauty. The day of her marriage, Elena helps Lila prepare:
I posited that My Brilliant Friend is a novel of power; The Story of a New Name is about trust. In the opening scene, set some fifty years after Lila鈥檚 wedding, Elena betrays her friend鈥檚 trust, saying 鈥淚 couldn鈥檛 stand feeling Lila on me and in me, even now that I was esteemed myself, even now that I had a life outside of Naples.鈥� She dumps the journals Lila had given her for safekeeping into the Arno River, but then she turns back and tells Lila鈥檚 story to us, her readers, so that we鈥檒l remember Lila, and the old neighborhood, forever.
Lila and Stefano鈥檚 marriage is built on sand, but it is a castle they manage to rebuild over and over again in the early years. Lila trusts her cleverness and beauty will protect what she most wants: control; Stefano trusts his position as husband and provider will allow him the same. Elena knows better than to put her faith in Lila, but she does, time and again, until her best friend shatters her heart. The young man whose affections she has been pining for since childhood turns his brooding eye to Lila, the young bride. The affair becomes Lila鈥檚 undoing, while at the same time Elena begins her slow rise, far from Naples and whirlpool of tradition and family. She escapes Lila鈥檚 fate:
But Elena cannot escape the dream that is Lila, the girl whom she knows to be more intelligent, quicker, more articulate鈥攖he real scholar. Elena handwrites a draft of a novel and offers it as a university graduation gift to a boyfriend, who passes it along to his mother, a book editor. And suddenly she is swept up in success. But it is Lila鈥檚 spirit that wrote Elena's book, even though it came from Elena鈥檚 hands. Elena discovers The Blue Fairy, a short novel Lila had written as a child, and realizes Lila鈥檚 words and voice are
Yet would seem too late for redemption from Elena. Lila is lost, a fallen woman, the transformation Elena observed and dreaded a few years earlier in the wives of the old neighborhood has overcome her friend. Lila tosses her story into the flames and Elena leave Naples.
But Elena and Lila are still young, only in their mid-twenties, and there is still so much of their stories yet to tell.
But not everything has changed. In the darker neighborhoods on the outskirts of the city, where violence is an accepted means of communication and a woman鈥檚 worth is tallied by first her father, then her husband, tradition vies with progress.
It is here we left Lila on her wedding day, at the end of Book One of Ferrante鈥檚 Neapolitan Novels, My Brilliant Friend. Elena watched from the sidelines as her best friend sashayed into a life of comfort, buoyed by her husband Stefano鈥檚 economic success.
But how quickly fortunes shift. Book Two, The Story of a New Name, is still Lina and Elena鈥檚 story. The new name belongs to the girl who exchanged her father鈥檚 name for her husband鈥檚 yet remains confined to the old way of life, while a new life is granted to the plump, shy, awkward, girl who is able to continue her education. Womanhood awaits them both, but we see how conflicted Elena has become, feeling ever in the shadow of Lila鈥檚 magnetic beauty. The day of her marriage, Elena helps Lila prepare:
I washed her with slow, careful gestures, first letting her squat in the tub, then asking her to stand up: I still have in my ears the sound of the dripping water, and the impression that the copper of the tub had a consistency not different from Lila鈥檚 flesh, which was smooth, solid, calm. I had a confusion of feelings and thoughts: embrace her, weep with her, kiss her, pull her hair, laugh, pretend to sexual experience and instruct her in a learned voice, distancing her with words just at the moment of greatest closeness.
But in the end there was only the hostile thought that I was washing her, from her hair to the soles of her feet, early in the morning, just so that Stefano could sully her in the course of the night. I imagined her naked as she was at that moment, entwined with her husband, in the bed in the new house, while the train clattered under their windows and his violent flesh entered her with a sharp blow, like the cork pushed by the palm into the neck of a wine bottle. And it suddenly seemed to me that the only remedy against the pain I was feeling, that I would feel, was to find a corner secluded enough so that Antonio could do to me, at the same time, the exact same thing.
I posited that My Brilliant Friend is a novel of power; The Story of a New Name is about trust. In the opening scene, set some fifty years after Lila鈥檚 wedding, Elena betrays her friend鈥檚 trust, saying 鈥淚 couldn鈥檛 stand feeling Lila on me and in me, even now that I was esteemed myself, even now that I had a life outside of Naples.鈥� She dumps the journals Lila had given her for safekeeping into the Arno River, but then she turns back and tells Lila鈥檚 story to us, her readers, so that we鈥檒l remember Lila, and the old neighborhood, forever.
Lila and Stefano鈥檚 marriage is built on sand, but it is a castle they manage to rebuild over and over again in the early years. Lila trusts her cleverness and beauty will protect what she most wants: control; Stefano trusts his position as husband and provider will allow him the same. Elena knows better than to put her faith in Lila, but she does, time and again, until her best friend shatters her heart. The young man whose affections she has been pining for since childhood turns his brooding eye to Lila, the young bride. The affair becomes Lila鈥檚 undoing, while at the same time Elena begins her slow rise, far from Naples and whirlpool of tradition and family. She escapes Lila鈥檚 fate:
I saw clearly the mothers of the old neighborhood. They were nervous, they were acquiescent. They were silent, with tight lips and stooping shoulders, or they yelled terrible insults at the children who harassed them. Extremely thin, with hollow eyes and cheeks, or with broad behinds, swollen ankles, heavy chests, they lugged shopping bags and small children who clung to their skirts. They had been consumed by the bodies of husbands, fathers, brothers, whom they ultimately came to resemble, because of their labors or the arrival of old age, of illness. When did that transformation begin? With housework? With pregnancies? With beatings?
But Elena cannot escape the dream that is Lila, the girl whom she knows to be more intelligent, quicker, more articulate鈥攖he real scholar. Elena handwrites a draft of a novel and offers it as a university graduation gift to a boyfriend, who passes it along to his mother, a book editor. And suddenly she is swept up in success. But it is Lila鈥檚 spirit that wrote Elena's book, even though it came from Elena鈥檚 hands. Elena discovers The Blue Fairy, a short novel Lila had written as a child, and realizes Lila鈥檚 words and voice are
the secret heart of my book. Anyone who wanted to know what gave it warmth and what the origin was of the strong but invisible thread that joined the sentences would have had to go back to that child鈥檚 packet, ten notebook pages, . . . the brightly colored cover, the title and not even a signature.And in a gesture of trust and love for her friend, Elena returns the story to Lila, admitting, 鈥淚 read it again and discovered that, without realizing it, I鈥檝e always had it in my mind. That鈥檚 where my book comes from.鈥� It is the story of a new name.
Yet would seem too late for redemption from Elena. Lila is lost, a fallen woman, the transformation Elena observed and dreaded a few years earlier in the wives of the old neighborhood has overcome her friend. Lila tosses her story into the flames and Elena leave Naples.
But Elena and Lila are still young, only in their mid-twenties, and there is still so much of their stories yet to tell.
May 25, 2018
Phenomenal Favola--Due Amici
This is the second of a tetralogy called the "Neopolitan Novels," by Italian novelist Elena Ferrante (pseudonym), who says she considers the four volumes to constitute one novel. The books were so popular in Italy that the periodical publications regularly engaged in a game of speculation on the author's true identity.
The books center on the lives and friendship of two girls from Naples, Italy, Elena Greco (called sometimes "Len霉") and Raffaella ("Lila") Cerullo. Both are intelligent and precocious young students in the first book called My Brilliant Friend, which takes them up to 16 years old. This one, The Story of a New Name carries them to their mid-20s. Elena is the narrator, but it's truly about both of them, and all that relationship entails through the years, including intellectual and sexual competition and envy, and support for each other as they attempt to rise above their poor, vulgar and sometimes violent neighborhood on the Naples outskirts.
In some ways, Ms. Ferrante's writing reminds me of that by the Norwegian Karl Ove Knaussgard in his six-volume My Struggle, so conversational and existential without being overly gloomy. I can't pin down exactly why but I find these books absolutely absorbing and fascinating. I want to keep reading... and reading.... It's like a dip into the soul of the authors, their daily lives, and the intriguing neighborhood interrelationships, friendships, as the authors call you forth, in examining their own lives, to examine yours, your childhood, childhood friends, being an adult, growing older, how sad things turn out for many who could not escape their surroundings, your recollections of certain things but haziness on others, the meaning of art and lit in life and to a full life, the meaning of your upbringing in your life, the ways you are like and differ from your parents when you become a parent, the place you grew up, how it felt to be isolated, in love with someone, to lose them to another, in lust, puppy love, your first sexual encounter, how you felt upon seeing someone again or for the first time in years and years. The Neopolitan novels are full of good and evil and eccentric characters.
I found the first novel a little tedious at times because it mostly involved elementary age kids. Unlike the Karl Ove novels, it is necessary to read these in order. For this second one, I was all in, finding it simply jaw-dropping at times. I'm already halfway through the 3d now, I've enjoyed them so much.
Highly recommended.
This is the second of a tetralogy called the "Neopolitan Novels," by Italian novelist Elena Ferrante (pseudonym), who says she considers the four volumes to constitute one novel. The books were so popular in Italy that the periodical publications regularly engaged in a game of speculation on the author's true identity.
The books center on the lives and friendship of two girls from Naples, Italy, Elena Greco (called sometimes "Len霉") and Raffaella ("Lila") Cerullo. Both are intelligent and precocious young students in the first book called My Brilliant Friend, which takes them up to 16 years old. This one, The Story of a New Name carries them to their mid-20s. Elena is the narrator, but it's truly about both of them, and all that relationship entails through the years, including intellectual and sexual competition and envy, and support for each other as they attempt to rise above their poor, vulgar and sometimes violent neighborhood on the Naples outskirts.
In some ways, Ms. Ferrante's writing reminds me of that by the Norwegian Karl Ove Knaussgard in his six-volume My Struggle, so conversational and existential without being overly gloomy. I can't pin down exactly why but I find these books absolutely absorbing and fascinating. I want to keep reading... and reading.... It's like a dip into the soul of the authors, their daily lives, and the intriguing neighborhood interrelationships, friendships, as the authors call you forth, in examining their own lives, to examine yours, your childhood, childhood friends, being an adult, growing older, how sad things turn out for many who could not escape their surroundings, your recollections of certain things but haziness on others, the meaning of art and lit in life and to a full life, the meaning of your upbringing in your life, the ways you are like and differ from your parents when you become a parent, the place you grew up, how it felt to be isolated, in love with someone, to lose them to another, in lust, puppy love, your first sexual encounter, how you felt upon seeing someone again or for the first time in years and years. The Neopolitan novels are full of good and evil and eccentric characters.
I found the first novel a little tedious at times because it mostly involved elementary age kids. Unlike the Karl Ove novels, it is necessary to read these in order. For this second one, I was all in, finding it simply jaw-dropping at times. I'm already halfway through the 3d now, I've enjoyed them so much.
Highly recommended.
September 17, 2016
4.5 stars
This, the second instalment of the Neapolitan series, held my attention in a vice grip from the first minute. It continues into young adulthood the story of the friendship of Lenu and Lila - a complex, competitive connection which spurs on much DRAMA.
Yes, drama, drama, drama - so many fights, beatings, broken hearts, betrayals, pregnancies (it made me laugh a little how they are always surprised at what results from repeated unprotected sex) and oh so much more! Such high highs, such low lows. (And a few frankly shocking moments, including one very icky one that I hope is explained somehow in the next book.) At times I felt I was following an Italian soap opera.
However, I was totally drawn in, fascinated at the arc of Lenu and Lila's lives, in awe of how the author is able to to constantly get into the psychology of the moment, and make me care about the cast of characters I've come to know. The struggles of making it out of the neighbourhood, doing something that counts, being the best, education, rising above poverty and the stigma of the neapolitan accent are all drivers that propel the action. And, of course, love.
As I said, I'm all in. Can't wait to start the next!
This, the second instalment of the Neapolitan series, held my attention in a vice grip from the first minute. It continues into young adulthood the story of the friendship of Lenu and Lila - a complex, competitive connection which spurs on much DRAMA.
Yes, drama, drama, drama - so many fights, beatings, broken hearts, betrayals, pregnancies (it made me laugh a little how they are always surprised at what results from repeated unprotected sex) and oh so much more! Such high highs, such low lows. (And a few frankly shocking moments, including one very icky one that I hope is explained somehow in the next book.) At times I felt I was following an Italian soap opera.
However, I was totally drawn in, fascinated at the arc of Lenu and Lila's lives, in awe of how the author is able to to constantly get into the psychology of the moment, and make me care about the cast of characters I've come to know. The struggles of making it out of the neighbourhood, doing something that counts, being the best, education, rising above poverty and the stigma of the neapolitan accent are all drivers that propel the action. And, of course, love.
As I said, I'm all in. Can't wait to start the next!
December 27, 2024
"Partly because her work describes domestic experiences 鈥� such as vivid sexual jealousy and other forms of shame 鈥� that are underexplored in fiction, Ferrante鈥檚 reputation is soaring, especially among women (Zadie Smith, Mona Simpson and Jhumpa Lahiri are fans). Her writing has a powerful intimacy 鈥� as if her characters, to paraphrase Ralph Waldo Emerson, are the lenses through which we read our own minds. The novelist Claire Messud emailed, 鈥淲hen you write to me and say you love her work, I have a moment where I think, 鈥楤ut 鈥� Elena is my friend! My private relationship with her, so intense and so true, is one that nobody else can fully know!鈥� It鈥檚 strange 鈥� and rare 鈥� to feel proprietary of a book, or a writer, in that way.鈥濃€�
"In a 2003 written interview, Ferrante said, 鈥淭he true reader, I think, searches not for the brittle face of the author in flesh and blood鈥� but instead for 鈥渢he naked physiognomy that remains in every effective word鈥�. Whoever Ferrante is, in the novel she is free to invent, to fabricate, to play, to revisit old wounds, to be less than beautiful. This is what writing can do: create a space for the savage within, for the contradictory and the wild, and make it real. There may be no consolation except the art itself, but what a pleasure for those of us who get to read it. I would not want to forget what Ferrante herself so eloquently stated in one of her letters: the mystery of literature is in some ways its difference from the person who wrote it, the unfathomable effacement of self that leads to its creation."
Meghan O'Rourke in The Guardian
To create a space for the savage within, for the contradictory and the wild, and make it real.
I could not express what these Neapolitan novels do any better than Meghan O'Rourke does in her fiercely intelligent and perceptive review of Elena Ferrante's novels for the Guardian.
You will simply never experience women characters in this way anywhere else. You get to read and feel the female psyche with more vibrancy and complexity and beauty than you can ever hope to find in a literary work. And the novels never feel literary. The characters feel as if they are coming into being right in front of your eyes, sentence by sentence, page by page, in a electrifying mess of living matter.
One of the most thrilling reading experiences I've had in recent years.
Meghan O'Rourke's review can be read in full here:
"In a 2003 written interview, Ferrante said, 鈥淭he true reader, I think, searches not for the brittle face of the author in flesh and blood鈥� but instead for 鈥渢he naked physiognomy that remains in every effective word鈥�. Whoever Ferrante is, in the novel she is free to invent, to fabricate, to play, to revisit old wounds, to be less than beautiful. This is what writing can do: create a space for the savage within, for the contradictory and the wild, and make it real. There may be no consolation except the art itself, but what a pleasure for those of us who get to read it. I would not want to forget what Ferrante herself so eloquently stated in one of her letters: the mystery of literature is in some ways its difference from the person who wrote it, the unfathomable effacement of self that leads to its creation."
Meghan O'Rourke in The Guardian
To create a space for the savage within, for the contradictory and the wild, and make it real.
I could not express what these Neapolitan novels do any better than Meghan O'Rourke does in her fiercely intelligent and perceptive review of Elena Ferrante's novels for the Guardian.
You will simply never experience women characters in this way anywhere else. You get to read and feel the female psyche with more vibrancy and complexity and beauty than you can ever hope to find in a literary work. And the novels never feel literary. The characters feel as if they are coming into being right in front of your eyes, sentence by sentence, page by page, in a electrifying mess of living matter.
One of the most thrilling reading experiences I've had in recent years.
Meghan O'Rourke's review can be read in full here:
June 17, 2017
螔位苇蟺蠅 蟺伪谓蟿慰蠉 伪蟽蟿蔚蟻维魏喂伪, 蟺慰位位维 伪蟽蟿蔚蟻维魏喂伪 4 伪蟽蟿蔚蟻维魏喂伪 伪蟺蠈 未蠅 5 伪蟽蟿蔚蟻维魏喂伪 伪蟺蠈 魏蔚委, 魏维蟺慰喂慰喂 胃伪 尾伪味伪谓 魏伪喂 15 伪谓 渭蟺慰蟻慰蠉蟽伪谓 蟿慰 谓喂蠋胃蠅 魏伪喂 胃苇位蠅 谓伪 蟺蔚蟿维尉蠅 蟿慰 1 蟿慰 伪蟽蟿蔚蟻维魏喂 伪位位维 蠁慰尾慰蠉渭伪喂 蟿喂蟼 伪蟺伪谓蟿伪蠂慰蠉 蠁伪谓伪蟿喂魏苇蟼 伪谓伪纬谓蠋蟽蟿蟻喂蔚蟼. 螌蠂喂 蟺位维魏伪 魏维谓蠅 3 伪蟽蟿蔚蟻维魏喂伪 伪位位维 渭苇蠂蟻喂 蔚魏蔚委 魏伪喂 伪蠀蟿蠈 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 纬喂伪蟿委 伪谓伪纬谓蠅蟻委味蠅 蟿畏谓 蟺慰喂蠈蟿畏蟿伪 蟿畏蟼 蟽蠀纬纬蟻伪蠁苇蠅蟼 伪位位维 未蠀蟽蟿蠀蠂蠋蟼 慰蠉蟿蔚 魏伪喂 蟽蟿慰 未蔚蠉蟿蔚蟻慰 尾喂尾位委慰 尾蟻萎魏伪 魏维蟺慰喂慰 蟽蟿慰喂蠂蔚委慰 蟺慰蠀 谓伪 渭慰蠀 魏蟻伪蟿萎蟽蔚喂 蟿蠈蟽慰 蟺慰位蠉 伪渭蔚委蠅蟿慰 蟿慰 蔚谓未喂伪蠁苇蟻慰谓. 螡伪 蟽慰蠀 未喂畏纬畏胃蠋 蔚纬蠋 魏蠀蟻委伪 桅蔚蟻蟻维谓蟿蔚 渭慰蠀 喂蟽蟿慰蟻委蔚蟼 渭蔚 维蟽蟺慰谓未蔚蟼 蠁委位蔚蟼 渭慰蠀 谓伪 未蔚喂蟼 苇谓伪 best seller 未蔚魏维蟿慰渭慰 蟺慰蠀 胃伪 魏伪谓伪 谓伪 魏位伪委蔚喂 未苇魏伪 渭苇蟻蔚蟼 畏 螡维蟺慰位畏 魏伪喂 蠈位伪 蟿伪 蟺蔚蟻委蠂蠅蟻伪. 螘委渭伪喂 畏 渭蠈谓畏 蟺慰蠀 未蔚 蟽蠀渭蟺伪胃蠋 魏伪渭委伪 伪蟺蠈 蟿喂蟼 未蠉慰 畏蟻蠅委未蔚蟼? 螛伪 渭慰蠀 蟺蔚喂蟼 纬喂伪 谓伪 蟽蔚 蟽蠀纬魏喂谓萎蟽蔚喂 苇谓伪 尾喂尾位委慰 未蔚 蟽畏渭伪委谓蔚喂 伪蟺伪蟻伪委蟿畏蟿伪 蠈蟿喂 蟺蟻苇蟺蔚喂 谓伪 伪纬伪蟺萎蟽蔚喂蟼 蟿慰蠀蟼 魏蔚谓蟿蟻喂魏慰蠉蟼 萎蟻蠅蔚蟼 伪位位伪 伪蠀蟿苇蟼 慰喂 未蠉慰 渭伪谓蟿伪渭委蟿蟽蔚蟼 慰蠉蟿蔚 魏伪谓 蟿慰 谓蔚蠉蟻慰 魏蟻蠈蟽蟽喂 未蔚 渭慰蠀 魏维谓慰蠀谓 谓伪 蠂蠅 蟿慰蠀位维蠂喂蟽蟿慰谓 魏维蟿喂 谓伪 蟿喂蟼 魏蟻维尉蠅. 螕蔚谓喂魏慰 蟽蠀渭蟺苇蟻伪蟽渭伪: 螡伪喂 渭蔚谓 伪位位维. 螝维蟿喂 渭慰蠀 位蔚委蟺蔚喂 蟽蔚 伪蠀蟿萎 蟿畏谓 喂蟽蟿慰蟻委伪 蟿慰 慰蟺慰委慰 未蔚谓 苇蠂蠅 蔚谓蟿慰蟺委蟽蔚喂 魏伪喂 伪蟻谓慰蠉渭伪喂 谓伪 蟿伪尉喂未苇蠄蠅 渭蔚 蟿畏谓 喂蟽蟿慰蟻委伪 伪蠀蟿萎 蟽蟿慰 尾伪胃渭蠈 蟺慰蠀 蟺委蟽蟿蔚蠀伪 魏伪喂 萎胃蔚位伪 萎 伪蟺位维 苇蠂蠅 纬委谓蔚喂 渭喂伪 蟿苇位蔚喂伪 伪谓伪委蟽胃畏蟿畏 纬伪蠆未慰蠉蟻伪 伪谓伪纬谓蠋蟽蟿蟻喂伪. 螖喂伪位蔚蠂蟿蔚 魏伪喂 蟺维蟻蟿蔚.
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