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La frantumaglia
Questo libro ci porta nel laboratorio di Elena Ferrante, ci permette di lanciare uno sguardo dentro i cassetti da cui sono usciti i suoi due romanzi, L'amore molesto e I giorni dell'abbandono, offre un esempio di passione assoluta per la scrittura. La scrittrice risponde a non poche delle domande che le hanno fatto i suoi lettori negli ultimi dieci anni. Dice, per esempio, perch茅 chi scrive un libro farebbe bene a tenersi in disparte e lasciare che il testo faccia il suo corso. Dice i pensieri e le ansie di quando un romanzo diventa film. Dice com'猫 complicato trovare risposte in pillole alle domande di un'intervista. Dice delle gioie, delle fatiche, delle angosce di chi narra una storia e poi la scopre insufficiente. Dice dei suoi rapporti con la psicoanalisi, con le citt脿 in cui 猫 vissuta, con l'infanzia come magazzino di mille suggestioni e fantasie, con il femminismo. Le pagine sono densissime. Ci sono le memorie della citt脿 natale, Napoli. Ci sono brani narrativi brevi e lunghi che non hanno trovato posto nei romanzi. C'猫 un modo sorprendente di interrogare la memoria, i libri amati, la vita di tutti i giorni. C'猫 soprattutto - al centro - lo scrivere, l'affollarsi intono alla pagina di esperienze e letture. La frantumaglia 猫 nato in buona parte da alcuni dei materiali che negli anni Elena Ferrante ha inviato alla sua casa editrice: lettere, scritti, risposte a domande di lettori e intervistatori. Il risultato 猫 l'autoritratto narrativamente vivacissimo di una scrittrice al lavoro.
184 pages, Paperback
First published January 1, 2003
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About the author
Elena Ferrante
50听books18.3k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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August 13, 2024
UN LIBRO CHE ACCOMPAGNA ALTRI LIBRI
Ogni libro 猫 pieno di parole.
Questo in modo particolare. Le parole di questo libro sono cos矛 pregnanti, e sature, da sembrare di pi霉. Pi霉 parole.
Non posso, non riesco, non voglio aggiungerne altre.
Ecco perch茅 uso le parole di Elena.
Che non 猫 Delia, non 猫 Olga, non 猫 Leda, non 猫 Lila, non 猫 Len霉.
Le parole di Elena, che sono quelle di Delia, di Olga, di Leda, di Lila, di Len霉.
E adesso sono anche le mie.
La sincerit脿, per quello che mi riguarda, 猫 il tormento e insieme il motore di ogni ricerca letteraria. Si lavora per tutta la vita cercando di fornirsi di strumenti espressivi adeguati. In genere il quesito pi霉 urgente per uno scrittore pare che sia: di quali esperienze io so di poter essere la voce, cosa mi sento in grado di raccontare? Ma non 猫 cos矛. 脠 pi霉 pressante chiedersi: qual 猫 la parola, il ritmo della frase, la tonalit脿 del periodo adatti alle cose che so? Sembrano domande formali, di stile, tutto sommato secondarie. Eppure sono convinta che senza le parole giuste, senza un lungo addestramento nel combinarle, non viene fuori niente di vivo e di vero. Non basta, come si usa sempre pi霉 oggi, dire: sono fatti realmente accaduti, 猫 la mia vita vera, nomi e cognomi sono quelli veri, descrivo proprio i luoghi in cui gli avvenimenti si sono verificati. Una scrittura inadeguata pu貌 rendere costituzionalmente falsa la pi霉 onesta delle verit脿 biografiche. La verit脿 letteraria non 猫 fondata su nessun patto autobiografico o giornalistico o giuridico. Non 猫 la verit脿 del biografo o del reporter o di un verbale di polizia o di una sentenza di tribunale, non 猫 nemmeno il verosimile di una narrazione costruita con competenza professionale. La verit脿 letteraria 猫 la verit脿 sprigionata esclusivamente dalla parola ben utilizzata, e si esaurisce in tutto e per tutto nelle parole che la formulano. Essa 猫 direttamente proporzionale all鈥檈nergia che si riesce a imprimere alla frase. E quando funziona non c鈥櫭� stereotipo, luogo comune, bagaglio consunto della letteratura popolare che le resista. Riesce a rianimare, resuscitare, piegare alle sue necessit脿 ogni cosa.
That's all we have, finally, the words, and they had better be the right ones.
Raymond Carver
Tutte le foto sono di Francesca Woodman, inclusa quest鈥檜ltima riprodotta nella copertina del libro.
Ogni libro 猫 pieno di parole.
Questo in modo particolare. Le parole di questo libro sono cos矛 pregnanti, e sature, da sembrare di pi霉. Pi霉 parole.
Non posso, non riesco, non voglio aggiungerne altre.
Ecco perch茅 uso le parole di Elena.
Che non 猫 Delia, non 猫 Olga, non 猫 Leda, non 猫 Lila, non 猫 Len霉.
Le parole di Elena, che sono quelle di Delia, di Olga, di Leda, di Lila, di Len霉.
E adesso sono anche le mie.
La sincerit脿, per quello che mi riguarda, 猫 il tormento e insieme il motore di ogni ricerca letteraria. Si lavora per tutta la vita cercando di fornirsi di strumenti espressivi adeguati. In genere il quesito pi霉 urgente per uno scrittore pare che sia: di quali esperienze io so di poter essere la voce, cosa mi sento in grado di raccontare? Ma non 猫 cos矛. 脠 pi霉 pressante chiedersi: qual 猫 la parola, il ritmo della frase, la tonalit脿 del periodo adatti alle cose che so? Sembrano domande formali, di stile, tutto sommato secondarie. Eppure sono convinta che senza le parole giuste, senza un lungo addestramento nel combinarle, non viene fuori niente di vivo e di vero. Non basta, come si usa sempre pi霉 oggi, dire: sono fatti realmente accaduti, 猫 la mia vita vera, nomi e cognomi sono quelli veri, descrivo proprio i luoghi in cui gli avvenimenti si sono verificati. Una scrittura inadeguata pu貌 rendere costituzionalmente falsa la pi霉 onesta delle verit脿 biografiche. La verit脿 letteraria non 猫 fondata su nessun patto autobiografico o giornalistico o giuridico. Non 猫 la verit脿 del biografo o del reporter o di un verbale di polizia o di una sentenza di tribunale, non 猫 nemmeno il verosimile di una narrazione costruita con competenza professionale. La verit脿 letteraria 猫 la verit脿 sprigionata esclusivamente dalla parola ben utilizzata, e si esaurisce in tutto e per tutto nelle parole che la formulano. Essa 猫 direttamente proporzionale all鈥檈nergia che si riesce a imprimere alla frase. E quando funziona non c鈥櫭� stereotipo, luogo comune, bagaglio consunto della letteratura popolare che le resista. Riesce a rianimare, resuscitare, piegare alle sue necessit脿 ogni cosa.
That's all we have, finally, the words, and they had better be the right ones.
Raymond Carver
Tutte le foto sono di Francesca Woodman, inclusa quest鈥檜ltima riprodotta nella copertina del libro.
December 18, 2016
If anything, this book confirmed my absolute love for and devotion to Elena Ferrante. Not written for the intention of publication, Frantumaglia is a collection of correspondences, interviews, and essays. In it (and more importantly in her novels), Ferrante proves herself to not only be one of the greatest writers of the last fifty years, but also one of its greatest thinkers. She writes with conviction and humility. What I wouldn't give to sit down to a meal with her, whoever she is. I don't care if we ever truly know who Ferrante is, as long as she continues to publish. And if she doesn't, thank God we have her existing body of work to devour over and over again. 4.5 stars
Sidenote: Don't read this book until you've read all of Ferrante's novels (Troubling Love, The Days of Abandonment, The Lost Daughter, and The Neapolitan Quartet). It includes some spoilers, and I believe you'll have a greater appreciation for it knowing what exactly she is discussing in her interviews.
Sidenote: Don't read this book until you've read all of Ferrante's novels (Troubling Love, The Days of Abandonment, The Lost Daughter, and The Neapolitan Quartet). It includes some spoilers, and I believe you'll have a greater appreciation for it knowing what exactly she is discussing in her interviews.
August 9, 2018
Great stuff here for those interested in the writing process, on how it is sieved from memory鈥檚 ambiguous fragments. To read of the many levels on which Ferrante proceeds as a novelist is鈥攆or the deep reader or writer鈥攔iveting. The autobiography in Chapter 1.16, which describes the childhood she plumbed in order to write her first two novellas鈥� and 鈥攊s very interesting. Most fascinating to me were the two sections of text, one from each of the first two novellas, inserted here that had been cut from those books. Ferrante's rich comments about why she cut these sections serve as a veritable workshop in creative writing. Let me add, that I've never heard of another writer doing this; that is, displaying rejected text from his or her own novel and explaining its deficiencies. There are also Ferrante's written exchanges with the director Mario Martone who turned her first novella into an Italian-language movie. No, to my knowledge that film was never subtitled or distributed for an English-speaking audience. But coming soon to HBO will be an Italian-made, English-subtitled treatment of Ferrante鈥檚 four magnificent . Let me conclude with a few quibbles: I take exception to Chapter 2.8, in which Ferrante answers questions from listeners of the Italian radio program Fahrenheit. Her answers are well worth reading, but the letters from the readers, save one or two, range from dreary to bonkers. Another annoyance comes in the form of incessant questions from interviewers about her decision to remain anonymous and not junket her books. When they outted her a year or so ago, I actually read her real name, but I haven't retained it. Who cares? Only, as she articulately explains, the media, and that's because journalists possess no critical vocabulary for dealing with writing alone. So they must constantly have personalities to fete. It's the author鈥檚 face that interests them, biological fodder they can write, but they can鈥檛 discuss fiction critically, and even if they could who would read them? Media is celebrity and nothing else, and celebrity, Ferrante argues, has nothing to do with whether or not a book is worthwhile. Yet the topic comes up so often in these pages it grows tedious. Enough. Some of this repetitiveness might have been edited out. If the book can be said to have a weak point, that鈥檚 it. But there are scads of goodies here that will delight those who care for and think deeply about literature.
August 23, 2018
Read this collection of letters and interviews if you鈥檝e read all of Ferrante鈥檚 fiction and loved all her words, words, words鈥攚hich I do. (Otherwise, forget it.) My only regret is that I didn鈥檛 read it sooner after finishing her novels, but the details I鈥檝e forgotten don鈥檛 really matter: it鈥檚 the themes that are paramount.
It鈥檚 also not a book to read straight through, as some of the questions (and answers) of the written interviews are repetitive (mostly those dealing with her choice to not use her real name), as if the interviewers hadn鈥檛 read any of the earlier interviews, or as if they thought they鈥檇 get a different answer. The interviews become more interesting as the book progresses, however, as Ferrante becomes more comfortable with the process, and even more voluble. (For this reason, don鈥檛 read the much shorter, earlier edition.) At one point Ferrante says the process of answering the questions has helped to elucidate her own ideas for herself.
My favorite part was learning about the word frantumaglia,"a jumble of fragments鈥�. Ferrante鈥檚 mother used the word (from their dialect) often, to describe 鈥渃ontradictory sensations that were tearing her apart鈥�, though Ferrante admits she doesn鈥檛 know if she鈥檚 correctly interpreting her mother鈥檚 meaning. Ferrante expands the definition of the word even further for herself as the interviews go on. Now I have a word for the 鈥渕iscellaneous crowd of things鈥� I鈥檝e always experienced in my own head, though I know I鈥檓 not pronouncing it correctly.
It鈥檚 also not a book to read straight through, as some of the questions (and answers) of the written interviews are repetitive (mostly those dealing with her choice to not use her real name), as if the interviewers hadn鈥檛 read any of the earlier interviews, or as if they thought they鈥檇 get a different answer. The interviews become more interesting as the book progresses, however, as Ferrante becomes more comfortable with the process, and even more voluble. (For this reason, don鈥檛 read the much shorter, earlier edition.) At one point Ferrante says the process of answering the questions has helped to elucidate her own ideas for herself.
My favorite part was learning about the word frantumaglia,"a jumble of fragments鈥�. Ferrante鈥檚 mother used the word (from their dialect) often, to describe 鈥渃ontradictory sensations that were tearing her apart鈥�, though Ferrante admits she doesn鈥檛 know if she鈥檚 correctly interpreting her mother鈥檚 meaning. Ferrante expands the definition of the word even further for herself as the interviews go on. Now I have a word for the 鈥渕iscellaneous crowd of things鈥� I鈥檝e always experienced in my own head, though I know I鈥檓 not pronouncing it correctly.
April 10, 2020
If you read all of her books and still want more, this is full of insight, wisdom, and context. It's interesting to watch her approach to participating in journalism change over the years.
April 14, 2017
A fabulous collections of correspondence and essay like responses to interview questions over a period of twenty five years since the publication of her first novel .
The title 'Frantumaglia', a fabulous word left to her by her mother, in her Neapolitan dialect, a word she used to describe how she felt when racked by contradictory sensations that were tearing her apart.
And so for her characters, this is what suffering is, looking onto the frantumaglia, the jumble of fragments inside.
The first half chiefly concerning communication around Troubling Love and , the latter written ten years after the first, although other stories were written in between, but never published, the author not happy with them as she so succinctly reveals:
The second half indicates a delay in the publication of this collection as it includes interviews and question - responses around the Neapolitan Quartet, beginning with the renowned .
Readers ask poignant questions, while the media tend to obsess about her decision to remain absent (as opposed to anonymous) from promotional activity, to which she has many responses, but one i particularly liked in a letter to Goffredo Fofi:
She shares some of her literary influences (works of literature about abandoned women) from the classic Greek myths, from Ariadne to Medea, from Dido to Simone de Beauvoir's and refers to recurring themes of abandonment, separation, and struggle. She mentions literary favourites, such as Elsa Morante's .
One interviewer asks why in her early novels, her characters depict women who suffer, to which she responds:
And on comparing Olga to Madame Bovary and Anna Karenina, who she sees as descendants of Dido and Medea, though they have lost the obscure force that pushed those heroines of the ancient world to such brutal forms of resistance and revenge, they instead experience their abandonment as a punishment for their sins.
In an interview, Stefania Scateni from the publication l'Unit脿, refers to Olga, the protagonist of The Days of Abandonment as destroyed by one love, seeking another with her neighbour, asks what Ferrante thinks of love?
She agains refers to the Greek classics, to Book 4 of the Aeneid, where the construction of Carthage stops when Dido falls in love.
The correspondence with the Director of Troubling Love, Mario Martone is illuminating, to read of Ferrante's humble hesitancy in contributing to a form she confessed to know nothing about, followed by her exemplary input to the process and finally the unsent letter, many months later when she finally saw the film and was so affected by what he had created. It makes me want to read her debut novel and watch the original cult film now.
Frantumagli is an excellent accompaniment to the novels of Elena Ferrante and insight into this writer's journey and process, in particular the inspiration behind her characters, settings and recurring themes.
The title 'Frantumaglia', a fabulous word left to her by her mother, in her Neapolitan dialect, a word she used to describe how she felt when racked by contradictory sensations that were tearing her apart.
She said that inside her she had a frantumaglia, a jumble of fragments. The frantumaglia depressed her. Sometimes it made her dizzy, sometimes it made her mouth taste like iron. It was the word for a disquiet not otherwise definable, it referred to a miscellaneous crowd of things in her head, debris in a muddy water of the brain. The frantumaglia was mysterious, it provoked mysterious actions, it was the source of all suffering not traceable to a single obvious cause...Often it made her weep, and since childhood the word has stayed in my mind to describe, in particular, a sudden fit of weeping for no evident reason: frantumaglia tears.
And so for her characters, this is what suffering is, looking onto the frantumaglia, the jumble of fragments inside.
The first half chiefly concerning communication around Troubling Love and , the latter written ten years after the first, although other stories were written in between, but never published, the author not happy with them as she so succinctly reveals:
I haven't written two books in ten years, I've written and rewritten many. But Troubling Love and The Days of Abandonment seemed to me the ones that most decisively stuck a finger in certain wounds I have that are still infected, and did so without keeping a safe distance. At other times, I've written about clean or happily healed wounds with the obligatory detachment and the right words. But then I discovered that is not my path.
The second half indicates a delay in the publication of this collection as it includes interviews and question - responses around the Neapolitan Quartet, beginning with the renowned .
Readers ask poignant questions, while the media tend to obsess about her decision to remain absent (as opposed to anonymous) from promotional activity, to which she has many responses, but one i particularly liked in a letter to Goffredo Fofi:
In my experience, the difficulty-pleasure of writing touches every point of the body. When you've finished the book, it's as if your innermost self had been ransacked, and all you want is to regain distance, return to being whole. I've discovered, by publishing, that there is a certain relief in the fact that the moment the text becomes a printed book it goes elsewhere. Before, it was the text that was pestering me; now I'd have to run after it. I decided not to.
...I wrote my book to free myself from it, not to be its prisoner.
She shares some of her literary influences (works of literature about abandoned women) from the classic Greek myths, from Ariadne to Medea, from Dido to Simone de Beauvoir's and refers to recurring themes of abandonment, separation, and struggle. She mentions literary favourites, such as Elsa Morante's .
One interviewer asks why in her early novels, her characters depict women who suffer, to which she responds:
The suffering of Delia, Olga, Leda is the result of disappointment. What they expected from life - they are women who sought to break with the tradition of their mothers and grandmothers - does not arrive. Old ghosts arrive instead, the same ones with whom the women of the past had to reckon. The difference is that these women don't submit to them passively. Instead, they fight, and they cope. They don't win, but they simply come to an agreement with their own expectations and find new equilibriums. I feel them not as women who are suffering but as women who are struggling.
And on comparing Olga to Madame Bovary and Anna Karenina, who she sees as descendants of Dido and Medea, though they have lost the obscure force that pushed those heroines of the ancient world to such brutal forms of resistance and revenge, they instead experience their abandonment as a punishment for their sins.
Olga, on the other hand, is an educated woman of today, influenced by the battle against the patriarchy. She knows what can happen to her and tries not to be destroyed by abandonment. Hers is the story of how she resists, of how she touches bottom and returns, of how abandonment changes her without annihilating her.
In an interview, Stefania Scateni from the publication l'Unit脿, refers to Olga, the protagonist of The Days of Abandonment as destroyed by one love, seeking another with her neighbour, asks what Ferrante thinks of love?
Ferrante: The need for love is the central experience of our existence.However foolish it may seem, we feel truly alive only when we have an arrow in our side and that we drag around night and day, everywhere we go. The need for love sweeps away every other need and, on the other hand, motivates all our actions.
She agains refers to the Greek classics, to Book 4 of the Aeneid, where the construction of Carthage stops when Dido falls in love.
Individuals and cities without love are a danger to themselves and others.
The correspondence with the Director of Troubling Love, Mario Martone is illuminating, to read of Ferrante's humble hesitancy in contributing to a form she confessed to know nothing about, followed by her exemplary input to the process and finally the unsent letter, many months later when she finally saw the film and was so affected by what he had created. It makes me want to read her debut novel and watch the original cult film now.
Frantumagli is an excellent accompaniment to the novels of Elena Ferrante and insight into this writer's journey and process, in particular the inspiration behind her characters, settings and recurring themes.
June 10, 2023
made me want to rate all of her novels 7/5 stars
Want to read
November 16, 2016"My mother liked to use the word frantumaglia鈥攂its and pieces of uncertain origin which rattle around in your head, not always comfortably".
in Paris Review, Art of Fiction No. 228
"I believe that books, once they are written, have no need of their authors"
Letter to her publisher, Sandra Ozzola,
(Ferrante's note)
"I鈥檓 still very interested in testifying against the self-promotion 颅obsessively 颅imposed by the media. (on the anonymity question)
in Interview to Paris Review
"There is nothing mysterious about her, given how she manifests herself 鈥� perhaps even too much 鈥� in her own writing, the place where her creative life transpires in absolute fullness."
"I was not born or brought up in affluence. Climbing the economic ladder has been very hard for me,..."
Elena Ferrante in e-mail interview to The Guardian
Anita Raja, ....really???
OR
Domenico Starnone?
"...there has been much speculation about the writer鈥檚 identity."
"....new revelations from real estate and financial records point to Anita Raja, a Rome-based translator whose German-born mother fled the Holocaust and later married a Neapolitan magistrate".
in:
Elena Ferrante: An Answer?
by Claudio Gatti
BUT, according to Brazilian writer Mar莽al Aquino, Ferrante lives in Portugal.
"Dizem-me que ela vive aqui em Portugal, naturalmente com outro nome, porque Elena Ferrante 茅 um pseud贸nimo"
Interview to "jornal i"
You figure,...mystery persists.
PS Let us not forget Marco Santagata's guess on Ferrante's identity; a professor at the University of Pisa, he believes Ferrante is a Naples woman, who studied in Pisa before 1966; she lectures Contemporary History and knows a lot about organized crime. He ventured this name: Marcella Marmo. Yet, the real Marcella Marmo when asked about that hypothesis denied being Ferrante.
PPS Judith Thurman: "impossible to be a man"
2nd October 2016
UPDATE
Well, I've written yesterday the above piece, and little I knew that The Guardian was writing also about the issue at stake; so here goes more on Ferrante:
Elena Ferrante: literary storm as Italian reporter 'identifies' author
in:
and, today's NYer's:
THE 鈥淯NMASKING鈥� OF ELENA FERRANTE
By Alexandra Schwartz , 10:40 A.M.
3rd October 2016
UPDATE
And, of course, there are those who think that anonymity is good, and letting things be as they are/were would be a better option; see here:
5th October 2016
UPDATE
"Frantumaglia: A Writer鈥檚 Journey by Elena Ferrante review 鈥� astute, revelatory ruminations"
in:
1st of November 2016
UPDATE
Oh, now there's fever; quite wintery; Ferrante Fever, a documentary in the making about the hyped phenomenon;
see here:
16th Nov 2016 2016
July 25, 2024
virei ainda mais f茫 :)
January 15, 2017
"You say it's necessary to do interviews, at least, and that's fine, you're right. Tell Fofi to send me the questions, I'll answer. In these ten years I hope I've grown up.
In my own defence, however, I will say only this: in the games with newspapers one always ends up lying and at the root of the lie is the need to offer oneself to the public in the best form, with thoughts suitable to the role, with the makeup we imagine is suitable."
Frantumaglia: A Writer's Journey starts with the much-quoted letter that the author known as wrote to her publishers in 1991, at the time her first book was written:
"I won鈥檛 participate in discussions and conferences, if I鈥檓 invited. I won鈥檛 go and accept prizes, if any are awarded to me. I will never promote the book, especially on television, not in Italy or, as the case may be, abroad. I will be interviewed only in writing, but I would prefer to limit even that to the indispensable minimum
I believe that books, once they are written, have no need of their authors. If they have something to say, they will sooner or later find readers; if not, they won鈥檛."
And it ends with a, I suspect deliberately provocative, "About the Author" section, which simply lists her published books followed by several blank pages.
However, as the opening quote, from a similar letter but written 10 years late at the time of her 2nd novel, suggests, Ferrante did ultimately soften her stance. Increasingly she answered questions from journalists on her books, and indeed questions on her anonymity, although any requests for biographical detail were curtly dismissed, quoting 's 鈥淎sk me what you want to know, but I won鈥檛 tell you the truth, of that you can be sure.鈥�
Many of her replies were lengthy expositions on her works, not really tailor-made for newspaper publication, often not even sent to the journalist. In one case she manages to answer five brief, albeit open-ended, questions from a magazine with a 70 page analysis of her first two books.
And it is this piece, printed in this volume, that gives rise both to the title of this book and indeed its very origin as she accepts (or rather doesn't refuse) her publisher's suggestion to publish the piece and similar correspondence as a book, describing it not so much as a stand-alone work but rather an appendix to her novels, "a sort of slightly dense afterword."
The book we have in English is this original book updated for the publication of Ferrante's later novels, right up to her latest, in English and Italian, the Neapolitan Quartet (which incidentally she regards as a single novel).
"Frantumuglia" is a term her mother used to describe "contradictory sensations that were tearing her apart ... a jumble of fragments", much like the condition experienced by Lila in My Beautiful Friend. But Ferrante increasingly used the term in interviews to describe the origin of her own writing, "fragments of memory. ... bits and pieces whose origin is difficult to pinpoint, and which make a noise in your head, sometimes causing discomfort. ... splinters of a possible narrative" from which she pieces together a story.
Ferrante's manifesto of anonymity does raise some rather challenging issues.
Crucially, and as many of her interviewers point out, far from distracting attention from the author's identity, the sense of mystery created has actually served to focus attention on it: rare is the review (including, regrettably, mine) of a Ferrante novel that doesn't at least mention the topic. And that in turn begs the question of whether the whole concept isn't actually designed to drum up publicity.
She responds rather aggressively to journalists raising this, pointing out that they raised the topic not her and claiming her readers (as opposed to journalists) don't care. But one of the longest and certainly the most revealing interview in the book [largely because it is a genuine two-way conversation rather than simply answers with no opportunity for the questioner to follow-up on points raised] is between Ferrante and her Italian publishers (*), and they also spend as much time discussing the issue of her anonymity as they do her works.
Indeed reading between the lines one does rather conclude that the author herself would genuinely prefer if no-one cared or wrote about her identity, whereas her publishers do, understandably, sense and to an extent exploit the commercial potential of the stance.
[* The Paris Review printed a shortened version of the same piece in their wonderful Art of Fiction series ]
Ferrante's consistent stance is that the author of a book is not to be confused with the complete individual who wrote the books. There are parts of her in the novel but not all of her:
"I am not a supporter of the idea that the author is inessential. I would like only to decide what part of myself should be made public and what instead should remain private. I think that, in art, the life that counts is the life that remains miraculously alive in the works."
But interestingly she pushes back on the concept that the author itself can be absent from a novel, arguing that, in the Neopolitan books, "Elena" the author is different from "Elena" the narrator. She believes in the importance of "providing the reader with the elements that enable him to distinguish me from the narrating "I" ... The passionate reader deserves to be enabled to also extract the author's physiognomy from every word or grammatical violation or syntactical knot in the text, just has happens for characters, for a landscape, for a feeling, for a slow or agitated act...this seems to me much more than signing copies in a bookstore, defacing them with trite phrases."
Ferrante's anonymity has also led to many questions as to whether "Elena Ferrante" is more than just a pseudonym and actually a false front, that the limited biographical details she has acknowledged are false, that the pseudonym might disguise an already famous author, different people writing each book, or, most perniciously in Ferrante's eyes (and the one detail she insists in contradicting, since this would be a betrayal of her writing) that she may be a man.
As to the accusation that there may even be more than one writer using the pseudonym Ferrante, turns this back to support one of the very points her anonymity makes, that one has to work hard as a reader to detect the author if there is no picture on the cover:
The experts stare at the empty frame where the image of the author is supposed to be and they don鈥檛 have the technical tools, or, more simply, the true passion and sensitivity as readers, to fill that space with the works. So they forget that every individual work has its own story. Only the label of the name or a rigorous philological examination allows us to take for granted that the author of Dubliners is the same person who wrote Ulysses and Finnegans Wake. The cultural education of any high school student should include the idea that a writer adapts depending on what he or she needs to express.
The other accusation sometimes levelled at Ferrante's novels is that they are little more than up-market chick-lit. This isn't helped by the branding and covers of the English editions:
This Frantamuglia very successfully refutes, mostly not by assertion but instead by the brilliance of Ferrante's writing on her own works, her themes, her influences, even unpublished sections from some of her works that explain her thought processes.
But she does admit to using tools to hook the reader while at the same time refusing the bounds of genre fiction:
I publish to be read. It鈥檚 the only thing that interests me about publication. So I employ all the strategies I know to capture the reader鈥檚 attention, stimulate curiosity, make the page as dense as possible and as easy as possible to turn.
But once I have the reader鈥檚 attention I feel it is my right to pull it in whichever direction I choose. I don鈥檛 think the reader should be indulged as a consumer, because he isn鈥檛 one. Literature that indulges the tastes of the reader is a degraded literature. My goal is to disappoint the usual expectations and inspire new ones.
And as a final point that struck me, she both neatly skewers the type of political writing that, e.g. won the 2016 Booker Prize:
"But what of any real political effect? In general it seems to me disappointing: a rhetorically complicit nudge given to a public that is already convinced."
and, through her comments on Silvio Berlusconi in 2002, anticipates the events of 2016:
"The construction of his figure as a democratically elected economic-political-television Duce will remain a perfectible, repeatable model...(He has) practically demonstrated that the interests off an individual can be installed overnight, thanks to a business group (not a political party), on top of the political dissatisfaction of half of Italy, higher classes and lower classes, passed off as a heroic story of national salvation and, above all, without extinguishing democratic assurances."
(Albeit in 2002 she attributes this to people suspending credulity and treating everything they are told as true, whereas to me 2016 is the pay-truth age where no one believes anything and so a lie or an unsubstantiated assertion is as valid as the truth or an expert opinion. )
Overall a wonderful "slightly dense afterword" to Ferrante's impressive novels, but best read if one is already familiar with them to get the most from it.
In my own defence, however, I will say only this: in the games with newspapers one always ends up lying and at the root of the lie is the need to offer oneself to the public in the best form, with thoughts suitable to the role, with the makeup we imagine is suitable."
Frantumaglia: A Writer's Journey starts with the much-quoted letter that the author known as wrote to her publishers in 1991, at the time her first book was written:
"I won鈥檛 participate in discussions and conferences, if I鈥檓 invited. I won鈥檛 go and accept prizes, if any are awarded to me. I will never promote the book, especially on television, not in Italy or, as the case may be, abroad. I will be interviewed only in writing, but I would prefer to limit even that to the indispensable minimum
I believe that books, once they are written, have no need of their authors. If they have something to say, they will sooner or later find readers; if not, they won鈥檛."
And it ends with a, I suspect deliberately provocative, "About the Author" section, which simply lists her published books followed by several blank pages.
However, as the opening quote, from a similar letter but written 10 years late at the time of her 2nd novel, suggests, Ferrante did ultimately soften her stance. Increasingly she answered questions from journalists on her books, and indeed questions on her anonymity, although any requests for biographical detail were curtly dismissed, quoting 's 鈥淎sk me what you want to know, but I won鈥檛 tell you the truth, of that you can be sure.鈥�
Many of her replies were lengthy expositions on her works, not really tailor-made for newspaper publication, often not even sent to the journalist. In one case she manages to answer five brief, albeit open-ended, questions from a magazine with a 70 page analysis of her first two books.
And it is this piece, printed in this volume, that gives rise both to the title of this book and indeed its very origin as she accepts (or rather doesn't refuse) her publisher's suggestion to publish the piece and similar correspondence as a book, describing it not so much as a stand-alone work but rather an appendix to her novels, "a sort of slightly dense afterword."
The book we have in English is this original book updated for the publication of Ferrante's later novels, right up to her latest, in English and Italian, the Neapolitan Quartet (which incidentally she regards as a single novel).
"Frantumuglia" is a term her mother used to describe "contradictory sensations that were tearing her apart ... a jumble of fragments", much like the condition experienced by Lila in My Beautiful Friend. But Ferrante increasingly used the term in interviews to describe the origin of her own writing, "fragments of memory. ... bits and pieces whose origin is difficult to pinpoint, and which make a noise in your head, sometimes causing discomfort. ... splinters of a possible narrative" from which she pieces together a story.
Ferrante's manifesto of anonymity does raise some rather challenging issues.
Crucially, and as many of her interviewers point out, far from distracting attention from the author's identity, the sense of mystery created has actually served to focus attention on it: rare is the review (including, regrettably, mine) of a Ferrante novel that doesn't at least mention the topic. And that in turn begs the question of whether the whole concept isn't actually designed to drum up publicity.
She responds rather aggressively to journalists raising this, pointing out that they raised the topic not her and claiming her readers (as opposed to journalists) don't care. But one of the longest and certainly the most revealing interview in the book [largely because it is a genuine two-way conversation rather than simply answers with no opportunity for the questioner to follow-up on points raised] is between Ferrante and her Italian publishers (*), and they also spend as much time discussing the issue of her anonymity as they do her works.
Indeed reading between the lines one does rather conclude that the author herself would genuinely prefer if no-one cared or wrote about her identity, whereas her publishers do, understandably, sense and to an extent exploit the commercial potential of the stance.
[* The Paris Review printed a shortened version of the same piece in their wonderful Art of Fiction series ]
Ferrante's consistent stance is that the author of a book is not to be confused with the complete individual who wrote the books. There are parts of her in the novel but not all of her:
"I am not a supporter of the idea that the author is inessential. I would like only to decide what part of myself should be made public and what instead should remain private. I think that, in art, the life that counts is the life that remains miraculously alive in the works."
But interestingly she pushes back on the concept that the author itself can be absent from a novel, arguing that, in the Neopolitan books, "Elena" the author is different from "Elena" the narrator. She believes in the importance of "providing the reader with the elements that enable him to distinguish me from the narrating "I" ... The passionate reader deserves to be enabled to also extract the author's physiognomy from every word or grammatical violation or syntactical knot in the text, just has happens for characters, for a landscape, for a feeling, for a slow or agitated act...this seems to me much more than signing copies in a bookstore, defacing them with trite phrases."
Ferrante's anonymity has also led to many questions as to whether "Elena Ferrante" is more than just a pseudonym and actually a false front, that the limited biographical details she has acknowledged are false, that the pseudonym might disguise an already famous author, different people writing each book, or, most perniciously in Ferrante's eyes (and the one detail she insists in contradicting, since this would be a betrayal of her writing) that she may be a man.
As to the accusation that there may even be more than one writer using the pseudonym Ferrante, turns this back to support one of the very points her anonymity makes, that one has to work hard as a reader to detect the author if there is no picture on the cover:
The experts stare at the empty frame where the image of the author is supposed to be and they don鈥檛 have the technical tools, or, more simply, the true passion and sensitivity as readers, to fill that space with the works. So they forget that every individual work has its own story. Only the label of the name or a rigorous philological examination allows us to take for granted that the author of Dubliners is the same person who wrote Ulysses and Finnegans Wake. The cultural education of any high school student should include the idea that a writer adapts depending on what he or she needs to express.
The other accusation sometimes levelled at Ferrante's novels is that they are little more than up-market chick-lit. This isn't helped by the branding and covers of the English editions:
This Frantamuglia very successfully refutes, mostly not by assertion but instead by the brilliance of Ferrante's writing on her own works, her themes, her influences, even unpublished sections from some of her works that explain her thought processes.
But she does admit to using tools to hook the reader while at the same time refusing the bounds of genre fiction:
I publish to be read. It鈥檚 the only thing that interests me about publication. So I employ all the strategies I know to capture the reader鈥檚 attention, stimulate curiosity, make the page as dense as possible and as easy as possible to turn.
But once I have the reader鈥檚 attention I feel it is my right to pull it in whichever direction I choose. I don鈥檛 think the reader should be indulged as a consumer, because he isn鈥檛 one. Literature that indulges the tastes of the reader is a degraded literature. My goal is to disappoint the usual expectations and inspire new ones.
And as a final point that struck me, she both neatly skewers the type of political writing that, e.g. won the 2016 Booker Prize:
"But what of any real political effect? In general it seems to me disappointing: a rhetorically complicit nudge given to a public that is already convinced."
and, through her comments on Silvio Berlusconi in 2002, anticipates the events of 2016:
"The construction of his figure as a democratically elected economic-political-television Duce will remain a perfectible, repeatable model...(He has) practically demonstrated that the interests off an individual can be installed overnight, thanks to a business group (not a political party), on top of the political dissatisfaction of half of Italy, higher classes and lower classes, passed off as a heroic story of national salvation and, above all, without extinguishing democratic assurances."
(Albeit in 2002 she attributes this to people suspending credulity and treating everything they are told as true, whereas to me 2016 is the pay-truth age where no one believes anything and so a lie or an unsubstantiated assertion is as valid as the truth or an expert opinion. )
Overall a wonderful "slightly dense afterword" to Ferrante's impressive novels, but best read if one is already familiar with them to get the most from it.
April 10, 2019
Frantumaglia first appeared in 2003 and mainly commented on Ferrante's first works. In this edition of 2016 two big chapters have been added, with comments on the later works, of course mainly the Neapolitan novels. Written questions from readers, reviewers or fellow writers are almost always the guideline for Ferrante's answers.
Right from the start, the questions are about her choice to remain anonymous, and those questions keep returning, sometimes even with a denigratingly accusing undertone. Ferrante always reacts politely to this, although her underlying annoyance to that constant monitoring of her identity is also clear. That is understandable of course, but it does create a lot of repetition in this book, (also about other themes, by the way), and that is annoying to the reader as well.
But on the other hand, Ferrante in Frantumaglia regularly gives an interesting insight into the way she writes her books, and from which background and inspiration. And she also regularly explains certain substantive aspects of her books. In this way, Frantumaglia is an absolute must read, because it rarely happens that an author gives an explanation of his/her own work in a way that goes much deeper than the superficial talks in the media.
Incidentally, throughout the years (the first answers date from 1991, the last from 2015), there鈥檚 a striking evolution in the comments of Ferrante: in the beginning she is fairly hesitant and evasive, and condescending about her own talent and fame; but gradually you see her self-confidence grow, and she really starts to explain what her writing is all about. In the end, her firm feminist statements are striking (not surprising, of course, for those who know her work.). Her tone reminded me very much of Marguerite Yourcenar, in the interview book , also a writer who constantly revised her texts before publication and who also spoke a lot about the female condition. That is quite a reference, isn鈥檛 it?
Right from the start, the questions are about her choice to remain anonymous, and those questions keep returning, sometimes even with a denigratingly accusing undertone. Ferrante always reacts politely to this, although her underlying annoyance to that constant monitoring of her identity is also clear. That is understandable of course, but it does create a lot of repetition in this book, (also about other themes, by the way), and that is annoying to the reader as well.
But on the other hand, Ferrante in Frantumaglia regularly gives an interesting insight into the way she writes her books, and from which background and inspiration. And she also regularly explains certain substantive aspects of her books. In this way, Frantumaglia is an absolute must read, because it rarely happens that an author gives an explanation of his/her own work in a way that goes much deeper than the superficial talks in the media.
Incidentally, throughout the years (the first answers date from 1991, the last from 2015), there鈥檚 a striking evolution in the comments of Ferrante: in the beginning she is fairly hesitant and evasive, and condescending about her own talent and fame; but gradually you see her self-confidence grow, and she really starts to explain what her writing is all about. In the end, her firm feminist statements are striking (not surprising, of course, for those who know her work.). Her tone reminded me very much of Marguerite Yourcenar, in the interview book , also a writer who constantly revised her texts before publication and who also spoke a lot about the female condition. That is quite a reference, isn鈥檛 it?
July 31, 2017
Frantumaglia: fragments, a tangle, the messiness inside our heads that demands expression. Ferrante writes that the "I" can not be "halved" because it is a "crowd".
This is a wonderful book. I think for everyone but especially for anyone interested in the writing process or in reading or in women's writing. Ferrante responds to questions in a variety of interviews as well as in letters her way of writing, her search for what she calls the "authentic" over the merely truthful. She says that when her writing is going well, it often veers towards the edges, over the limits of her comfort zone. If she's not reaching that far down, into the wound as she calls it, than her writing is only technically proficient but not vital.
Certainly, Ferrante's voice in the four books that comprise the Neapolitan Quartet is powerful. Her depiction of the complicated friendship between two women is striking and true in a way not often seen in literature. Ferrante is creating her own path. And although the books are rooted in the culture and community of Naples, they are relevant to people (especially women) everywhere.
Ferrante is famous (infamous?) for her refusal to be a public part of her books (she states she is not "anonymous" but "absent"). She believes that the writer's connection to the public is through the text. The rest is merely consumerism. Certainly in these pages she shares her thoughts on her writing and on the influence of the feminist movement as well as other writers honestly and directly. I felt that this book helped me understand Ferrante the writer better and offered additional insights into her books.
What more do I, as a reader, need?
This is a wonderful book. I think for everyone but especially for anyone interested in the writing process or in reading or in women's writing. Ferrante responds to questions in a variety of interviews as well as in letters her way of writing, her search for what she calls the "authentic" over the merely truthful. She says that when her writing is going well, it often veers towards the edges, over the limits of her comfort zone. If she's not reaching that far down, into the wound as she calls it, than her writing is only technically proficient but not vital.
Certainly, Ferrante's voice in the four books that comprise the Neapolitan Quartet is powerful. Her depiction of the complicated friendship between two women is striking and true in a way not often seen in literature. Ferrante is creating her own path. And although the books are rooted in the culture and community of Naples, they are relevant to people (especially women) everywhere.
Ferrante is famous (infamous?) for her refusal to be a public part of her books (she states she is not "anonymous" but "absent"). She believes that the writer's connection to the public is through the text. The rest is merely consumerism. Certainly in these pages she shares her thoughts on her writing and on the influence of the feminist movement as well as other writers honestly and directly. I felt that this book helped me understand Ferrante the writer better and offered additional insights into her books.
What more do I, as a reader, need?
November 9, 2017
I think our sexuality is all still to be recounted and that, especially in this context, the rich male literary tradition constitutes a huge obstacle [...] We, all of us women, need to build a genealogy of our own, one that will embolden us, define us, allow us to see ourselves outside the tradition through which men have viewed, represented, evaluated, and catalogued us - for millennia. Theirs is a potent tradition, rich with splendid works, but one which has excluded much, too much, of what is ours. To narrate thoroughly, freely - even provocatively - our own "more than this" is important: it contributes to the drawing of a map of what we are or what we want to be.
Already a rabid fan of The Neapolitan Quartet, this book has cemented my adoration of, and intellectual respect for, Ferrante. Consisting of letters, emails, interviews and fragments of writing, it gives us unparalleled access to Ferrante's mind as she opens up about her writing, her thinking, her politics and her literary influences as she discusses her work and her books.
An informed feminist who admits she's been influenced by Irigaray and Butler, as well as by the classical tradition of abandoned (in all sense of that word) women from Ariadne and Medea to Dido who she discusses at length, Ferrante is articulate, passionate and a true writer's writer - she takes her calling seriously ('a book should push the reader to confront himself (sic) and the world',p.323), working to write with authenticity, truth and sincerity, not to push out books to be published at regular intervals. Indeed, those of us who came to her via may well be surprised to find this book covering a period from 1991 through to 2016.
Because so much of this is based on written interviews with various journals and newspapers, there is inevitably an overlap in questions asked, especially about Ferrante's anonymity and refusal to insert herself between her books and her readership ('I believe that books, once they are written, have no need of their authors', p.15) and her very patience is a marked characteristic of her seriousness and intent.
We also, though, gain a fascinating insight into her view of literature in a broad sense, and her insights into her writing of the startling, subtle, complicated relationship between her two great protagonists, Lina and Elena.
One of the things that makes Ferrante outstanding today is the way she has effortlessly bridged the space between 'literary' and 'popular' fiction and readers - her books speak to us on a human (dare I say gendered?) level while also placing themselves into a tradition that is both familiar and yet startlingly unfamiliar given its emphasis on female friendship, a relationship which ultimately supersedes all other bonds in her quartet.
This is a book which is rewarding for fans, but also for anyone working on feminist literature, gender and writing and women's writing.
April 23, 2025
兀賳丕 亘丨亘 廿賷賱賷賳丕 賮賷乇丕賳鬲賷貙 賵亘毓丿 賯乇丕亍丞 丕賱賰鬲丕亘 丕夭丿丕丿 丨亘賷 賵鬲賯丿賷乇賷 賱賴丕. 賲丨鬲丕乇丞 兀賵氐賮 卮毓賵乇賷 賰賷賮 亘丕賱賮乇丨丞 賵丕賱丕賳丿賴丕卮 丕賱鬲賷 爻賷胤乇鬲 毓賱賷 賵兀賳丕 亘賯乇兀 賰鬲丕亘 賮賷賴 賵賲囟丕鬲 賲賳 丨賷丕鬲賴丕貙 乇丿賴丕 毓賱賶 乇爻丕卅賱 賲賳 丕賱賯乇丕亍 亘兀爻賱賵亘賴丕貙 鬲丨賱賷賱賴丕 丕賱毓賲賷賯 賵丕賱賲賳賲賯 賱乇賵丕賷鬲賴丕. 丿賲賵毓 賰丕賳鬲 賮賷 毓賷賳賷 毓賳丿賲丕 賵噩丿鬲 兀賳賷 賮毓賱丕 兀毓乇賮 毓賳賴丕 丕賱賯賱賷賱 丨爻賷鬲 亘賷賴 賲賳 乇賵丕賷鬲賴丕 賵鬲兀賰丿鬲 亘毓丿 賮乇丕賳鬲賵賲丕賱賷丕 兀賳賷 賲丕 卮毓乇鬲 亘賷賴 賰丕賳 氐丨. 賵丕賱噩賲賷賱 兀賳賴 賴匕丕 賲丕 鬲乇賷丿賴 賴賷貙 賰卮禺氐賷丞 鬲賰鬲亘 鬲丨鬲 丕爻賲 賲爻鬲毓丕乇 賵賱丕 鬲丨亘 丕賱馗賴賵乇貙 鬲乇賶 兀賳賴 兀毓賲丕賱賴丕 賴賷 丨賱賯丞 丕賱賵氐賱 亘賷賳賴丕 賵亘賷賳 丕賱賯乇丕亍.
兀賳丕 丨亘賷鬲 丿賲丕睾賴丕 賵胤乇賷賯丞 鬲賮賰賷乇賴丕貙 賮禺賵乇丞 兀賳賴丕 賰丕鬲亘鬲賷 丕賱賲賮囟賱丞貙 爻毓賷丿丞 兀賳賴 亘賯乇兀 賱賴丕 賵丨鬲賶 亘毓丿 賲丕 丕賳鬲賴賷 賲賳 賰賱 兀毓賲丕賱賴丕 丕賱賲鬲乇噩賲丞貙 爻兀毓賷丿 賯乇丕亍丕鬲賴賲 丨鬲賶 鬲亘賯賶 丨賱賯丞 丕賱賵氐賱 丿賵賲丕.
兀鬲賲賳賶 鬲賰賵賳 亘禺賷乇 賵兀丨賵丕賱賴丕 賮賷 兀丨爻賳 丨丕賱 賵賱賴丕 賲賳賷 賰賱 丕賱丨亘.
乇兀賷 丕賱賲鬲賵丕囟毓 兀賳賴 丕賱賰鬲丕亘 賮賷賴 亘毓囟 丕賱丨乇賯 賲賳 兀毓賲丕賱賴丕貙 賷購賮囟賱 丕賱賯乇丕亍丞 亘毓丿 賲丕 鬲賰賵賳 賯乇兀鬲 毓賱賶 丕賱兀賯賱 亘毓囟 賲賳賴賲. 兀賷囟丕 丕賱賰鬲丕亘 賱丕 賷賳賮毓 兀賳 賷賰賵賳 賰亘丿丕賷丞 賱賱賯乇丕亍丞 賱賴丕 賱兀賳賴 賲丨鬲丕噩 鬲鬲毓乇賮 毓賱賷賴丕 丕賱兀賵賱 賵賱賱爻亘亘 丕賱丨乇賯. 鈾ワ笍
卮賰乇丕 賱賰 丿賵賲丕 賲毓丕賵賷丞 毓亘丿 丕賱賲噩賷丿. 馃尭
兀賳丕 丨亘賷鬲 丿賲丕睾賴丕 賵胤乇賷賯丞 鬲賮賰賷乇賴丕貙 賮禺賵乇丞 兀賳賴丕 賰丕鬲亘鬲賷 丕賱賲賮囟賱丞貙 爻毓賷丿丞 兀賳賴 亘賯乇兀 賱賴丕 賵丨鬲賶 亘毓丿 賲丕 丕賳鬲賴賷 賲賳 賰賱 兀毓賲丕賱賴丕 丕賱賲鬲乇噩賲丞貙 爻兀毓賷丿 賯乇丕亍丕鬲賴賲 丨鬲賶 鬲亘賯賶 丨賱賯丞 丕賱賵氐賱 丿賵賲丕.
兀鬲賲賳賶 鬲賰賵賳 亘禺賷乇 賵兀丨賵丕賱賴丕 賮賷 兀丨爻賳 丨丕賱 賵賱賴丕 賲賳賷 賰賱 丕賱丨亘.
乇兀賷 丕賱賲鬲賵丕囟毓 兀賳賴 丕賱賰鬲丕亘 賮賷賴 亘毓囟 丕賱丨乇賯 賲賳 兀毓賲丕賱賴丕貙 賷購賮囟賱 丕賱賯乇丕亍丞 亘毓丿 賲丕 鬲賰賵賳 賯乇兀鬲 毓賱賶 丕賱兀賯賱 亘毓囟 賲賳賴賲. 兀賷囟丕 丕賱賰鬲丕亘 賱丕 賷賳賮毓 兀賳 賷賰賵賳 賰亘丿丕賷丞 賱賱賯乇丕亍丞 賱賴丕 賱兀賳賴 賲丨鬲丕噩 鬲鬲毓乇賮 毓賱賷賴丕 丕賱兀賵賱 賵賱賱爻亘亘 丕賱丨乇賯. 鈾ワ笍
卮賰乇丕 賱賰 丿賵賲丕 賲毓丕賵賷丞 毓亘丿 丕賱賲噩賷丿. 馃尭
October 7, 2022
Bel铆simo para quienes hemos le铆do la obra de Ferrante desde El amor molesto y la tetralog铆a Dos amigas para profundizar en ellas.
November 13, 2016
鈥淚鈥檝e always had a tendency to separate everyday life from writing. To tolerate existence, we lie, and we lie above all to ourselves. Sometimes we tell ourselves lovely tales, sometimes petty lies. Falsehoods protect us, mitigate suffering, allow us to avoid the terrifying moment of serious reflection, they dilute the horrors of our time, they even save us from ourselves. Instead, when one writes one must never lie. In literary fiction you have to be sincere to the point where it鈥檚 unbearable, where you suffer the emptiness of the pages. It seems likely that making a clear separation between what we are in life and what we are when we write helps keep self-censorship at bay.鈥�
Ferrante on Ferrante for mega-fans! A collection of her letters, emails, and interviews given since the mid-1990s. You feel for her, having to explain over and over and over again, her reason for preserving her anonymity. I enjoyed it, but I don't think it would be terribly interesting reading for anyone who had not read (and deeply loved) her oeuvre.
Ferrante on Ferrante for mega-fans! A collection of her letters, emails, and interviews given since the mid-1990s. You feel for her, having to explain over and over and over again, her reason for preserving her anonymity. I enjoyed it, but I don't think it would be terribly interesting reading for anyone who had not read (and deeply loved) her oeuvre.
June 3, 2023
Knjiga Elena Ferante 鈥� Frantumalja
Moram priznati da je 鈥濬rantumalja鈥�, knjiga eseja, intervjua i pisama, prva knjiga Elene Ferante koju sam pro膷itao. Jesam gledao tri do sada objavljene sezone TV serije 鈥濵oja genijalna prijateljica鈥� i bio odu拧evljen njome, ali ni retka iz njenih knjiga nisam pro膷itao. Ne hvalim se time, naravno, ali je pitanje da li 膰u posle 膷itanja 鈥濬rantumalje鈥� u kojoj ona sama detaljno analizira svoje do sada izdate knjige uop拧te imati potrebe za tim. Mo啪da, ako se u narednim knjigama udalji od dosada拧njih tematskih preferencija. Ne bih ovim da odvra膰am druge od 膷itanja njenih knjiga Mu膷na ljubav (L鈥檃more molesto, 1992), Dani napu拧tenosti (I giorni dell鈥檃bbandono, 2002), Mra膷na k膰i (La figlia oscura, 2006) i Napuljska tetralogija koju 膷ine knjige Moja genijalna prijateljica (L鈥檃mica geniale, 2011), Pri膷a o novom prezimenu (Storia del nuovo cognome, 2012), Pri膷a o onima koji odlaze i onima koji ostaju (Storia di chi fugge e di chi resta, 2013) i Pri膷a o izgubljenoj devoj膷ici (Storia della bambina perduta, 2014). Savet je upravo suprotan 鈥� obavezno prvo pro膷itajte sve navedene knjige pa onda 鈥濬rantumalju鈥� da ne biste pro拧li kao ja 鈥� kada bih posle 鈥濬rantumalje鈥� uzeo da 膷itam gore navedene knjige koje su u njoj analizirane ose膰ao bih se kao 膷ovek koji je uzeo da 膷ita kriminalni roman a neko mu je pre toga otkrio ne samo ko je ubica, nego i ko su osumnji膷eni i koji su glavni tragovi koji do ubice vode. Dakle, obratite pa啪nju na redosled 膷itanja koji bi trebalo da po拧tuje redosled objavljivanja. Nije nu啪no, jer romani nisu povezani me膽u sobom (tetralogija se tretira kao jedan roman) ali ako ho膰ete da u膽ete u svet Elene Ferante po拧tujte redosled kojim je ona odlu膷ila da ga otkrije. 鈥濬rantumalja鈥� treba da do膽e na kraju, kao 拧lag na tortu.
鈥濫lena Ferante鈥� je, kao 拧to mo啪da znate, izmi拧ljeno ime pod kojim svoja dela objavljuje najverovatnije autorka, mada nije potpuno isklju膷eno ni da je u pitanju autor, koja/koji ne 啪eli da otkrije svoj pravi identitet. Govori膰u ubudu膰e u 啪enskom rodu jer je to najverovatniji rod autorke, 拧to se mo啪e zaklju膷iti po temama koje ju preokupiraju, ali i po intervjuima koje daje a u kojima ne protivre膷i nikome ko joj se obrati u 啪enskom rodu. Ono 拧to mogu re膰i posle 膷itanja 鈥濬rantumalje鈥� je da autorku, mada ne otkriva svoj pravi identitet, poznajem bolje nego mnoge autore 膷iji mi je identitet poznat. Kroz intervjue i jo拧 vi拧e kroz korespondenciju sa re啪iserima filmova ra膽enih po njenim romanima saznao sam da poti膷e iz disfunkcionalne porodice, da joj je majka bila kroja膷ica, da je u centru njene psihologije odnos sa majkom koji je pun protivre膷nosti, da je ro膽ena u Napulju (拧to je bitno za njeno delo) ali da ve膰 du啪e vremena 啪ivi negde drugde (拧to je za njeno delo potpuno nebitno). Saznajemo da je Napulj ostao centar njenog sveta i izvor njene kreativnosti, da joj je feminizam blizak, ali da ipak prema njemu ima odre膽enu distancu (bi膰e o tome govora kasnije), da je pozicionirana na levoj strani politi膷kog spektra (Berluskoni joj naro膷ito ide na 啪ivce!), da je ateistkinja, da ima tri sestre i dve k膰eri, verovatno ve膰 odrasle, da du啪e vreme 啪ivi sama (moja pretpostavka!) i da pi拧e, pi拧e i pi拧e. Tako膽e i 膷ita, od detinjstva. Da voli knjige Elze Morante i anti膷ke mitove, da voli filmove, pa i one snimljene po njenim romanima, da voli Karava膽ove slike. Da voli Betovenovu 鈥濳rojcerovu sonatu鈥� i muziku Arnolda 艩enberga. Mu拧karci u njenom 啪ivotu su ili neprimetni ili neprijatni 鈥� 膷esto nosioci nasilja, ba拧 kao 拧to je i njen grad Napulj koga istovremeno i voli i mrzi. Ako toliko znamo o njoj (o mnogim piscima 膷ije knjige volimo znamo mnogo manje) pitate se za拧to je uop拧te re拧ila da ostane anonimna. Njen odgovor se svodi na 啪elju da izbegne promovisanje autora 拧to po ustaljenim obi膷ajima rade izdava膷i i da pospe拧i samopromovisanje dela kao takvog. Ako delu da bi se 膷italo treba 拧armantni, komunikativni听 autor koji 膰e ga predstavljati, onda to nije delo koje zavre膽uje pa啪nju 鈥� tako ka啪e Ferante.听
Taj razlog jeste od nje 膷esto navo膽en i sasvim je dobar, ali je mnogo su拧tinskiji drugi razlog, koga tako膽e navodi, a to je uspostavljanje izvornog jedinstva autora i dela, ili drugim re膷ima 鈥� istinito pisanje. Re膰i 膰ete da ima istinitog pisanja i kod ljudi koji se potpisuju svojim pravim imenom, ali se po mom mi拧ljenju u tom slu膷aju radi ili o bezazlenim istinama koje nikoga ne mogu da povrede ili pak o bezobzirnim ljudima koji ne mare za svoje bli啪nje. Jer, poznato je da istina mo啪e da povredi i mo啪e i te kako da bude bolna. Nije problem ako njeno izno拧enje nanosi bol samoj autorki, a ona ipak smogne snage da je saop拧ti, ve膰i je problem ako izno拧enje istine povre膽uje nekoga sebi bliskog. Radi se dakle o njenim bli啪njima koje Ferante 拧titi svojom anonimno拧膰u, a ne sebe. Dakle, po拧to je Elena Ferante re拧ila da se potpuno otvori i da progovori o odnosima u porodici i sa bli啪njima o kojima se retko ili nikako govori, bol koji tim otvaranjem nanosi sebi, 拧to se ono ka啪e, ulazi u cenu. Ali bol koji nanosi svojoj majci, ocu, deci, prijateljima, zahvaljuju膰i njenoj anonimnosti ostaje u krugu porodice. Anonimno拧膰u autorke se, 拧to je ne manje va啪no, izbegava stid koji bi 膷lanovi porodice mogli da ose膰aju kada bi njihovi najintimniji me膽usobni odnosi bili izlo啪eni javnosti. Za razliku od nje, Karl Ove Knausg氓rd je odabrao da svoju 拧estotomnu knjigu 鈥濵oja borba鈥� objavi pod punim imenom i prezimenom i platio je punu cenu za to prekinutim odnosima sa svojim bli啪njima koje pominje u knjizi (sam je to nazvao 鈥瀠govor sa 膽avolom鈥� 鈥� trampio je porodi膷ne odnose za istinitost, uspeh i popularnost). Sude膰i po knjizi 鈥濬rantumalja鈥�, porodica (bar na po膷etku njene spisateljske karijere) i nije znala da se ona bavi pisanjem, te da objavljuje knjige. 膶ini se da su kasnije saznali (mo啪da tako 拧to su se prepoznali u knjigama 鈥� ovo je moja spekulacija) i da su se pomirili s tim. Meni ovo izgleda kao dovoljan razlog za anonimnost 鈥� kod ve膰ine ljudi autocenzura proradi 膷im se pomisli 鈥炁a 膰e na ovo 拧to sam napisala/o re膰i moja mama ili moje dete鈥�. Ferante je tu misao otklonila i omogu膰ila sebi da ide duboko u su拧tinu odnosa majke i k膰eri, na primer. Istinitost pisanja koju potencira Ferante manifestuje se sirovo拧膰u ispisanog teksta 鈥� ona ne voli doterivanje i ulep拧avanje iliti 鈥瀏lancanje鈥� teksta jer smatra da se time gubi istinitost. Tu se sla啪emo, sli膷ni su moji kriterijumi kada vrednujem neku muziku 鈥� ako studijski rad ubije spontanost, sa njom se ubija i istinitost.
Jo拧 jedan aspekt njenog promi拧ljanja knji啪evnosti je na mene ostavio utisak. Promi拧ljanje o mu拧kocentri膷nosti knji啪evnosti. Milenijumska dominacija mu拧kih pisaca, po E.Ferante a u mom slobodnom tuma膷enju, ima za posledicu to 拧to 啪ensko 膷itateljstvo u svojim formativinim godinama, 膷itaju膰i klasi膷na dela svetske knji啪evnosti koja su skoro isklju膷ivo pisali mu拧karci, formira svoj svetonazor po mu拧kim 鈥炁blonima鈥�, u koje se 膷itateljke uklapaju i na koje 膷itateljke pristaju, svesno ili nesvesno. Tako se formiraju temelji, duboko ukopani u 啪eninu podsvest, koji slu啪e da se lak拧e podigne ku膰a patrijarhata, ali i da se ote啪a njeno ru拧enje kada emancipovana 啪ena poku拧a da se oslobodi suptilno nametnutih stega. 沤enama iz najsiroma拧nijih slojeva kojima je nedostupna knji啪evnost i umetnost uop拧te, patrijarhalni diskurs se pak name膰e golom silom, bila ona fizi膷ka ili psiholo拧ka. Moram dodati da, na 啪alost, patrijarhat sredstva prinude koristi i prema 啪enama koje 膷itaju. Ova razmi拧ljanja su su拧tina feminizma Elene Ferante, koji nije onaj povr拧inski 鈥� agitatorski (ali ipak opravdani) vapaj za ravnopravno拧膰u, ve膰 su拧tinski 鈥� on ne tra啪i od mu拧kog sveta jednaki deo kola膷a, on tra啪i u najmanju ruku da se kola膷 zajedni膷ki pravi, ako ne i da svako pravi svoj kola膷. Nije sre膰om E.Ferante jedina koja radi na tome da 啪enskocentri膷na knji啪evnost koja 啪enu stavlja u centar sopstvenog sveta u膽e makar i na mala vrata u klasike svetske knji啪evnosti. U tom slu膷aju bi adolescentkinje imale kome da se 鈥瀘brate鈥� u re膷enim formativnim godinama. Zato su mu拧ki likovi u njenim knjigama kao 拧to rekoh ili neprimetni ili neprijatni (sli膷an tretman mu拧karci imaju u delu srpske knji啪evnice Milene Markovi膰 鈥濪eca鈥�). I kod mu拧kih pisaca mu拧karci mogu biti neprijatni- nasilni, ali neprimetni nikako ne mogu biti. Zato mislim da bi parola koju bi E.Ferante nosila na nekom skupu za rodnu ravnopravnost bila 鈥炁紼NSKOCENTRI膶NOST 沤ENAMA!鈥�.听
Jezik. Vrlo bitan za Elenu Ferante. Napuljski dijalekat igra bitnu ulogu u karakterizaciji njenih likova jer temperament jezika odra啪ava temperament likova (ili je obrnuto!). Po Eleni, istinitost na kojoj insistira se gubi kada se neke stvari ka啪u na italijanskom. Ka啪e da nema i ne mo啪e da ima kontrolu nad prevodima, pa se nada da prevodi mogu ta膷no da prenesu ono 拧to je htela da ka啪e. No, to nije samo njen problem. Uvek je bolje 膷itati dela na originalnom jeziku, ali to vrlo 膷esto nije mogu膰e, pa se prevodi prosto ne mogu izbe膰i. Nadovezujem se na pri膷u o jeziku sa nekoliko re膷enica o naslovu knjige. On je u srpskom prevodu Jelene Brbori膰, kojim sam vrlo zadovoljan, ostao onakav kakav je u originalu (ako izuzmemo fonetsku transkripciju). 鈥濬rantumalja鈥� zna膷i 鈥瀞kup fragmenata鈥� (izvor: dizionario.it) a Elena je uzela iz vokabulara njene majke koja je govorila napolitanskim dijalektom i koristila je u zna膷enju 鈥瀎ragmenti se膰anja鈥�. Mene pak 鈥濬rantumaglia鈥� asocira na primordijalni bujon ili supu u kojoj plivaju 膷estice koje 膰e slu膷ajnim spajanjem dati 啪ivot. Tako knji啪evnica iz obilja ise膷aka pro拧losti udahnjuje 啪ivot pri膷i 鈥� neke ise膷ke uzima u obzir, neke preska膷e, neki ostaju da lebde negde izme膽u da bi svoje mesto na拧li u nekoj narednoj pri膷i. Jasno je da taj naslov obja拧njava kreativni proces Elene Ferante, dakle, nije nasumi膷no izabran. Taj proces je sli膷an onome koji sam opisao u recenziji Dilanovog albuma Rough and Rowdy Ways na stereoart.me, gde sam govorio o privatnim i javnim mre啪ama svakog 膷oveka to jest o uticajima kojima je 膷ovek izlo啪en od ljudi sa kojima se tokom 啪ivota susre膰e (privatna mre啪a) i kulturnih uticaja kojima je izlo啪en (javna mre啪a) iz kojih ako je umetnik, metodom proizvoljnog izbora kreira svoja umetni膷ka dela. I to je neka vrsta frantumalje.
Za拧to ovoj knjizi dajem najvi拧u ocenu? Ima vi拧e razloga ali onaj jedan koji ih sve objedinjuje je taj 拧to 膷itaoca tera na razmi拧ljanje. Da li je primarni zadatak knji啪evnosti da ispri膷a zanimljivu i/ili po膷nu pri膷u ili da ka啪e neizrecivo? Sla啪em se sa Ferante da je ovo drugo. Nemam ni拧ta protiv pri膷anja pri膷a, ali te pri膷e moraju da imaju vi拧eslojnost, ne onu pretencioznu 鈥� projektovanu, ve膰 onu koja proizlazi iz na膷ina pripovedanja. Na膷in na koji Elena Ferante odgovara na 膷esto banalna pitanja iz intervjua dovoljno govori o kompleksnosti njenih uvida, i bez 膷itanja njenih knjiga (posle 膷itanja ove, ipak mi se otvorio apetit da je jo拧 bolje upoznam). Tema koja ju preokupira je, krajnje svedeno re膷eno, odnos izme膽u dve 啪ene (majka i k膰erka, dve prijateljice). Tema je preokupira do te mere da vi拧eslojnost posti啪e skoro instinktivnim pisanjem. Malo obja拧njenje 鈥� po mom mi拧ljenju postoje dve ekstremne tehnike pisanja 鈥� projektovano pisanje 膷iji je najekstremniji predstavnik Markiz De Sad i instinktivno pisanje 膷iji je predstavnik D啪ek Keruak. De Sad pre po膷etka pisanja napravi detaljni projekat onog 拧to 膰e napisati, Keruak samo sedne i pi拧e 拧tagod mu padne napamet. Ferante je bli啪a ovom drugom na膷inu, ili bar, po sopstvenom priznanju, te啪i tom na膷inu. Kako ka啪e na jednom mestu, nekada u jednom dahu napi拧e stotinak stranica. Ona se, naravno, vra膰a impulsivno napisanom tekstu (za razliku od Keruaka), izbacuje nepotrebne delove, doteruje ga (ali ne mnogo), i nastavlja ali sa promi拧ljanjem sa te啪njom da ne skrene s puta istinitosti pri膷e. Jer princip istinitosti je njen vrhunski princip (ne treba ga me拧ati sa verodostojnosti).
Dakle, o autorki koja krije svoj identitet posle 膷itanja knjige 鈥濬rantamalja鈥� zna膰ete vi拧e nego 拧to ste ikada znali o svom omiljenom piscu koji pi拧e pod svojim imenom. Jedino 拧to o njoj ne znate su podaci iz li膷ne karte, ali koga je briga za to. Ne znate KO JE Elena Ferante, ali znate KAKVA je. To je mnogo va啪nije!
Moram priznati da je 鈥濬rantumalja鈥�, knjiga eseja, intervjua i pisama, prva knjiga Elene Ferante koju sam pro膷itao. Jesam gledao tri do sada objavljene sezone TV serije 鈥濵oja genijalna prijateljica鈥� i bio odu拧evljen njome, ali ni retka iz njenih knjiga nisam pro膷itao. Ne hvalim se time, naravno, ali je pitanje da li 膰u posle 膷itanja 鈥濬rantumalje鈥� u kojoj ona sama detaljno analizira svoje do sada izdate knjige uop拧te imati potrebe za tim. Mo啪da, ako se u narednim knjigama udalji od dosada拧njih tematskih preferencija. Ne bih ovim da odvra膰am druge od 膷itanja njenih knjiga Mu膷na ljubav (L鈥檃more molesto, 1992), Dani napu拧tenosti (I giorni dell鈥檃bbandono, 2002), Mra膷na k膰i (La figlia oscura, 2006) i Napuljska tetralogija koju 膷ine knjige Moja genijalna prijateljica (L鈥檃mica geniale, 2011), Pri膷a o novom prezimenu (Storia del nuovo cognome, 2012), Pri膷a o onima koji odlaze i onima koji ostaju (Storia di chi fugge e di chi resta, 2013) i Pri膷a o izgubljenoj devoj膷ici (Storia della bambina perduta, 2014). Savet je upravo suprotan 鈥� obavezno prvo pro膷itajte sve navedene knjige pa onda 鈥濬rantumalju鈥� da ne biste pro拧li kao ja 鈥� kada bih posle 鈥濬rantumalje鈥� uzeo da 膷itam gore navedene knjige koje su u njoj analizirane ose膰ao bih se kao 膷ovek koji je uzeo da 膷ita kriminalni roman a neko mu je pre toga otkrio ne samo ko je ubica, nego i ko su osumnji膷eni i koji su glavni tragovi koji do ubice vode. Dakle, obratite pa啪nju na redosled 膷itanja koji bi trebalo da po拧tuje redosled objavljivanja. Nije nu啪no, jer romani nisu povezani me膽u sobom (tetralogija se tretira kao jedan roman) ali ako ho膰ete da u膽ete u svet Elene Ferante po拧tujte redosled kojim je ona odlu膷ila da ga otkrije. 鈥濬rantumalja鈥� treba da do膽e na kraju, kao 拧lag na tortu.
鈥濫lena Ferante鈥� je, kao 拧to mo啪da znate, izmi拧ljeno ime pod kojim svoja dela objavljuje najverovatnije autorka, mada nije potpuno isklju膷eno ni da je u pitanju autor, koja/koji ne 啪eli da otkrije svoj pravi identitet. Govori膰u ubudu膰e u 啪enskom rodu jer je to najverovatniji rod autorke, 拧to se mo啪e zaklju膷iti po temama koje ju preokupiraju, ali i po intervjuima koje daje a u kojima ne protivre膷i nikome ko joj se obrati u 啪enskom rodu. Ono 拧to mogu re膰i posle 膷itanja 鈥濬rantumalje鈥� je da autorku, mada ne otkriva svoj pravi identitet, poznajem bolje nego mnoge autore 膷iji mi je identitet poznat. Kroz intervjue i jo拧 vi拧e kroz korespondenciju sa re啪iserima filmova ra膽enih po njenim romanima saznao sam da poti膷e iz disfunkcionalne porodice, da joj je majka bila kroja膷ica, da je u centru njene psihologije odnos sa majkom koji je pun protivre膷nosti, da je ro膽ena u Napulju (拧to je bitno za njeno delo) ali da ve膰 du啪e vremena 啪ivi negde drugde (拧to je za njeno delo potpuno nebitno). Saznajemo da je Napulj ostao centar njenog sveta i izvor njene kreativnosti, da joj je feminizam blizak, ali da ipak prema njemu ima odre膽enu distancu (bi膰e o tome govora kasnije), da je pozicionirana na levoj strani politi膷kog spektra (Berluskoni joj naro膷ito ide na 啪ivce!), da je ateistkinja, da ima tri sestre i dve k膰eri, verovatno ve膰 odrasle, da du啪e vreme 啪ivi sama (moja pretpostavka!) i da pi拧e, pi拧e i pi拧e. Tako膽e i 膷ita, od detinjstva. Da voli knjige Elze Morante i anti膷ke mitove, da voli filmove, pa i one snimljene po njenim romanima, da voli Karava膽ove slike. Da voli Betovenovu 鈥濳rojcerovu sonatu鈥� i muziku Arnolda 艩enberga. Mu拧karci u njenom 啪ivotu su ili neprimetni ili neprijatni 鈥� 膷esto nosioci nasilja, ba拧 kao 拧to je i njen grad Napulj koga istovremeno i voli i mrzi. Ako toliko znamo o njoj (o mnogim piscima 膷ije knjige volimo znamo mnogo manje) pitate se za拧to je uop拧te re拧ila da ostane anonimna. Njen odgovor se svodi na 啪elju da izbegne promovisanje autora 拧to po ustaljenim obi膷ajima rade izdava膷i i da pospe拧i samopromovisanje dela kao takvog. Ako delu da bi se 膷italo treba 拧armantni, komunikativni听 autor koji 膰e ga predstavljati, onda to nije delo koje zavre膽uje pa啪nju 鈥� tako ka啪e Ferante.听
Taj razlog jeste od nje 膷esto navo膽en i sasvim je dobar, ali je mnogo su拧tinskiji drugi razlog, koga tako膽e navodi, a to je uspostavljanje izvornog jedinstva autora i dela, ili drugim re膷ima 鈥� istinito pisanje. Re膰i 膰ete da ima istinitog pisanja i kod ljudi koji se potpisuju svojim pravim imenom, ali se po mom mi拧ljenju u tom slu膷aju radi ili o bezazlenim istinama koje nikoga ne mogu da povrede ili pak o bezobzirnim ljudima koji ne mare za svoje bli啪nje. Jer, poznato je da istina mo啪e da povredi i mo啪e i te kako da bude bolna. Nije problem ako njeno izno拧enje nanosi bol samoj autorki, a ona ipak smogne snage da je saop拧ti, ve膰i je problem ako izno拧enje istine povre膽uje nekoga sebi bliskog. Radi se dakle o njenim bli啪njima koje Ferante 拧titi svojom anonimno拧膰u, a ne sebe. Dakle, po拧to je Elena Ferante re拧ila da se potpuno otvori i da progovori o odnosima u porodici i sa bli啪njima o kojima se retko ili nikako govori, bol koji tim otvaranjem nanosi sebi, 拧to se ono ka啪e, ulazi u cenu. Ali bol koji nanosi svojoj majci, ocu, deci, prijateljima, zahvaljuju膰i njenoj anonimnosti ostaje u krugu porodice. Anonimno拧膰u autorke se, 拧to je ne manje va啪no, izbegava stid koji bi 膷lanovi porodice mogli da ose膰aju kada bi njihovi najintimniji me膽usobni odnosi bili izlo啪eni javnosti. Za razliku od nje, Karl Ove Knausg氓rd je odabrao da svoju 拧estotomnu knjigu 鈥濵oja borba鈥� objavi pod punim imenom i prezimenom i platio je punu cenu za to prekinutim odnosima sa svojim bli啪njima koje pominje u knjizi (sam je to nazvao 鈥瀠govor sa 膽avolom鈥� 鈥� trampio je porodi膷ne odnose za istinitost, uspeh i popularnost). Sude膰i po knjizi 鈥濬rantumalja鈥�, porodica (bar na po膷etku njene spisateljske karijere) i nije znala da se ona bavi pisanjem, te da objavljuje knjige. 膶ini se da su kasnije saznali (mo啪da tako 拧to su se prepoznali u knjigama 鈥� ovo je moja spekulacija) i da su se pomirili s tim. Meni ovo izgleda kao dovoljan razlog za anonimnost 鈥� kod ve膰ine ljudi autocenzura proradi 膷im se pomisli 鈥炁a 膰e na ovo 拧to sam napisala/o re膰i moja mama ili moje dete鈥�. Ferante je tu misao otklonila i omogu膰ila sebi da ide duboko u su拧tinu odnosa majke i k膰eri, na primer. Istinitost pisanja koju potencira Ferante manifestuje se sirovo拧膰u ispisanog teksta 鈥� ona ne voli doterivanje i ulep拧avanje iliti 鈥瀏lancanje鈥� teksta jer smatra da se time gubi istinitost. Tu se sla啪emo, sli膷ni su moji kriterijumi kada vrednujem neku muziku 鈥� ako studijski rad ubije spontanost, sa njom se ubija i istinitost.
Jo拧 jedan aspekt njenog promi拧ljanja knji啪evnosti je na mene ostavio utisak. Promi拧ljanje o mu拧kocentri膷nosti knji啪evnosti. Milenijumska dominacija mu拧kih pisaca, po E.Ferante a u mom slobodnom tuma膷enju, ima za posledicu to 拧to 啪ensko 膷itateljstvo u svojim formativinim godinama, 膷itaju膰i klasi膷na dela svetske knji啪evnosti koja su skoro isklju膷ivo pisali mu拧karci, formira svoj svetonazor po mu拧kim 鈥炁blonima鈥�, u koje se 膷itateljke uklapaju i na koje 膷itateljke pristaju, svesno ili nesvesno. Tako se formiraju temelji, duboko ukopani u 啪eninu podsvest, koji slu啪e da se lak拧e podigne ku膰a patrijarhata, ali i da se ote啪a njeno ru拧enje kada emancipovana 啪ena poku拧a da se oslobodi suptilno nametnutih stega. 沤enama iz najsiroma拧nijih slojeva kojima je nedostupna knji啪evnost i umetnost uop拧te, patrijarhalni diskurs se pak name膰e golom silom, bila ona fizi膷ka ili psiholo拧ka. Moram dodati da, na 啪alost, patrijarhat sredstva prinude koristi i prema 啪enama koje 膷itaju. Ova razmi拧ljanja su su拧tina feminizma Elene Ferante, koji nije onaj povr拧inski 鈥� agitatorski (ali ipak opravdani) vapaj za ravnopravno拧膰u, ve膰 su拧tinski 鈥� on ne tra啪i od mu拧kog sveta jednaki deo kola膷a, on tra啪i u najmanju ruku da se kola膷 zajedni膷ki pravi, ako ne i da svako pravi svoj kola膷. Nije sre膰om E.Ferante jedina koja radi na tome da 啪enskocentri膷na knji啪evnost koja 啪enu stavlja u centar sopstvenog sveta u膽e makar i na mala vrata u klasike svetske knji啪evnosti. U tom slu膷aju bi adolescentkinje imale kome da se 鈥瀘brate鈥� u re膷enim formativnim godinama. Zato su mu拧ki likovi u njenim knjigama kao 拧to rekoh ili neprimetni ili neprijatni (sli膷an tretman mu拧karci imaju u delu srpske knji啪evnice Milene Markovi膰 鈥濪eca鈥�). I kod mu拧kih pisaca mu拧karci mogu biti neprijatni- nasilni, ali neprimetni nikako ne mogu biti. Zato mislim da bi parola koju bi E.Ferante nosila na nekom skupu za rodnu ravnopravnost bila 鈥炁紼NSKOCENTRI膶NOST 沤ENAMA!鈥�.听
Jezik. Vrlo bitan za Elenu Ferante. Napuljski dijalekat igra bitnu ulogu u karakterizaciji njenih likova jer temperament jezika odra啪ava temperament likova (ili je obrnuto!). Po Eleni, istinitost na kojoj insistira se gubi kada se neke stvari ka啪u na italijanskom. Ka啪e da nema i ne mo啪e da ima kontrolu nad prevodima, pa se nada da prevodi mogu ta膷no da prenesu ono 拧to je htela da ka啪e. No, to nije samo njen problem. Uvek je bolje 膷itati dela na originalnom jeziku, ali to vrlo 膷esto nije mogu膰e, pa se prevodi prosto ne mogu izbe膰i. Nadovezujem se na pri膷u o jeziku sa nekoliko re膷enica o naslovu knjige. On je u srpskom prevodu Jelene Brbori膰, kojim sam vrlo zadovoljan, ostao onakav kakav je u originalu (ako izuzmemo fonetsku transkripciju). 鈥濬rantumalja鈥� zna膷i 鈥瀞kup fragmenata鈥� (izvor: dizionario.it) a Elena je uzela iz vokabulara njene majke koja je govorila napolitanskim dijalektom i koristila je u zna膷enju 鈥瀎ragmenti se膰anja鈥�. Mene pak 鈥濬rantumaglia鈥� asocira na primordijalni bujon ili supu u kojoj plivaju 膷estice koje 膰e slu膷ajnim spajanjem dati 啪ivot. Tako knji啪evnica iz obilja ise膷aka pro拧losti udahnjuje 啪ivot pri膷i 鈥� neke ise膷ke uzima u obzir, neke preska膷e, neki ostaju da lebde negde izme膽u da bi svoje mesto na拧li u nekoj narednoj pri膷i. Jasno je da taj naslov obja拧njava kreativni proces Elene Ferante, dakle, nije nasumi膷no izabran. Taj proces je sli膷an onome koji sam opisao u recenziji Dilanovog albuma Rough and Rowdy Ways na stereoart.me, gde sam govorio o privatnim i javnim mre啪ama svakog 膷oveka to jest o uticajima kojima je 膷ovek izlo啪en od ljudi sa kojima se tokom 啪ivota susre膰e (privatna mre啪a) i kulturnih uticaja kojima je izlo啪en (javna mre啪a) iz kojih ako je umetnik, metodom proizvoljnog izbora kreira svoja umetni膷ka dela. I to je neka vrsta frantumalje.
Za拧to ovoj knjizi dajem najvi拧u ocenu? Ima vi拧e razloga ali onaj jedan koji ih sve objedinjuje je taj 拧to 膷itaoca tera na razmi拧ljanje. Da li je primarni zadatak knji啪evnosti da ispri膷a zanimljivu i/ili po膷nu pri膷u ili da ka啪e neizrecivo? Sla啪em se sa Ferante da je ovo drugo. Nemam ni拧ta protiv pri膷anja pri膷a, ali te pri膷e moraju da imaju vi拧eslojnost, ne onu pretencioznu 鈥� projektovanu, ve膰 onu koja proizlazi iz na膷ina pripovedanja. Na膷in na koji Elena Ferante odgovara na 膷esto banalna pitanja iz intervjua dovoljno govori o kompleksnosti njenih uvida, i bez 膷itanja njenih knjiga (posle 膷itanja ove, ipak mi se otvorio apetit da je jo拧 bolje upoznam). Tema koja ju preokupira je, krajnje svedeno re膷eno, odnos izme膽u dve 啪ene (majka i k膰erka, dve prijateljice). Tema je preokupira do te mere da vi拧eslojnost posti啪e skoro instinktivnim pisanjem. Malo obja拧njenje 鈥� po mom mi拧ljenju postoje dve ekstremne tehnike pisanja 鈥� projektovano pisanje 膷iji je najekstremniji predstavnik Markiz De Sad i instinktivno pisanje 膷iji je predstavnik D啪ek Keruak. De Sad pre po膷etka pisanja napravi detaljni projekat onog 拧to 膰e napisati, Keruak samo sedne i pi拧e 拧tagod mu padne napamet. Ferante je bli啪a ovom drugom na膷inu, ili bar, po sopstvenom priznanju, te啪i tom na膷inu. Kako ka啪e na jednom mestu, nekada u jednom dahu napi拧e stotinak stranica. Ona se, naravno, vra膰a impulsivno napisanom tekstu (za razliku od Keruaka), izbacuje nepotrebne delove, doteruje ga (ali ne mnogo), i nastavlja ali sa promi拧ljanjem sa te啪njom da ne skrene s puta istinitosti pri膷e. Jer princip istinitosti je njen vrhunski princip (ne treba ga me拧ati sa verodostojnosti).
Dakle, o autorki koja krije svoj identitet posle 膷itanja knjige 鈥濬rantamalja鈥� zna膰ete vi拧e nego 拧to ste ikada znali o svom omiljenom piscu koji pi拧e pod svojim imenom. Jedino 拧to o njoj ne znate su podaci iz li膷ne karte, ali koga je briga za to. Ne znate KO JE Elena Ferante, ali znate KAKVA je. To je mnogo va啪nije!
August 11, 2020
螠喂伪 蟽蠀谓慰位喂魏萎 渭伪蟿喂维 蟽蟿畏谓 蔚蟻纬慰纬蟻伪蠁委伪 蟿畏蟼 伪纬伪蟺畏渭苇谓畏蟼 Elena Ferrante 魏伪喂 纬喂伪蟿委 谓伪 未喂伪尾维蟽蔚蟿蔚 蟿伪 尾喂尾位委伪 蟿畏蟼:
螘蟺委蟽畏蟼:
螕喂伪蟿委 蟺蟻苇蟺蔚喂 谓伪 未喂伪尾维蟽慰蠀渭蔚 蟽萎渭蔚蟻伪 蟿畏谓 Elena Ferrante;
(螖畏渭慰蟽喂蔚蠉蟿畏魏蔚 蟽蟿慰 蟽蟿喂蟼 24/07/2017)
违蟺维蟻蠂慰蠀谓 魏维蟺慰喂伪 尾喂尾位委伪 蟺慰蠀 畏 伪谓维纬谓蠅蟽萎 蟿慰蠀蟼 未蔚谓 蔚委谓伪喂 渭喂伪 蔚蟺喂蠁伪谓蔚喂伪魏萎 伪蟺蠈位伪蠀蟽畏 蟿喂蟼 畏渭苇蟻蔚蟼 蟿蠅谓 未喂伪魏慰蟺蠋谓 萎 蟿蠅谓 蠅蟻蠋谓 蟺慰蠀 伪蟺慰蠁伪蟽委味蔚喂 魏维蟺慰喂慰蟼 谓伪 蠂伪位伪蟻蠋蟽蔚喂 伪蟺蠈 蟿畏谓 魏伪胃畏渭蔚蟻喂谓蠈蟿畏蟿伪. 螘委谓伪喂 伪谓伪纬谓蠋蟽渭伪蟿伪-蟽蟿伪胃渭慰委, 渭蔚 尾伪胃蠉蟿蔚蟻伪 谓慰萎渭伪蟿伪 魏伪喂 渭畏谓蠉渭伪蟿伪 蟺慰蠀 胃伪 芦尾纬慰蠀谓禄 伪蟻纬蠈蟿蔚蟻伪 蟽蟿畏谓 蔚蟺喂蠁维谓蔚喂伪.
螠蔚纬伪位蠋谓慰谓蟿伪蟼 渭蔚 蟿喂蟼 畏蟻蠅委未蔚蟼 蟿畏蟼 螙蠅蟻味 危伪蟻蟻萎 魏伪喂 蟿畏蟼 螔慰蠉位伪蟼 螠维蟽蟿慰蟻畏 (维蟿蠀蟺畏 蟿蔚蟿蟻伪位慰纬委伪 渭蔚 畏蟻蠅委未伪 蟿畏谓 螁谓谓伪) 蔚委蠂伪 蟿畏谓 伪委蟽胃畏蟽畏 蠈蟿喂 慰喂 畏蟻蠅委未蔚蟼 蟿畏蟼 Ferrante, 螆位蔚谓伪 魏伪喂 螞委位伪, 伪蟺慰蟿蔚位慰蠉谓 渭喂伪 维蟿蠀蟺畏 蟽蠀谓苇蠂蔚喂伪 蟿蠅谓 蟺伪蟻伪蟺维谓蠅 蔚蠁畏尾喂魏蠋谓 伪谓伪纬谓蠅蟽渭维蟿蠅谓. 螌渭蠅蟼, 萎蟿伪谓 蟺慰位位维 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻伪.
螚 Ferrante 渭伪蟼 渭喂位维 纬喂伪 蟿喂蟼 纬蠀谓伪委魏蔚蟼 蟿慰蠀 喂蟿伪位喂魏慰蠉 螡蠈蟿慰蠀, 纬蔚谓谓畏渭苇谓蔚蟼 位委纬慰 渭蔚蟿维 蟿慰 蟿苇位慰蟼 蟿慰蠀 螔鈥� 螤伪纬魏慰蟽渭委慰蠀 螤慰位苇渭慰蠀, 纬喂伪 渭喂伪 魏慰喂谓蠅谓委伪 蟺慰蠀 蟽蠀谓蔚蠂蠋蟼 伪位位维味蔚喂, 伪位位维 蟿慰 蟺蠈蟽慰 蔚尉蔚位委蟽蟽蔚蟿伪喂 蔚委谓伪喂 苇谓伪 维位位慰 蔚蟻蠋蟿畏渭伪, 纬喂伪 蟿喂蟼 伪谓胃蟻蠋蟺喂谓蔚蟼 蟽蠂苇蟽蔚喂蟼, 蟺慰蠀 未蔚谓 魏伪胃慰蟻委味蔚蟿伪喂 畏 蠀蠁萎 蟿慰蠀蟼 伪蟺蠈 蟿慰 蠂蟻蠈谓慰 伪位位维 伪蟺蠈 蟿畏谓 蟺慰喂蠈蟿畏蟿伪 蟺慰蠀 蟺蟻慰蟽未委未慰蠀谓 慰喂 维谓胃蟻蠅蟺慰喂 蟽鈥� 伪蠀蟿苇蟼, 魏伪喂 蟿苇位慰蟼 纬喂伪 渭喂伪 纬蠀谓伪喂魏蔚委伪 蠁喂位委伪 蟺慰蠀 蠂蟿委味蔚蟿伪喂 伪谓维渭蔚蟽伪 蟽蟿慰 螝伪位蠈 魏伪喂 蟿慰 螝伪魏蠈, 魏伪喂 蠈,蟿喂 伪蠀蟿维 蟺蟻慰蟽未喂慰蟻委味慰蠀谓.
螖喂伪尾维味慰谓蟿伪蟼 蟿伪 3 渭苇蟻畏 伪蟺蠈 蟿畏谓 韦蔚蟿蟻伪位慰纬委伪 蟿畏蟼 螡维蟺慰位畏蟼 魏伪喂 蟿慰谓 蟽蠀谓慰位喂魏蠈 蟿蠈渭慰 渭蔚 蟽魏苇蠄蔚喂蟼 魏伪喂 蟽蠀谓蔚谓蟿蔚蠉尉蔚喂蟼 蟿畏蟼 蟽蠀纬纬蟻伪蠁苇蠅蟼 鈥淔rantumaglia鈥� 魏伪蟿苇位畏尉伪 蟽蔚 慰蟻喂蟽渭苇谓伪 蟽蠀渭蟺蔚蟻维蟽渭伪蟿伪 蟺慰蠀 胃伪 萎胃蔚位伪 谓伪 渭慰喂蟻伪蟽蟿蠋 渭伪味委 蟽伪蟼 蟽蠂蔚蟿喂魏维 渭蔚 蟿畏 渭蔚纬维位畏 蟽畏渭伪蟽委伪 蟺慰蠀 苇蠂蔚喂 蟽萎渭蔚蟻伪 谓伪 未喂伪尾伪蟽蟿蔚委 蟿慰 苇蟻纬慰 蟿畏蟼 Ferrante 伪蟺蠈 蟿慰 蔚位位畏谓喂魏蠈 魏慰喂谓蠈.
螞慰纬慰蟿蔚蠂谓喂魏萎 渭伪蔚蟽蟿蟻委伪: 螚 Ferrante 蔚委谓伪喂 维蟻喂蟽蟿畏 纬谓蠋蟽蟿蟻喂伪 蟿蠅谓 魏位伪蟽喂魏蠋谓 魏伪喂 伪蠀蟿蠈 蠁伪委谓蔚蟿伪喂 魏伪喂 蟽蟿慰蠀蟼 3 蟿蠈渭慰蠀蟼 蟿畏蟼 蟽蔚喂蟻维蟼. 螇蟻蠅蔚蟼 魏伪喂 伪谓蟿喂-萎蟻蠅蔚蟼, 胃蠉渭伪蟿伪 蟿畏蟼 魏慰喂谓蠅谓喂魏萎蟼 蟿慰蠀蟼 魏伪蟿伪纬蠅纬萎蟼, 蔚委蟿蔚 伪蠀蟿萎 蔚委谓伪喂 芦伪谓蠋蟿蔚蟻畏禄 蔚委蟿蔚 芦魏伪蟿蠋蟿蔚蟻畏禄, 蟺慰蠀 蟽蟿慰 蟿苇位慰蟼 伪谓伪味畏蟿慰蠉谓 蠈位慰喂 渭喂伪 维蟿蠀蟺畏 魏维胃伪蟻蟽畏. 韦伪 蟺蟻蠈蟽蠅蟺伪 蔚委谓伪喂 蟿蠈蟽慰 慰喂魏蔚委伪, 蟺慰蠀 渭蟺慰蟻蔚委蟼 谓伪 蟿伪 未蔚喂蟼 慰位慰魏维胃伪蟻伪 渭蟺蟻慰蟽蟿维 蟽慰蠀 蟺蔚蟻谓蠋谓蟿伪蟼 伪蟺蠈 蟿喂蟼 纬蔚喂蟿慰谓喂苇蟼 蟿蠅谓 蟺蠈位蔚蠅谓 蟿畏蟼 蠂蠋蟻伪蟼 渭伪蟼. 螚 伪谓胃蟻蠅蟺慰纬蔚蠅纬蟻伪蠁委伪 魏伪喂 畏 蠄蠀蠂慰蟽蠉谓胃蔚蟽畏 蟺慰蠀 蔚蟺喂蠂蔚喂蟻蔚委 纬喂伪 魏维胃蔚 蠂伪蟻伪魏蟿萎蟻伪 蔚委谓伪喂 渭慰谓伪未喂魏萎. 螚 蟺蔚蟻喂纬蟻伪蠁喂魏萎 蟿畏蟼 未蔚喂谓蠈蟿畏蟿伪 蔚委谓伪喂 纬蔚渭维蟿畏 味蠅谓蟿维谓喂伪. 螕蟻萎纬慰蟻慰蟼 位蠈纬慰蟼 蟺慰蠀 蟻苇蔚喂 魏伪喂 未蔚谓 魏慰渭蟺喂维味蔚喂 纬喂伪 谓伪 蔚魏蠁蟻维蟽蔚喂 蟽魏苇蠄蔚喂蟼 魏伪喂 蟽蠀谓伪喂蟽胃萎渭伪蟿伪 蟿蠅锟斤拷 畏蟻蠋蠅谓. 螆蠂蔚喂蟼 蟿畏谓 伪委蟽胃畏蟽畏 蠈蟿喂 渭蠀蟻委味蔚喂蟼 蟿畏 螠蔚蟽蠈纬蔚喂慰, 蠈蟿喂 蟺蔚蟻蟺伪蟿维蟼 蟽蟿慰蠀蟼 蟺慰位蠉尾慰蠀慰蠀蟼 未蟻蠈渭慰蠀蟼 蟿畏蟼 螡维蟺慰位畏蟼 魏伪喂 蠈蟿喂 渭喂伪 魏维渭蔚蟻伪, 渭蔚 魏喂谓畏渭伪蟿慰纬蟻伪蠁喂魏萎 蔚蟽蟿委伪蟽畏 蟽蟿喂蟼 畏蟻蠅委未蔚蟼, 魏喂谓蔚委蟿伪喂 纬蠉蟻蠅 伪蟺蠈 蟺蟻蠈蟽蠅蟺伪 魏伪喂 纬蔚纬慰谓蠈蟿伪 蟺慰蠀 苇魏蟻喂谓伪谓 蟿畏谓 喂蟿伪位喂魏萎 (魏伪喂 蠈蠂喂 渭蠈谓慰) 魏慰喂谓蠅谓委伪, 蟺慰位喂蟿喂魏萎 魏伪喂 喂蟽蟿慰蟻委伪 蟿喂蟼 未蔚魏伪蔚蟿委蔚蟼 蟿慰蠀 鈥�50-鈥�80.
韦慰蟺喂魏蠈蟿畏蟿伪: 螚 蟽蠀纬纬蟻伪蠁苇伪蟼 蠂蟻畏蟽喂渭慰蟺慰喂蠋谓蟿伪蟼 蠅蟼 蟺蟻慰蟺蠉蟻纬喂慰 蟿畏 螡维蟺慰位畏 蠂蟿委味蔚喂 渭喂伪 慰位蠈魏位畏蟻畏 saga 伪谓胃蟻蠋蟺喂谓蠅谓 蠂伪蟻伪魏蟿萎蟻蠅谓. 螝伪喂 纬喂伪蟿委 蟿慰 魏维谓蔚喂 伪蠀蟿蠈; 螤慰位蠉 伪蟺位维 胃苇位蔚喂 谓伪 渭伪蟼 未蔚委尉蔚喂 蟿畏谓 喂蟽蠂蠀蟻萎 未喂伪蠁慰蟻维 蟺慰蠀 蠀蟺维蟻蠂蔚喂 蟽蟿畏谓 螜蟿伪位委伪, 伪谓维渭蔚蟽伪 蟽蟿慰 螔慰蟻蟻维 魏伪喂 蟿慰 螡蠈蟿慰. 螒魏蠈渭伪 魏伪喂 畏 蔚蟺喂位慰纬萎 蟺伪谓蔚蟺喂蟽蟿畏渭委蠅谓, 蟽蔚 味萎蟿畏渭伪 蟺慰喂蠈蟿畏蟿伪蟼, 魏蟻委谓蔚蟿伪喂 伪蟺蠈 蟿畏谓 蟿慰蟺慰胃蔚蟽委伪 蟿畏蟼 蟺蠈位畏蟼 (位.蠂 螠喂位维谓慰, 桅位蠅蟻蔚谓蟿委伪, 螤委味伪 魏蟿位.). 韦慰 蟽蟿慰喂蠂蔚委慰 蟿畏蟼 蟿慰蟺喂魏蠈蟿畏蟿伪蟼 魏伪喂 蟿慰蠀 蠂蟿喂蟽委渭伪蟿慰蟼 蟿蠅谓 蠂伪蟻伪魏蟿萎蟻蠅谓 伪位位维 魏伪喂 蟿蠅谓 蔚谓伪位位伪纬蠋谓 蟿慰蠀蟼 蟽蔚 蟽蟿慰喂蠂蔚委伪 蟿畏蟼 魏伪胃畏渭蔚蟻喂谓蠈蟿畏蟿伪蟼 (位.蠂 慰渭喂位委伪 魏伪喂 未喂维位蔚魏蟿慰蟼) 伪蟺慰蟿蔚位蔚委 苇谓伪 蔚尉伪喂蟻蔚蟿喂魏蠈 位慰纬慰蟿蔚蠂谓喂魏蠈 魏伪蟿伪蟽魏蔚蠉伪蟽渭伪 纬喂伪 蟿慰 蟺慰喂蠈谓 蟿蠅谓 畏蟻蠋蠅谓 蟿畏蟼.
桅蔚渭喂谓喂蟽渭蠈蟼: 螣 21慰蟼 伪喂蠋谓伪蟼 魏伪喂 慰 蟻蠈位慰蟼 蟿畏蟼 螕蠀谓伪委魏伪蟼 蟽鈥� 伪蠀蟿蠈谓 魏伪胃慰蟻委蟽蟿畏魏蔚, 未蠀蟽蟿蠀蠂蠋蟼, 伪蟺蠈 蟿畏谓 魏伪蟿伪谓伪位蠅蟿喂魏萎 魏慰喂谓蠅谓委伪 魏伪喂 蟿伪 蟺蟻蠈蟿蠀蟺伪 蟺慰蠀 蟺蟻蠈尾伪位蔚. 螣喂 纬蠀谓伪委魏蔚蟼 胃蔚蠋蟻畏蟽伪谓 蠈蟿喂 畏 味蠅萎 蟿慰蠀蟼 胃伪 萎蟿伪谓 渭喂伪 蟺喂蟽蟿萎 伪谓蟿喂纬蟻伪蠁萎 蟿慰蠀 蟿畏位蔚慰蟺蟿喂魏慰蠉 Sex & the City, 慰喂 蟽蠂苇蟽蔚喂蟼 渭蔚 蟿慰 维位位慰 蠁蠉位慰 蔚魏蠂蠀未伪螑蟽蟿畏魏伪谓 魏伪喂 蟿伪 蟺蟻慰谓蠈渭喂伪 蟺慰蠀 蠀蟺慰蟿委胃蔚蟿伪喂 蠈蟿喂 伪蟺苇魏蟿畏蟽伪谓 蟽蔚 蔚蟺伪纬纬蔚位渭伪蟿喂魏蠈 伪位位维 魏伪喂 慰喂魏慰纬蔚谓蔚喂伪魏蠈 蔚蟺委蟺蔚未慰 未蔚谓 慰未萎纬畏蟽伪谓 蟽鈥� 苇谓伪谓 蟺蟻慰尾位蔚蟺蠈渭蔚谓慰 蔚蟺伪谓伪魏伪胃慰蟻喂蟽渭蠈 蟿畏蟼 蠁蠉蟽畏蟼 蟿慰蠀蟼. 韦伪 纬蠀谓伪喂魏蔚委伪 位慰纬慰蟿蔚蠂谓喂魏维 蟺蟻蠈蟿蠀蟺伪 蟺慰蠀 魏蠀魏位慰蠁慰蟻慰蠉谓 蔚蟺喂尾蔚尾伪喂蠋谓慰蠀谓 蟿畏谓 蟺伪蟻伪蟺维谓蠅 蔚喂魏蠈谓伪. 螚 Ferrante 苇蟻蠂蔚蟿伪喂, 位慰喂蟺蠈谓, 谓伪 蠀蟺蔚谓胃蠀渭委蟽蔚喂 蟿喂 蟽畏渭伪委谓蔚喂 螕蠀谓伪委魏伪, 萎 蟿慰蠀位维蠂喂蟽蟿慰谓 谓伪 蟺蟻慰尾位畏渭伪蟿喂蟽蟿蔚委 蟺维谓蠅 蟽蟿畏 纬蠀谓伪喂魏蔚委伪 蟿伪蠀蟿蠈蟿畏蟿伪. 螒魏蠈渭伪 魏伪喂 伪谓 伪谓伪蠁苇蟻蔚蟿伪喂 蟽蔚 纬蠀谓伪委魏蔚蟼 蟺慰蠀 苇味畏蟽伪谓 蟽蟿畏 蟽喂蠅蟺萎 蟿慰蠀 伪谓蔚委蟺蠅蟿慰蠀 渭蔚蟿维 蟿慰谓 螔鈥� 螤伪纬魏蠈蟽渭喂慰 螤蠈位蔚渭慰, 蟽蔚 纬蠀谓伪委魏蔚蟼-蟺蟻蠅蟿伪纬蠅谓委蟽蟿蟻喂蔚蟼 蟿蠅谓 蠁慰喂蟿畏蟿喂魏蠋谓 魏喂谓畏渭维蟿蠅谓 蟿蠅谓 蟿蔚位蠋谓 蟿畏蟼 未蔚魏伪蔚蟿委伪蟼 蟿慰蠀 鈥�60, 蟽蔚 纬蠀谓伪委魏蔚蟼 蟺慰蠀 苇味畏蟽伪谓 蟿畏谓 喂伪蟿蟻喂魏萎 蔚蟺伪谓维蟽蟿伪蟽畏 谓伪 蔚位苇纬蠂慰蠀谓 蟿慰 蟽蠋渭伪 蟿慰蠀蟼, 蠈位蔚蟼 伪蠀蟿苇蟼 未蔚谓 未喂伪蠁苇蟻慰蠀谓 魏伪胃蠈位慰蠀 伪蟺蠈 蟿畏 蟽畏渭蔚蟻喂谓萎 螕蠀谓伪委魏伪 蟿慰蠀 21慰蠀 伪喂蠋谓伪. 螒蟺蠈 蟿慰 味萎蟿畏渭伪 蟿畏蟼 蟺伪蟿蟻喂伪蟻蠂喂魏萎蟼 慰喂魏慰纬苇谓蔚喂伪蟼, 伪蟺蠈 蟿喂蟼 未蔚喂蟽喂未伪喂渭慰谓委蔚蟼, 胃蟻畏蟽魏蔚蠀蟿喂魏慰蠉 蟺蔚蟻喂蔚蠂慰渭苇谓慰蠀 萎 渭畏, 伪蟺蠈 蟿畏 渭慰喂蟻慰位伪蟿蟻委伪 蟺慰蠀 魏伪胃喂蟽蟿维 蟿畏 纬蠀谓伪委魏伪 胃蠉渭伪 蟿慰蠀 委未喂慰蠀 蟿畏蟼 蟿慰蠀 蠁蠉位慰蠀, 伪位位维 魏伪喂 伪蟺蠈 蟿慰谓 蟻蠈位慰 蟿畏蟼 魏慰喂谓蠅谓喂魏萎蟼 魏伪蟿伪纬蠅纬萎蟼 萎 蟿畏蟼 蟺慰位喂蟿喂魏萎蟼 胃苇蟽畏蟼 蟿畏蟼, 伪谓伪未蔚喂魏谓蠉蔚喂 胃苇渭伪蟿伪 蟽蠉纬蠂蟻慰谓伪 蟺慰蠀 蟺伪蟻鈥� 蠈位蔚蟼 蟿喂蟼 伪位位伪纬苇蟼 蟺慰蠀 苇蠂慰蠀谓 蔚蟺苇位胃蔚喂 蟿委蟺慰蟿伪 未蔚谓 苇蠂蔚喂 伪位位维尉蔚喂. 螚 螠畏蟿苇蟻伪 魏伪喂 畏 螝蠈蟻畏 蔚委谓伪喂 苇谓伪 未委蟺慰位慰 蟺慰蠀 蔚渭蠁伪谓委味蔚蟿伪喂 尉伪谓维 魏伪喂 尉伪谓维. 螠蔚蟿伪尉蠉 蟿慰蠀蟼 慰喂 纬蠀谓伪喂魏蔚委蔚蟼 渭慰蟻蠁苇蟼 蔚委谓伪喂 维蟿蠀蟺伪 蟽蠀纬魏慰喂谓蠅谓慰蠉谓蟿伪 未蠀谓伪渭喂魏维 未慰蠂蔚委伪. 螚 蟽蠀纬纬蟻伪蠁苇伪蟼 胃苇位蔚喂 谓伪 蔚蟺伪谓伪蟺蟻慰蟽未喂慰蟻委蟽蔚喂 蟻蠈位慰蠀蟼, 胃蔚蠅蟻委蔚蟼 魏伪喂 伪谓伪纬谓蠋蟽渭伪蟿伪 蟺慰蠀 伪蠁慰蟻慰蠉谓 蟿畏 纬蠀谓伪喂魏蔚委伪 蟿伪蠀蟿蠈蟿畏蟿伪. 螖蔚谓 尉苇蟻蠅 伪谓 胃伪 伪蟺慰蟿蔚位苇蟽慰蠀谓 蟿伪 苇蟻纬伪 蟿畏蟼 渭蔚位苇蟿畏 蟺蔚未委慰蠀 纬喂伪 蟿伪 Gender Studies, 蠅蟽蟿蠈蟽慰 魏伪蟿维蠁蔚蟻蔚, 蠈蟺蠅蟼 魏伪喂 慰喂 畏蟻蠅委未蔚蟼 蟺慰蠀 蠀蟺慰未蠉蔚蟿伪喂 畏 Greta Gerwing, 谓伪 渭伪蟼 未蔚委尉蔚喂 蟺蠋蟼 蔚委谓伪喂 渭喂伪 蠁蠀蟽喂慰位慰纬喂魏萎 纬蠀谓伪委魏伪, 渭蔚 蟿伪 魏伪位维 & 蟿伪 魏伪魏维 蟿畏蟼 (蠈,蟿喂 & 伪谓 蟽畏渭伪委谓蔚喂 伪蠀蟿蠈).
螌位伪 蟿伪 蟺伪蟻伪蟺维谓蠅 伪蟺慰蟿蔚位慰蠉谓 魏慰渭尾喂魏慰蠉蟼 魏蟻委魏慰蠀蟼 蟽蔚 渭喂伪 维蟿蠀蟺畏 位慰纬慰蟿蔚蠂谓喂魏萎 伪位蠀蟽委未伪 蟿蠅谓 苇蟻纬蠅谓 蟿畏蟼 Ferrante. 惟蟽蟿蠈蟽慰 , 苇谓伪 蔚蟺喂蟺位苇慰谓 蟽畏渭伪谓蟿喂魏蠈 蟽蟿慰喂蠂蔚委慰 蔚委谓伪喂 畏 委未喂伪 畏 渭蔚蟿维蠁蟻伪蟽畏 蟿蠅谓 苇蟻纬蠅谓 蟿畏蟼 蟽蟿伪 蔚位位畏谓喂魏维. 螠蟺慰蟻蔚委 谓伪 苇纬喂谓蔚 未喂维蟽畏渭畏 伪蟺蠈 蟿畏谓 伪纬纬位喂魏萎 渭蔚蟿维蠁蟻伪蟽畏 蟿畏蟼 Ann Golstein (editor 蟽蟿慰 蟺蔚蟻喂慰未喂魏蠈 鈥淭he New Yorker鈥�), 蟽蟿畏谓 蠂蠋蟻伪 渭伪蟼 蠈渭蠅蟼 蠂蟻蠅蟽蟿维渭蔚 蟺慰位位维 蟽蟿畏谓 渭伪蔚蟽蟿蟻委伪 魏伪喂 蟿畏谓 蟺慰喂蠈蟿畏蟿伪 位蠈纬慰蠀 蟿畏蟼 苇渭蟺蔚喂蟻畏蟼 渭蔚蟿伪蠁蟻维蟽蟿蟻喂伪蟼 螖萎渭畏蟿蟻伪蟼 螖蠈蟿蟽畏, 蟺慰蠀 伪谓伪未蔚喂魏谓蠉蔚喂 渭蔚 蟿慰谓 魏伪位蠉蟿蔚蟻慰 蟿蟻蠈蟺慰 蟿伪 渭苇蟽伪 魏伪喂 蟿喂蟼 蟿蔚蠂谓喂魏苇蟼 蟿畏蟼 蟽蠀纬纬蟻伪蠁苇蠅蟼. 螚 蔚尉伪喂蟻蔚蟿喂魏萎 渭蔚蟿维蠁蟻伪蟽畏 魏伪蟿维蠁蔚蟻蔚 谓伪 魏维谓蔚喂 慰喂魏蔚委伪 蟿伪 渭畏谓蠉渭伪蟿伪 魏伪喂 蟿喂蟼 蟽魏苇蠄蔚喂蟼 蟿畏蟼 蟽蠀纬纬蟻伪蠁苇蠅蟼 魏伪喂 蟿伪蠀蟿蠈蠂蟻慰谓伪 谓伪 纬谓蠅蟽蟿慰蟺慰喂萎蟽蔚喂 蟿蠀蠂蠈谓 慰渭慰喂蠈蟿畏蟿蔚蟼 蔚渭蟺蔚喂蟻喂蠋谓 魏伪喂 尾喂蠅渭维蟿蠅谓, 蟿畏蟼 伪谓蟿委蟽蟿慰喂蠂畏蟼 蠂蟻慰谓喂魏萎蟼 蟺蔚蟻喂蠈未慰蠀, 蟺慰蠀 苇蠂慰蠀谓 慰喂 未蠉慰 位伪慰委.
螣 芦蟺蠀蟻蔚蟿蠈蟼 蟿畏蟼 Ferrante禄 蠈蟺蠅蟼 蠂伪蟻伪魏蟿畏蟻委味蔚蟿伪喂 蟿慰 蠁伪喂谓蠈渭蔚谓慰 蟿畏蟼 位慰纬慰蟿蔚蠂谓喂魏萎蟼 伪纬维蟺畏蟼 蟺慰蠀 未蔚委蠂谓慰蠀谓 慰喂 伪谓伪纬谓蠋蟽蟿蔚蟼 蟿畏蟼, 未蔚谓 蔚委谓伪喂 魏维蟿喂 蟿慰 蟺伪蟻慰未喂魏蠈. 螒魏蠈渭伪 魏伪喂 伪谓 伪蟺慰魏伪位蠉蠁胃畏魏蔚 蟿慰 蟺蟻伪纬渭伪蟿喂魏蠈 蟺蟻蠈蟽蠅蟺慰 蟺委蟽蠅 伪蟺蠈 蟿慰 蠄蔚蠀未蠋谓蠀渭慰 芦Elena Ferrante禄, 畏 蟽蟺慰蠀未伪喂蠈蟿畏蟿伪 蟿蠅谓 渭畏谓蠀渭维蟿蠅谓 蟿蠅谓 尾喂尾位委蠅谓 蟿畏蟼 蔚委谓伪喂 伪蠀蟿维 蟺慰蠀 胃伪 蟽蠀谓蔚蠂委味慰蠀谓 谓伪 蔚渭蟺谓苇慰蠀谓 蟿慰蠀蟼 伪谓伪纬谓蠋蟽蟿蔚蟼 蟿畏蟼 谓伪 蟿伪 未喂伪尾维味慰蠀谓 魏伪喂 谓伪 蟿伪 伪纬伪蟺慰蠉谓.
螘蟺委蟽畏蟼:
螕喂伪蟿委 蟺蟻苇蟺蔚喂 谓伪 未喂伪尾维蟽慰蠀渭蔚 蟽萎渭蔚蟻伪 蟿畏谓 Elena Ferrante;
(螖畏渭慰蟽喂蔚蠉蟿畏魏蔚 蟽蟿慰 蟽蟿喂蟼 24/07/2017)
违蟺维蟻蠂慰蠀谓 魏维蟺慰喂伪 尾喂尾位委伪 蟺慰蠀 畏 伪谓维纬谓蠅蟽萎 蟿慰蠀蟼 未蔚谓 蔚委谓伪喂 渭喂伪 蔚蟺喂蠁伪谓蔚喂伪魏萎 伪蟺蠈位伪蠀蟽畏 蟿喂蟼 畏渭苇蟻蔚蟼 蟿蠅谓 未喂伪魏慰蟺蠋谓 萎 蟿蠅谓 蠅蟻蠋谓 蟺慰蠀 伪蟺慰蠁伪蟽委味蔚喂 魏维蟺慰喂慰蟼 谓伪 蠂伪位伪蟻蠋蟽蔚喂 伪蟺蠈 蟿畏谓 魏伪胃畏渭蔚蟻喂谓蠈蟿畏蟿伪. 螘委谓伪喂 伪谓伪纬谓蠋蟽渭伪蟿伪-蟽蟿伪胃渭慰委, 渭蔚 尾伪胃蠉蟿蔚蟻伪 谓慰萎渭伪蟿伪 魏伪喂 渭畏谓蠉渭伪蟿伪 蟺慰蠀 胃伪 芦尾纬慰蠀谓禄 伪蟻纬蠈蟿蔚蟻伪 蟽蟿畏谓 蔚蟺喂蠁维谓蔚喂伪.
螠蔚纬伪位蠋谓慰谓蟿伪蟼 渭蔚 蟿喂蟼 畏蟻蠅委未蔚蟼 蟿畏蟼 螙蠅蟻味 危伪蟻蟻萎 魏伪喂 蟿畏蟼 螔慰蠉位伪蟼 螠维蟽蟿慰蟻畏 (维蟿蠀蟺畏 蟿蔚蟿蟻伪位慰纬委伪 渭蔚 畏蟻蠅委未伪 蟿畏谓 螁谓谓伪) 蔚委蠂伪 蟿畏谓 伪委蟽胃畏蟽畏 蠈蟿喂 慰喂 畏蟻蠅委未蔚蟼 蟿畏蟼 Ferrante, 螆位蔚谓伪 魏伪喂 螞委位伪, 伪蟺慰蟿蔚位慰蠉谓 渭喂伪 维蟿蠀蟺畏 蟽蠀谓苇蠂蔚喂伪 蟿蠅谓 蟺伪蟻伪蟺维谓蠅 蔚蠁畏尾喂魏蠋谓 伪谓伪纬谓蠅蟽渭维蟿蠅谓. 螌渭蠅蟼, 萎蟿伪谓 蟺慰位位维 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻伪.
螚 Ferrante 渭伪蟼 渭喂位维 纬喂伪 蟿喂蟼 纬蠀谓伪委魏蔚蟼 蟿慰蠀 喂蟿伪位喂魏慰蠉 螡蠈蟿慰蠀, 纬蔚谓谓畏渭苇谓蔚蟼 位委纬慰 渭蔚蟿维 蟿慰 蟿苇位慰蟼 蟿慰蠀 螔鈥� 螤伪纬魏慰蟽渭委慰蠀 螤慰位苇渭慰蠀, 纬喂伪 渭喂伪 魏慰喂谓蠅谓委伪 蟺慰蠀 蟽蠀谓蔚蠂蠋蟼 伪位位维味蔚喂, 伪位位维 蟿慰 蟺蠈蟽慰 蔚尉蔚位委蟽蟽蔚蟿伪喂 蔚委谓伪喂 苇谓伪 维位位慰 蔚蟻蠋蟿畏渭伪, 纬喂伪 蟿喂蟼 伪谓胃蟻蠋蟺喂谓蔚蟼 蟽蠂苇蟽蔚喂蟼, 蟺慰蠀 未蔚谓 魏伪胃慰蟻委味蔚蟿伪喂 畏 蠀蠁萎 蟿慰蠀蟼 伪蟺蠈 蟿慰 蠂蟻蠈谓慰 伪位位维 伪蟺蠈 蟿畏谓 蟺慰喂蠈蟿畏蟿伪 蟺慰蠀 蟺蟻慰蟽未委未慰蠀谓 慰喂 维谓胃蟻蠅蟺慰喂 蟽鈥� 伪蠀蟿苇蟼, 魏伪喂 蟿苇位慰蟼 纬喂伪 渭喂伪 纬蠀谓伪喂魏蔚委伪 蠁喂位委伪 蟺慰蠀 蠂蟿委味蔚蟿伪喂 伪谓维渭蔚蟽伪 蟽蟿慰 螝伪位蠈 魏伪喂 蟿慰 螝伪魏蠈, 魏伪喂 蠈,蟿喂 伪蠀蟿维 蟺蟻慰蟽未喂慰蟻委味慰蠀谓.
螖喂伪尾维味慰谓蟿伪蟼 蟿伪 3 渭苇蟻畏 伪蟺蠈 蟿畏谓 韦蔚蟿蟻伪位慰纬委伪 蟿畏蟼 螡维蟺慰位畏蟼 魏伪喂 蟿慰谓 蟽蠀谓慰位喂魏蠈 蟿蠈渭慰 渭蔚 蟽魏苇蠄蔚喂蟼 魏伪喂 蟽蠀谓蔚谓蟿蔚蠉尉蔚喂蟼 蟿畏蟼 蟽蠀纬纬蟻伪蠁苇蠅蟼 鈥淔rantumaglia鈥� 魏伪蟿苇位畏尉伪 蟽蔚 慰蟻喂蟽渭苇谓伪 蟽蠀渭蟺蔚蟻维蟽渭伪蟿伪 蟺慰蠀 胃伪 萎胃蔚位伪 谓伪 渭慰喂蟻伪蟽蟿蠋 渭伪味委 蟽伪蟼 蟽蠂蔚蟿喂魏维 渭蔚 蟿畏 渭蔚纬维位畏 蟽畏渭伪蟽委伪 蟺慰蠀 苇蠂蔚喂 蟽萎渭蔚蟻伪 谓伪 未喂伪尾伪蟽蟿蔚委 蟿慰 苇蟻纬慰 蟿畏蟼 Ferrante 伪蟺蠈 蟿慰 蔚位位畏谓喂魏蠈 魏慰喂谓蠈.
螞慰纬慰蟿蔚蠂谓喂魏萎 渭伪蔚蟽蟿蟻委伪: 螚 Ferrante 蔚委谓伪喂 维蟻喂蟽蟿畏 纬谓蠋蟽蟿蟻喂伪 蟿蠅谓 魏位伪蟽喂魏蠋谓 魏伪喂 伪蠀蟿蠈 蠁伪委谓蔚蟿伪喂 魏伪喂 蟽蟿慰蠀蟼 3 蟿蠈渭慰蠀蟼 蟿畏蟼 蟽蔚喂蟻维蟼. 螇蟻蠅蔚蟼 魏伪喂 伪谓蟿喂-萎蟻蠅蔚蟼, 胃蠉渭伪蟿伪 蟿畏蟼 魏慰喂谓蠅谓喂魏萎蟼 蟿慰蠀蟼 魏伪蟿伪纬蠅纬萎蟼, 蔚委蟿蔚 伪蠀蟿萎 蔚委谓伪喂 芦伪谓蠋蟿蔚蟻畏禄 蔚委蟿蔚 芦魏伪蟿蠋蟿蔚蟻畏禄, 蟺慰蠀 蟽蟿慰 蟿苇位慰蟼 伪谓伪味畏蟿慰蠉谓 蠈位慰喂 渭喂伪 维蟿蠀蟺畏 魏维胃伪蟻蟽畏. 韦伪 蟺蟻蠈蟽蠅蟺伪 蔚委谓伪喂 蟿蠈蟽慰 慰喂魏蔚委伪, 蟺慰蠀 渭蟺慰蟻蔚委蟼 谓伪 蟿伪 未蔚喂蟼 慰位慰魏维胃伪蟻伪 渭蟺蟻慰蟽蟿维 蟽慰蠀 蟺蔚蟻谓蠋谓蟿伪蟼 伪蟺蠈 蟿喂蟼 纬蔚喂蟿慰谓喂苇蟼 蟿蠅谓 蟺蠈位蔚蠅谓 蟿畏蟼 蠂蠋蟻伪蟼 渭伪蟼. 螚 伪谓胃蟻蠅蟺慰纬蔚蠅纬蟻伪蠁委伪 魏伪喂 畏 蠄蠀蠂慰蟽蠉谓胃蔚蟽畏 蟺慰蠀 蔚蟺喂蠂蔚喂蟻蔚委 纬喂伪 魏维胃蔚 蠂伪蟻伪魏蟿萎蟻伪 蔚委谓伪喂 渭慰谓伪未喂魏萎. 螚 蟺蔚蟻喂纬蟻伪蠁喂魏萎 蟿畏蟼 未蔚喂谓蠈蟿畏蟿伪 蔚委谓伪喂 纬蔚渭维蟿畏 味蠅谓蟿维谓喂伪. 螕蟻萎纬慰蟻慰蟼 位蠈纬慰蟼 蟺慰蠀 蟻苇蔚喂 魏伪喂 未蔚谓 魏慰渭蟺喂维味蔚喂 纬喂伪 谓伪 蔚魏蠁蟻维蟽蔚喂 蟽魏苇蠄蔚喂蟼 魏伪喂 蟽蠀谓伪喂蟽胃萎渭伪蟿伪 蟿蠅锟斤拷 畏蟻蠋蠅谓. 螆蠂蔚喂蟼 蟿畏谓 伪委蟽胃畏蟽畏 蠈蟿喂 渭蠀蟻委味蔚喂蟼 蟿畏 螠蔚蟽蠈纬蔚喂慰, 蠈蟿喂 蟺蔚蟻蟺伪蟿维蟼 蟽蟿慰蠀蟼 蟺慰位蠉尾慰蠀慰蠀蟼 未蟻蠈渭慰蠀蟼 蟿畏蟼 螡维蟺慰位畏蟼 魏伪喂 蠈蟿喂 渭喂伪 魏维渭蔚蟻伪, 渭蔚 魏喂谓畏渭伪蟿慰纬蟻伪蠁喂魏萎 蔚蟽蟿委伪蟽畏 蟽蟿喂蟼 畏蟻蠅委未蔚蟼, 魏喂谓蔚委蟿伪喂 纬蠉蟻蠅 伪蟺蠈 蟺蟻蠈蟽蠅蟺伪 魏伪喂 纬蔚纬慰谓蠈蟿伪 蟺慰蠀 苇魏蟻喂谓伪谓 蟿畏谓 喂蟿伪位喂魏萎 (魏伪喂 蠈蠂喂 渭蠈谓慰) 魏慰喂谓蠅谓委伪, 蟺慰位喂蟿喂魏萎 魏伪喂 喂蟽蟿慰蟻委伪 蟿喂蟼 未蔚魏伪蔚蟿委蔚蟼 蟿慰蠀 鈥�50-鈥�80.
韦慰蟺喂魏蠈蟿畏蟿伪: 螚 蟽蠀纬纬蟻伪蠁苇伪蟼 蠂蟻畏蟽喂渭慰蟺慰喂蠋谓蟿伪蟼 蠅蟼 蟺蟻慰蟺蠉蟻纬喂慰 蟿畏 螡维蟺慰位畏 蠂蟿委味蔚喂 渭喂伪 慰位蠈魏位畏蟻畏 saga 伪谓胃蟻蠋蟺喂谓蠅谓 蠂伪蟻伪魏蟿萎蟻蠅谓. 螝伪喂 纬喂伪蟿委 蟿慰 魏维谓蔚喂 伪蠀蟿蠈; 螤慰位蠉 伪蟺位维 胃苇位蔚喂 谓伪 渭伪蟼 未蔚委尉蔚喂 蟿畏谓 喂蟽蠂蠀蟻萎 未喂伪蠁慰蟻维 蟺慰蠀 蠀蟺维蟻蠂蔚喂 蟽蟿畏谓 螜蟿伪位委伪, 伪谓维渭蔚蟽伪 蟽蟿慰 螔慰蟻蟻维 魏伪喂 蟿慰 螡蠈蟿慰. 螒魏蠈渭伪 魏伪喂 畏 蔚蟺喂位慰纬萎 蟺伪谓蔚蟺喂蟽蟿畏渭委蠅谓, 蟽蔚 味萎蟿畏渭伪 蟺慰喂蠈蟿畏蟿伪蟼, 魏蟻委谓蔚蟿伪喂 伪蟺蠈 蟿畏谓 蟿慰蟺慰胃蔚蟽委伪 蟿畏蟼 蟺蠈位畏蟼 (位.蠂 螠喂位维谓慰, 桅位蠅蟻蔚谓蟿委伪, 螤委味伪 魏蟿位.). 韦慰 蟽蟿慰喂蠂蔚委慰 蟿畏蟼 蟿慰蟺喂魏蠈蟿畏蟿伪蟼 魏伪喂 蟿慰蠀 蠂蟿喂蟽委渭伪蟿慰蟼 蟿蠅谓 蠂伪蟻伪魏蟿萎蟻蠅谓 伪位位维 魏伪喂 蟿蠅谓 蔚谓伪位位伪纬蠋谓 蟿慰蠀蟼 蟽蔚 蟽蟿慰喂蠂蔚委伪 蟿畏蟼 魏伪胃畏渭蔚蟻喂谓蠈蟿畏蟿伪蟼 (位.蠂 慰渭喂位委伪 魏伪喂 未喂维位蔚魏蟿慰蟼) 伪蟺慰蟿蔚位蔚委 苇谓伪 蔚尉伪喂蟻蔚蟿喂魏蠈 位慰纬慰蟿蔚蠂谓喂魏蠈 魏伪蟿伪蟽魏蔚蠉伪蟽渭伪 纬喂伪 蟿慰 蟺慰喂蠈谓 蟿蠅谓 畏蟻蠋蠅谓 蟿畏蟼.
桅蔚渭喂谓喂蟽渭蠈蟼: 螣 21慰蟼 伪喂蠋谓伪蟼 魏伪喂 慰 蟻蠈位慰蟼 蟿畏蟼 螕蠀谓伪委魏伪蟼 蟽鈥� 伪蠀蟿蠈谓 魏伪胃慰蟻委蟽蟿畏魏蔚, 未蠀蟽蟿蠀蠂蠋蟼, 伪蟺蠈 蟿畏谓 魏伪蟿伪谓伪位蠅蟿喂魏萎 魏慰喂谓蠅谓委伪 魏伪喂 蟿伪 蟺蟻蠈蟿蠀蟺伪 蟺慰蠀 蟺蟻蠈尾伪位蔚. 螣喂 纬蠀谓伪委魏蔚蟼 胃蔚蠋蟻畏蟽伪谓 蠈蟿喂 畏 味蠅萎 蟿慰蠀蟼 胃伪 萎蟿伪谓 渭喂伪 蟺喂蟽蟿萎 伪谓蟿喂纬蟻伪蠁萎 蟿慰蠀 蟿畏位蔚慰蟺蟿喂魏慰蠉 Sex & the City, 慰喂 蟽蠂苇蟽蔚喂蟼 渭蔚 蟿慰 维位位慰 蠁蠉位慰 蔚魏蠂蠀未伪螑蟽蟿畏魏伪谓 魏伪喂 蟿伪 蟺蟻慰谓蠈渭喂伪 蟺慰蠀 蠀蟺慰蟿委胃蔚蟿伪喂 蠈蟿喂 伪蟺苇魏蟿畏蟽伪谓 蟽蔚 蔚蟺伪纬纬蔚位渭伪蟿喂魏蠈 伪位位维 魏伪喂 慰喂魏慰纬蔚谓蔚喂伪魏蠈 蔚蟺委蟺蔚未慰 未蔚谓 慰未萎纬畏蟽伪谓 蟽鈥� 苇谓伪谓 蟺蟻慰尾位蔚蟺蠈渭蔚谓慰 蔚蟺伪谓伪魏伪胃慰蟻喂蟽渭蠈 蟿畏蟼 蠁蠉蟽畏蟼 蟿慰蠀蟼. 韦伪 纬蠀谓伪喂魏蔚委伪 位慰纬慰蟿蔚蠂谓喂魏维 蟺蟻蠈蟿蠀蟺伪 蟺慰蠀 魏蠀魏位慰蠁慰蟻慰蠉谓 蔚蟺喂尾蔚尾伪喂蠋谓慰蠀谓 蟿畏谓 蟺伪蟻伪蟺维谓蠅 蔚喂魏蠈谓伪. 螚 Ferrante 苇蟻蠂蔚蟿伪喂, 位慰喂蟺蠈谓, 谓伪 蠀蟺蔚谓胃蠀渭委蟽蔚喂 蟿喂 蟽畏渭伪委谓蔚喂 螕蠀谓伪委魏伪, 萎 蟿慰蠀位维蠂喂蟽蟿慰谓 谓伪 蟺蟻慰尾位畏渭伪蟿喂蟽蟿蔚委 蟺维谓蠅 蟽蟿畏 纬蠀谓伪喂魏蔚委伪 蟿伪蠀蟿蠈蟿畏蟿伪. 螒魏蠈渭伪 魏伪喂 伪谓 伪谓伪蠁苇蟻蔚蟿伪喂 蟽蔚 纬蠀谓伪委魏蔚蟼 蟺慰蠀 苇味畏蟽伪谓 蟽蟿畏 蟽喂蠅蟺萎 蟿慰蠀 伪谓蔚委蟺蠅蟿慰蠀 渭蔚蟿维 蟿慰谓 螔鈥� 螤伪纬魏蠈蟽渭喂慰 螤蠈位蔚渭慰, 蟽蔚 纬蠀谓伪委魏蔚蟼-蟺蟻蠅蟿伪纬蠅谓委蟽蟿蟻喂蔚蟼 蟿蠅谓 蠁慰喂蟿畏蟿喂魏蠋谓 魏喂谓畏渭维蟿蠅谓 蟿蠅谓 蟿蔚位蠋谓 蟿畏蟼 未蔚魏伪蔚蟿委伪蟼 蟿慰蠀 鈥�60, 蟽蔚 纬蠀谓伪委魏蔚蟼 蟺慰蠀 苇味畏蟽伪谓 蟿畏谓 喂伪蟿蟻喂魏萎 蔚蟺伪谓维蟽蟿伪蟽畏 谓伪 蔚位苇纬蠂慰蠀谓 蟿慰 蟽蠋渭伪 蟿慰蠀蟼, 蠈位蔚蟼 伪蠀蟿苇蟼 未蔚谓 未喂伪蠁苇蟻慰蠀谓 魏伪胃蠈位慰蠀 伪蟺蠈 蟿畏 蟽畏渭蔚蟻喂谓萎 螕蠀谓伪委魏伪 蟿慰蠀 21慰蠀 伪喂蠋谓伪. 螒蟺蠈 蟿慰 味萎蟿畏渭伪 蟿畏蟼 蟺伪蟿蟻喂伪蟻蠂喂魏萎蟼 慰喂魏慰纬苇谓蔚喂伪蟼, 伪蟺蠈 蟿喂蟼 未蔚喂蟽喂未伪喂渭慰谓委蔚蟼, 胃蟻畏蟽魏蔚蠀蟿喂魏慰蠉 蟺蔚蟻喂蔚蠂慰渭苇谓慰蠀 萎 渭畏, 伪蟺蠈 蟿畏 渭慰喂蟻慰位伪蟿蟻委伪 蟺慰蠀 魏伪胃喂蟽蟿维 蟿畏 纬蠀谓伪委魏伪 胃蠉渭伪 蟿慰蠀 委未喂慰蠀 蟿畏蟼 蟿慰蠀 蠁蠉位慰蠀, 伪位位维 魏伪喂 伪蟺蠈 蟿慰谓 蟻蠈位慰 蟿畏蟼 魏慰喂谓蠅谓喂魏萎蟼 魏伪蟿伪纬蠅纬萎蟼 萎 蟿畏蟼 蟺慰位喂蟿喂魏萎蟼 胃苇蟽畏蟼 蟿畏蟼, 伪谓伪未蔚喂魏谓蠉蔚喂 胃苇渭伪蟿伪 蟽蠉纬蠂蟻慰谓伪 蟺慰蠀 蟺伪蟻鈥� 蠈位蔚蟼 蟿喂蟼 伪位位伪纬苇蟼 蟺慰蠀 苇蠂慰蠀谓 蔚蟺苇位胃蔚喂 蟿委蟺慰蟿伪 未蔚谓 苇蠂蔚喂 伪位位维尉蔚喂. 螚 螠畏蟿苇蟻伪 魏伪喂 畏 螝蠈蟻畏 蔚委谓伪喂 苇谓伪 未委蟺慰位慰 蟺慰蠀 蔚渭蠁伪谓委味蔚蟿伪喂 尉伪谓维 魏伪喂 尉伪谓维. 螠蔚蟿伪尉蠉 蟿慰蠀蟼 慰喂 纬蠀谓伪喂魏蔚委蔚蟼 渭慰蟻蠁苇蟼 蔚委谓伪喂 维蟿蠀蟺伪 蟽蠀纬魏慰喂谓蠅谓慰蠉谓蟿伪 未蠀谓伪渭喂魏维 未慰蠂蔚委伪. 螚 蟽蠀纬纬蟻伪蠁苇伪蟼 胃苇位蔚喂 谓伪 蔚蟺伪谓伪蟺蟻慰蟽未喂慰蟻委蟽蔚喂 蟻蠈位慰蠀蟼, 胃蔚蠅蟻委蔚蟼 魏伪喂 伪谓伪纬谓蠋蟽渭伪蟿伪 蟺慰蠀 伪蠁慰蟻慰蠉谓 蟿畏 纬蠀谓伪喂魏蔚委伪 蟿伪蠀蟿蠈蟿畏蟿伪. 螖蔚谓 尉苇蟻蠅 伪谓 胃伪 伪蟺慰蟿蔚位苇蟽慰蠀谓 蟿伪 苇蟻纬伪 蟿畏蟼 渭蔚位苇蟿畏 蟺蔚未委慰蠀 纬喂伪 蟿伪 Gender Studies, 蠅蟽蟿蠈蟽慰 魏伪蟿维蠁蔚蟻蔚, 蠈蟺蠅蟼 魏伪喂 慰喂 畏蟻蠅委未蔚蟼 蟺慰蠀 蠀蟺慰未蠉蔚蟿伪喂 畏 Greta Gerwing, 谓伪 渭伪蟼 未蔚委尉蔚喂 蟺蠋蟼 蔚委谓伪喂 渭喂伪 蠁蠀蟽喂慰位慰纬喂魏萎 纬蠀谓伪委魏伪, 渭蔚 蟿伪 魏伪位维 & 蟿伪 魏伪魏维 蟿畏蟼 (蠈,蟿喂 & 伪谓 蟽畏渭伪委谓蔚喂 伪蠀蟿蠈).
螌位伪 蟿伪 蟺伪蟻伪蟺维谓蠅 伪蟺慰蟿蔚位慰蠉谓 魏慰渭尾喂魏慰蠉蟼 魏蟻委魏慰蠀蟼 蟽蔚 渭喂伪 维蟿蠀蟺畏 位慰纬慰蟿蔚蠂谓喂魏萎 伪位蠀蟽委未伪 蟿蠅谓 苇蟻纬蠅谓 蟿畏蟼 Ferrante. 惟蟽蟿蠈蟽慰 , 苇谓伪 蔚蟺喂蟺位苇慰谓 蟽畏渭伪谓蟿喂魏蠈 蟽蟿慰喂蠂蔚委慰 蔚委谓伪喂 畏 委未喂伪 畏 渭蔚蟿维蠁蟻伪蟽畏 蟿蠅谓 苇蟻纬蠅谓 蟿畏蟼 蟽蟿伪 蔚位位畏谓喂魏维. 螠蟺慰蟻蔚委 谓伪 苇纬喂谓蔚 未喂维蟽畏渭畏 伪蟺蠈 蟿畏谓 伪纬纬位喂魏萎 渭蔚蟿维蠁蟻伪蟽畏 蟿畏蟼 Ann Golstein (editor 蟽蟿慰 蟺蔚蟻喂慰未喂魏蠈 鈥淭he New Yorker鈥�), 蟽蟿畏谓 蠂蠋蟻伪 渭伪蟼 蠈渭蠅蟼 蠂蟻蠅蟽蟿维渭蔚 蟺慰位位维 蟽蟿畏谓 渭伪蔚蟽蟿蟻委伪 魏伪喂 蟿畏谓 蟺慰喂蠈蟿畏蟿伪 位蠈纬慰蠀 蟿畏蟼 苇渭蟺蔚喂蟻畏蟼 渭蔚蟿伪蠁蟻维蟽蟿蟻喂伪蟼 螖萎渭畏蟿蟻伪蟼 螖蠈蟿蟽畏, 蟺慰蠀 伪谓伪未蔚喂魏谓蠉蔚喂 渭蔚 蟿慰谓 魏伪位蠉蟿蔚蟻慰 蟿蟻蠈蟺慰 蟿伪 渭苇蟽伪 魏伪喂 蟿喂蟼 蟿蔚蠂谓喂魏苇蟼 蟿畏蟼 蟽蠀纬纬蟻伪蠁苇蠅蟼. 螚 蔚尉伪喂蟻蔚蟿喂魏萎 渭蔚蟿维蠁蟻伪蟽畏 魏伪蟿维蠁蔚蟻蔚 谓伪 魏维谓蔚喂 慰喂魏蔚委伪 蟿伪 渭畏谓蠉渭伪蟿伪 魏伪喂 蟿喂蟼 蟽魏苇蠄蔚喂蟼 蟿畏蟼 蟽蠀纬纬蟻伪蠁苇蠅蟼 魏伪喂 蟿伪蠀蟿蠈蠂蟻慰谓伪 谓伪 纬谓蠅蟽蟿慰蟺慰喂萎蟽蔚喂 蟿蠀蠂蠈谓 慰渭慰喂蠈蟿畏蟿蔚蟼 蔚渭蟺蔚喂蟻喂蠋谓 魏伪喂 尾喂蠅渭维蟿蠅谓, 蟿畏蟼 伪谓蟿委蟽蟿慰喂蠂畏蟼 蠂蟻慰谓喂魏萎蟼 蟺蔚蟻喂蠈未慰蠀, 蟺慰蠀 苇蠂慰蠀谓 慰喂 未蠉慰 位伪慰委.
螣 芦蟺蠀蟻蔚蟿蠈蟼 蟿畏蟼 Ferrante禄 蠈蟺蠅蟼 蠂伪蟻伪魏蟿畏蟻委味蔚蟿伪喂 蟿慰 蠁伪喂谓蠈渭蔚谓慰 蟿畏蟼 位慰纬慰蟿蔚蠂谓喂魏萎蟼 伪纬维蟺畏蟼 蟺慰蠀 未蔚委蠂谓慰蠀谓 慰喂 伪谓伪纬谓蠋蟽蟿蔚蟼 蟿畏蟼, 未蔚谓 蔚委谓伪喂 魏维蟿喂 蟿慰 蟺伪蟻慰未喂魏蠈. 螒魏蠈渭伪 魏伪喂 伪谓 伪蟺慰魏伪位蠉蠁胃畏魏蔚 蟿慰 蟺蟻伪纬渭伪蟿喂魏蠈 蟺蟻蠈蟽蠅蟺慰 蟺委蟽蠅 伪蟺蠈 蟿慰 蠄蔚蠀未蠋谓蠀渭慰 芦Elena Ferrante禄, 畏 蟽蟺慰蠀未伪喂蠈蟿畏蟿伪 蟿蠅谓 渭畏谓蠀渭维蟿蠅谓 蟿蠅谓 尾喂尾位委蠅谓 蟿畏蟼 蔚委谓伪喂 伪蠀蟿维 蟺慰蠀 胃伪 蟽蠀谓蔚蠂委味慰蠀谓 谓伪 蔚渭蟺谓苇慰蠀谓 蟿慰蠀蟼 伪谓伪纬谓蠋蟽蟿蔚蟼 蟿畏蟼 谓伪 蟿伪 未喂伪尾维味慰蠀谓 魏伪喂 谓伪 蟿伪 伪纬伪蟺慰蠉谓.
April 24, 2017
鈥楻eaders hungry for every Ferrante sentence they can get will find many here in which she lowers her knife through the bread of life with the same startling force as she does in her novels.鈥�
LA Times
鈥业苍 her own exceedingly quotable words, drawing on myth, theory, philosophy, and, of course, literature, the author reveals herself in her multitudes: she is kind and good-humored, self-deprecating and apologetic, flinty and unwavering鈥hile this collection will be most enticing to those already reading Ferrante, it鈥檚 also a feast for writers, lovers of literature, and creators of all kinds.鈥�
Booklist
鈥楾he collection promises insightful observations from Ferrante on subjects such as feminism and politics, her literary aspirations, her decision to be published anonymously, and the role of the writer and publisher in today鈥檚 world.鈥�
Books+Publishing
鈥楾he material collected here further reveals Ferrante as a remarkable writer and deeply original thinker across a range of subjects but particularly on writing, the importance of fiction, feminism and motherhood. One hopes that the recent 鈥榰nmasking鈥� of her identity will not eclipse the importance of this book; certainly, true fans will not be disappointed. She addresses her reasons for privacy within these pages intelligently and convincingly and cautions 鈥業 remain Ferrante or I no longer publish鈥�. This extraordinary collection of frantumaglia gives us far greater insight into her novels than any speculation about her 鈥榬eal鈥� identity.鈥�
Readings
鈥楾his is a fascinating volume, as ever beautifully translated by Ann Goldstein. At times, it is as absorbing as Ferrante鈥檚 extraordinary fictions and touches on troubling unconscious matter with the same visceral intensity. For those who can鈥檛 wait for the next Ferrante fiction to sink into, it provides a stopgap.鈥�
Guardian
鈥楾he book exquisitely translated by Ann Goldstein of the New Yorker opens a window on to the life of one of the most mysterious writers at work in Italy today.鈥�
Evening Standard
鈥业苍 Frantumaglia Ferrante asserts the most fundamental and important truth of who she is: that she is someone who will do only as she will and nothing else. That is what is at stake for all women. And the stakes as Ferrante knows have never been higher.鈥�
New Republic
鈥極ver the decades of interviews in Frantumaglia a portrait emerges if not of the artist herself then of Elena Ferrante鈥檚 writing process and aim: to give order to the frantumaglia however provisional and arrive at a literary truth through story.鈥�
Hazlitt
鈥楩or admirers of Ferrante鈥檚 work who are not particularly interested in a biographical reading of her fiction, Frantumaglia offers something else: a chance to consider her strange, spectral presence in the world of letters.鈥�
New York Times
鈥榃hat gives these novels their prominent place on the literary map at this moment is the intensity of Elena Ferrante鈥檚 writing: in and of itself a force of nature. With or without permission, the writing sucks the reader into its orbit, and there one remains to the end. It鈥檚 a remarkable performance, one that speaks directly to a moment in Western culture avid for naked, memoirish storytelling, and it has made her world-famous鈥hoever she is, when she sits down to write she wholly inhabits the narrating persona she has chosen for the tale that she has come to tell.鈥�
Vivian Gornick, The Nation
鈥楩谤补苍迟耻尘补驳濒颈补 is never less than compelling and we read with a similar desire to recognise a pattern鈥he letters are presented without introduction, and as we read we鈥檙e curious to know how they fit into the larger picture.鈥�
Australian
鈥楩erociously meticulous, exacting, and direct鈥t is precisely [Ferrante鈥檚] capacity for cruelty, for helping us locate the violence inert in everyday life (particularly within the bourgeois social strata) that qualifies Ferrante for her readers鈥� devotion. Through her violence we, her readers, become vital and vigilant creatures.鈥�
Lifted Brow
鈥楾hat this is a must have for fans of Ferrante goes without saying, but it will also be of interest to those with a curiosity about the art and act of writing. The collection reveals Ferrante鈥檚 thoughts on a multitude of topics from feminism, the importance of fiction, and motherhood. Allowing a glimpse into the mind of one of Italy鈥檚 most acclaimed writers in the process.鈥�
AU Review
鈥楻endering real women, with their fraught relationships and anger, joy, anxieties, disappointment and sadness, has always been where Ferrante is at her most authentic; where she is her most truthful. But in Frantumaglia, her first work of non-fiction, the reader finds one of Ferrante鈥檚 most convincing works of fiction: Elena Ferrante.鈥�
The Muse
鈥楥umulatively these fragments offer fascinating insights into Ferrante鈥檚 working methods and artistic purpose.鈥�
Times Literary Supplement
鈥榃e guarantee all the cool girls will be clutching 贵谤补苍迟耻尘补驳濒颈补.鈥�
Marie Claire
鈥楢n absorbing explanation of why this writer insists on anonymity, and also reveals a lot about the inspiration for and thinking behind her remarkable novels.鈥�
Australian
鈥楢 fascinating companion piece, both to the remarkable novels Ferrante has written and to the ongoing discussion about the author鈥檚 real identity鈥er fans should be grateful for this highly readable, insightful resource.鈥�
Herald Sun
鈥楩errante writes well about writing, publishing and literature, and I recommend Frantumaglia to writers and those interested in her books鈥t was an unexpectedly helpful companion through the grief and fear of one hell of a month. Thank you, Elena, whoever you are.鈥�
Zew Zealand Listener
鈥楢n excellent accompaniment to the novels of Elena Ferrante and insight into this writer鈥檚 journey and process, in particular the inspiration behind her characters, settings and recurring themes.鈥�
Word by Word
LA Times
鈥业苍 her own exceedingly quotable words, drawing on myth, theory, philosophy, and, of course, literature, the author reveals herself in her multitudes: she is kind and good-humored, self-deprecating and apologetic, flinty and unwavering鈥hile this collection will be most enticing to those already reading Ferrante, it鈥檚 also a feast for writers, lovers of literature, and creators of all kinds.鈥�
Booklist
鈥楾he collection promises insightful observations from Ferrante on subjects such as feminism and politics, her literary aspirations, her decision to be published anonymously, and the role of the writer and publisher in today鈥檚 world.鈥�
Books+Publishing
鈥楾he material collected here further reveals Ferrante as a remarkable writer and deeply original thinker across a range of subjects but particularly on writing, the importance of fiction, feminism and motherhood. One hopes that the recent 鈥榰nmasking鈥� of her identity will not eclipse the importance of this book; certainly, true fans will not be disappointed. She addresses her reasons for privacy within these pages intelligently and convincingly and cautions 鈥業 remain Ferrante or I no longer publish鈥�. This extraordinary collection of frantumaglia gives us far greater insight into her novels than any speculation about her 鈥榬eal鈥� identity.鈥�
Readings
鈥楾his is a fascinating volume, as ever beautifully translated by Ann Goldstein. At times, it is as absorbing as Ferrante鈥檚 extraordinary fictions and touches on troubling unconscious matter with the same visceral intensity. For those who can鈥檛 wait for the next Ferrante fiction to sink into, it provides a stopgap.鈥�
Guardian
鈥楾he book exquisitely translated by Ann Goldstein of the New Yorker opens a window on to the life of one of the most mysterious writers at work in Italy today.鈥�
Evening Standard
鈥业苍 Frantumaglia Ferrante asserts the most fundamental and important truth of who she is: that she is someone who will do only as she will and nothing else. That is what is at stake for all women. And the stakes as Ferrante knows have never been higher.鈥�
New Republic
鈥極ver the decades of interviews in Frantumaglia a portrait emerges if not of the artist herself then of Elena Ferrante鈥檚 writing process and aim: to give order to the frantumaglia however provisional and arrive at a literary truth through story.鈥�
Hazlitt
鈥楩or admirers of Ferrante鈥檚 work who are not particularly interested in a biographical reading of her fiction, Frantumaglia offers something else: a chance to consider her strange, spectral presence in the world of letters.鈥�
New York Times
鈥榃hat gives these novels their prominent place on the literary map at this moment is the intensity of Elena Ferrante鈥檚 writing: in and of itself a force of nature. With or without permission, the writing sucks the reader into its orbit, and there one remains to the end. It鈥檚 a remarkable performance, one that speaks directly to a moment in Western culture avid for naked, memoirish storytelling, and it has made her world-famous鈥hoever she is, when she sits down to write she wholly inhabits the narrating persona she has chosen for the tale that she has come to tell.鈥�
Vivian Gornick, The Nation
鈥楩谤补苍迟耻尘补驳濒颈补 is never less than compelling and we read with a similar desire to recognise a pattern鈥he letters are presented without introduction, and as we read we鈥檙e curious to know how they fit into the larger picture.鈥�
Australian
鈥楩erociously meticulous, exacting, and direct鈥t is precisely [Ferrante鈥檚] capacity for cruelty, for helping us locate the violence inert in everyday life (particularly within the bourgeois social strata) that qualifies Ferrante for her readers鈥� devotion. Through her violence we, her readers, become vital and vigilant creatures.鈥�
Lifted Brow
鈥楾hat this is a must have for fans of Ferrante goes without saying, but it will also be of interest to those with a curiosity about the art and act of writing. The collection reveals Ferrante鈥檚 thoughts on a multitude of topics from feminism, the importance of fiction, and motherhood. Allowing a glimpse into the mind of one of Italy鈥檚 most acclaimed writers in the process.鈥�
AU Review
鈥楻endering real women, with their fraught relationships and anger, joy, anxieties, disappointment and sadness, has always been where Ferrante is at her most authentic; where she is her most truthful. But in Frantumaglia, her first work of non-fiction, the reader finds one of Ferrante鈥檚 most convincing works of fiction: Elena Ferrante.鈥�
The Muse
鈥楥umulatively these fragments offer fascinating insights into Ferrante鈥檚 working methods and artistic purpose.鈥�
Times Literary Supplement
鈥榃e guarantee all the cool girls will be clutching 贵谤补苍迟耻尘补驳濒颈补.鈥�
Marie Claire
鈥楢n absorbing explanation of why this writer insists on anonymity, and also reveals a lot about the inspiration for and thinking behind her remarkable novels.鈥�
Australian
鈥楢 fascinating companion piece, both to the remarkable novels Ferrante has written and to the ongoing discussion about the author鈥檚 real identity鈥er fans should be grateful for this highly readable, insightful resource.鈥�
Herald Sun
鈥楩errante writes well about writing, publishing and literature, and I recommend Frantumaglia to writers and those interested in her books鈥t was an unexpectedly helpful companion through the grief and fear of one hell of a month. Thank you, Elena, whoever you are.鈥�
Zew Zealand Listener
鈥楢n excellent accompaniment to the novels of Elena Ferrante and insight into this writer鈥檚 journey and process, in particular the inspiration behind her characters, settings and recurring themes.鈥�
Word by Word
July 10, 2022
Frantumaglia is very true to the subtitle given in the Brazilian edition: "the ways of a writer". It is mostly composed of interviews usually sent to Ferrante's editors, from the release of her first novel, L'amore molesto in 1992 till after the publishing of the last book of the Neapolitan tetralogy, Storia della bambina perduta.
As usual in such kind of book, the questions sent to Ferrante do not vary much. I have seen the same in those two books composed of interviews, the first with Elizabeth Bishop; the second with Brazilian author Hilda Hilst. It is as if, and as put by Ferrante herself, what is in store is the media's need for audience and spotlight, regardless of the qualities of books, even creating theses that the author has an obligation to their readers as a public figure, which is constantly contested by her.
Indeed, what should count is the authors' expressions translated into the form of books, and I agree with her that the author is present all the time in the words along the book, in the way it was thought and written, in the story itself. She is a daring person to stand for her word and not play the media's game. I stand by her in her decision to avoid public appearance.
As for the book itself, there are 3 interviews that outstand the most because of her decision on how to answer them. The first is the one that gives the book its title, "La Frantumaglia", in which she ends up writing a long beautiful text in answer to the questions sent by Indice's group of journalists, one that seems more like an article that gives a somehow true face to her interesting female characters, their relations to their mothers and to their Neapolitan past, etc. The second great interview is given to her editors, Sandro Ferri and Sandra Ozzola, and their daughter, Eva. Interesting questions and profound answers. The last great one was given to Nicola Lagioia, also an author, and probably the best interview of the whole book.
(..) I鈥檓 drawn, rather, to images of crisis, to seals that are broken. When shapes lose their contours, we see what most terrifies us, as in Ovid鈥檚 鈥淢etamorphoses,鈥� Kafka鈥檚 鈥淢etamorphosis,鈥� and Clarice Lispector鈥檚 extraordinary 鈥淧assion According to G.H.鈥� You don鈥檛 go beyond that; you have to take a step back and, to survive, re毛nter some good fiction. I don鈥檛 believe, however, that every fiction we orchestrate is good. I cling to those that are painful, those that arise from a profound crisis of all our illusions. I love unreal things when they show signs of firsthand knowledge of the terror, and hence an awareness that they are unreal, that they will not hold up for long against the collisions. Human beings are extremely violent animals, and the violence they are always ready to use in order to impose their own eternal, salvific life vest, while shattering those of others, is frightening.
The question of true writing is another very interesting topic in the main interviews. True writing means what needs to be written, regardless of the beauty in the writing, the projected images, the perfect phrases, etc. It is indeed, the feeling of a "whirlpool of fragment-words" (frantumaglia), something that destabilizes rather than compose or organize. Besides Ferrante's, I can easily recall such kind of writing in Virginia Woolf, Clarice Lispector, Bessie Head (her exceptional A question of power), Vivian Gornick.
For those who appreciate Ferrante's writing, this is a very interesting book to start with. But for those who want to deepen themselves in issues hardly brought up on a daily basis and get to know a mind of its own, who doesn't look for easy answers or easy paths, as I do so much appreciate, this is a must-read!
As usual in such kind of book, the questions sent to Ferrante do not vary much. I have seen the same in those two books composed of interviews, the first with Elizabeth Bishop; the second with Brazilian author Hilda Hilst. It is as if, and as put by Ferrante herself, what is in store is the media's need for audience and spotlight, regardless of the qualities of books, even creating theses that the author has an obligation to their readers as a public figure, which is constantly contested by her.
Indeed, what should count is the authors' expressions translated into the form of books, and I agree with her that the author is present all the time in the words along the book, in the way it was thought and written, in the story itself. She is a daring person to stand for her word and not play the media's game. I stand by her in her decision to avoid public appearance.
As for the book itself, there are 3 interviews that outstand the most because of her decision on how to answer them. The first is the one that gives the book its title, "La Frantumaglia", in which she ends up writing a long beautiful text in answer to the questions sent by Indice's group of journalists, one that seems more like an article that gives a somehow true face to her interesting female characters, their relations to their mothers and to their Neapolitan past, etc. The second great interview is given to her editors, Sandro Ferri and Sandra Ozzola, and their daughter, Eva. Interesting questions and profound answers. The last great one was given to Nicola Lagioia, also an author, and probably the best interview of the whole book.
(..) I鈥檓 drawn, rather, to images of crisis, to seals that are broken. When shapes lose their contours, we see what most terrifies us, as in Ovid鈥檚 鈥淢etamorphoses,鈥� Kafka鈥檚 鈥淢etamorphosis,鈥� and Clarice Lispector鈥檚 extraordinary 鈥淧assion According to G.H.鈥� You don鈥檛 go beyond that; you have to take a step back and, to survive, re毛nter some good fiction. I don鈥檛 believe, however, that every fiction we orchestrate is good. I cling to those that are painful, those that arise from a profound crisis of all our illusions. I love unreal things when they show signs of firsthand knowledge of the terror, and hence an awareness that they are unreal, that they will not hold up for long against the collisions. Human beings are extremely violent animals, and the violence they are always ready to use in order to impose their own eternal, salvific life vest, while shattering those of others, is frightening.
The question of true writing is another very interesting topic in the main interviews. True writing means what needs to be written, regardless of the beauty in the writing, the projected images, the perfect phrases, etc. It is indeed, the feeling of a "whirlpool of fragment-words" (frantumaglia), something that destabilizes rather than compose or organize. Besides Ferrante's, I can easily recall such kind of writing in Virginia Woolf, Clarice Lispector, Bessie Head (her exceptional A question of power), Vivian Gornick.
For those who appreciate Ferrante's writing, this is a very interesting book to start with. But for those who want to deepen themselves in issues hardly brought up on a daily basis and get to know a mind of its own, who doesn't look for easy answers or easy paths, as I do so much appreciate, this is a must-read!
January 6, 2015
Nel mezzo della lettura de "L' Amica geniale", alla fine del secondo volume cio猫, per caso mi sono imbattuto in questo libro che racchiude l'epistolario tra la Scrittrice Ignota e i suoi complici editori. E contiene la frantumaglia, per usare un termine suo, delle pagine non pubblicate dei primi due suoi romanzi.
Per qualit脿 e suggestione mi hanno fatto pensare al film di Tatti Sanguineti montato con le scene scartate da Fellini. Una gran bella lettura, utilissima per capire temi e meccanismi stilistici e creativi della Ferrante.
Non entro nel tema, ma come si sar脿 capito, al di l脿 del valore che si vuol dare ai suoi romanzi, 猫 un'autrice che mi affasciana molto e non esattamente per le ragioni per le quali se ne parla. Il suo successo internazionale cio猫 (unico per un autore italiano contemporaneo) e il mistero del "chi 猫?".
Le ragioni letterarie e non che mi interessano attorno a Elena Ferrante, per chi fosse interessate le ho messe qui.
鈥�
Per qualit脿 e suggestione mi hanno fatto pensare al film di Tatti Sanguineti montato con le scene scartate da Fellini. Una gran bella lettura, utilissima per capire temi e meccanismi stilistici e creativi della Ferrante.
Non entro nel tema, ma come si sar脿 capito, al di l脿 del valore che si vuol dare ai suoi romanzi, 猫 un'autrice che mi affasciana molto e non esattamente per le ragioni per le quali se ne parla. Il suo successo internazionale cio猫 (unico per un autore italiano contemporaneo) e il mistero del "chi 猫?".
Le ragioni letterarie e non che mi interessano attorno a Elena Ferrante, per chi fosse interessate le ho messe qui.
鈥�
March 1, 2018
芦Mi madre me ha dejado un t茅rmino de su dialecto que usaba para decir c贸mo se sent铆a cuando era arrastrada en direcciones opuestas por impresiones contradictorias que la her铆an. Dec铆a que ten铆a dentro una frantumaglia禄. Quien haya le铆do cualquier libro de Elena Ferrante puede entender perfectamente el alcance de esta definici贸n, pues es un sentimiento que recorre las p谩ginas de la escritora italiana con bastante frecuencia. Frantumaglia es todo cuanto Elena Ferrante representa, el rasgo m谩s caracter铆stico de su escritura y el que ha hecho que miles de lectores por todo el mundo, entre los que me incluyo, se enamoren sin concesiones de la arrebatadora violencia emocional con la que impregna sus historias.
RESE脩A COMPLETA:
RESE脩A COMPLETA:
May 14, 2017
'Escombros' 茅 uma colec莽茫o de correspond锚ncias de Elena Ferrante, com os seus editores, com jornalistas e at茅 com leitores. Nelas, a autora escreve sobre as suas obras, motiva莽玫es, o passado, e o que a levou a n茫o querer ser conhecida publicamente.
Acabei por ler este livro por mera curiosidade, j谩 que queria saber um pouco mais sobre esta autora. E embora Ferrante escreva maravilhosamente bem, quer seja a comunicar com os editores, quer a responder a uma entrevista, acho que n茫o foi a altura certa para o ler. Muito do que aqui est谩 escrito refere-se aos romances escritos e publicados antes da s茅rie 'A Amiga Genial'. Que eu n茫o li. Depois, a terceira e 煤ltima parte refere-se, em grande parte, a todos os livros da tetralogia. Ainda n茫o os li todos. Por isso, acabei por levar com uns quantos spoilers, coisa que n茫o queria que acontecesse. Claro que isso n茫o me retirou a curiosidade e vontade de os ler, mas foi chato.
Al茅m disto, chegou a um ponto em que a informa莽茫o j谩 se repetia. Quantas n茫o foram 脿s vezes que li a explica莽茫o de Elena Ferrante acerca daquilo que ela considera o papel de um escritos em rela莽茫o aos seus livros? Ou como e quando ela se come莽ou a dedicar 脿 escrita? Foram tantas as pessoas, especialmente em entrevistas, que lhe perguntaram as mesmas coisas, que deu para fartar. Foi interessante da primeira vez; 脿 terceira e quarta e quinta, passou a ser enjoativo.
Seja como for, recomendo. Ficamos com a vis茫o de Elena Ferrante sobre diversos temas e s贸 isso j谩 茅 recomend谩vel.
Acabei por ler este livro por mera curiosidade, j谩 que queria saber um pouco mais sobre esta autora. E embora Ferrante escreva maravilhosamente bem, quer seja a comunicar com os editores, quer a responder a uma entrevista, acho que n茫o foi a altura certa para o ler. Muito do que aqui est谩 escrito refere-se aos romances escritos e publicados antes da s茅rie 'A Amiga Genial'. Que eu n茫o li. Depois, a terceira e 煤ltima parte refere-se, em grande parte, a todos os livros da tetralogia. Ainda n茫o os li todos. Por isso, acabei por levar com uns quantos spoilers, coisa que n茫o queria que acontecesse. Claro que isso n茫o me retirou a curiosidade e vontade de os ler, mas foi chato.
Al茅m disto, chegou a um ponto em que a informa莽茫o j谩 se repetia. Quantas n茫o foram 脿s vezes que li a explica莽茫o de Elena Ferrante acerca daquilo que ela considera o papel de um escritos em rela莽茫o aos seus livros? Ou como e quando ela se come莽ou a dedicar 脿 escrita? Foram tantas as pessoas, especialmente em entrevistas, que lhe perguntaram as mesmas coisas, que deu para fartar. Foi interessante da primeira vez; 脿 terceira e quarta e quinta, passou a ser enjoativo.
Seja como for, recomendo. Ficamos com a vis茫o de Elena Ferrante sobre diversos temas e s贸 isso j谩 茅 recomend谩vel.
November 6, 2016
Pithy articulations of an author's need for anonymity. Fragments is, literally, fragments from published interviews and responses to readers. With that said, I find Elana's writing stylistically elegant, captivating, moving, smoldering with passion and poignant observations that compels me to wanting more:
"I have a degree in classical literature. But degrees say little or nothing about what we've truly learned--out of necessity, out of passion. So it happens that what has really formed us cannot, paradoxically, be catalogued."
"It's not I who keep my activity hidden, it's my activity that hides me. I read, reflect, take notes, ponder the writing of others, produce my own, and all this for a period that's always longer than my day. Reading and writing are closed-room activities, which literally take you away from the gaze of others. The greater risk is that they also remove others from your gaze."
"A teacher who doesn't love reading communicates this deficiency even if he presents himself to his students as a passionate reader."
"The body is all we have and it shouldn't be underestimated. The films you've seen are, precisely, literally, a 'giving body' to what is in the writing of the books. I'm convinced, however, that potentially a page has more body than a film. We have to activate all our physical resources as writers and readers to make it function. Writing and reading are great investments of physicality. In writing and reading, in composing signs and deciphering them, there is an involvement of the body that compares only with writing, performing, and listening to music."
"I believe that, for those who love to write, time spent writing is never wasted. And then isn't it from book to book that one approaches the book we truly wish to write?"
"I have a degree in classical literature. But degrees say little or nothing about what we've truly learned--out of necessity, out of passion. So it happens that what has really formed us cannot, paradoxically, be catalogued."
"It's not I who keep my activity hidden, it's my activity that hides me. I read, reflect, take notes, ponder the writing of others, produce my own, and all this for a period that's always longer than my day. Reading and writing are closed-room activities, which literally take you away from the gaze of others. The greater risk is that they also remove others from your gaze."
"A teacher who doesn't love reading communicates this deficiency even if he presents himself to his students as a passionate reader."
"The body is all we have and it shouldn't be underestimated. The films you've seen are, precisely, literally, a 'giving body' to what is in the writing of the books. I'm convinced, however, that potentially a page has more body than a film. We have to activate all our physical resources as writers and readers to make it function. Writing and reading are great investments of physicality. In writing and reading, in composing signs and deciphering them, there is an involvement of the body that compares only with writing, performing, and listening to music."
"I believe that, for those who love to write, time spent writing is never wasted. And then isn't it from book to book that one approaches the book we truly wish to write?"
August 28, 2021
Oceniti jednu zbirku pisama, eseja i intervjua je izazovan posao. Me膽utim, ve膰 na polovini sam shvatila da 膰u joj dati odli膷nu ocenu.
U Frantumalji dobijamo uvid u Elenin odnos prema sopstvenom pisanju i, kako ona ka啪e, biranju odsustva a ne anonimnosti kada se radi o njenoj li膷nosti kao autorke. Ovu knjigu je fantasti膷no 膷itati na kraju, kada ste pro膷itali sve njene romane, i 啪elite da nau膷ite ne拧to o njenom pisanju, tehnici, obrazovanju, inspiraciji, istorijskim uzorima, knji啪evnim uzorima, omiljenim fiktivnim likovima koje u膷itava u svoje itd.
Ne膰ete se pokajati ako pro膷itate ovo delo koje smatram za膷etkom mog interesovanja za knjige u kojima pisci govore o pisanju. 馃挆
U Frantumalji dobijamo uvid u Elenin odnos prema sopstvenom pisanju i, kako ona ka啪e, biranju odsustva a ne anonimnosti kada se radi o njenoj li膷nosti kao autorke. Ovu knjigu je fantasti膷no 膷itati na kraju, kada ste pro膷itali sve njene romane, i 啪elite da nau膷ite ne拧to o njenom pisanju, tehnici, obrazovanju, inspiraciji, istorijskim uzorima, knji啪evnim uzorima, omiljenim fiktivnim likovima koje u膷itava u svoje itd.
Ne膰ete se pokajati ako pro膷itate ovo delo koje smatram za膷etkom mog interesovanja za knjige u kojima pisci govore o pisanju. 馃挆
November 27, 2016
The author of the Neapolitan Quartet shares her letters, interviews, drafts, papers, memories, and thoughts from a quarter century of writing.
Book Review: Frantumaglia takes the reader inside a writer's mind like nothing I've ever seen before. Elena Ferrante thinks so deeply, cares so passionately, works so diligently at her craft that the reader can only sit open-mouthed. This book is like a PhD course in writing. There is so much here, almost too much. She shares everything that goes into her writing, and I couldn't help but be impressed at how profound is her dedication. She writes and remembers deeply the city of Naples (and Italy itself), which is so important to and is so strongly felt in her books. Her commitment to truth in writing is inspiring for any would be author: "when one writes one must never lie. In literary fiction you have to be sincere to the point where it's unbearable, where you suffer the emptiness of the pages." For Ferrante there is a great divide between verisimilitude and authenticity in literature. She also provides draft pages cut from the final versions of her books, and lengthy explanations of why the pages were deleted. Multilayered interpretations of her plots and characters are given.
She discusses in depth her themes of the mother-daughter relationship, friendships between women, and feminism (especially her interest in difference feminism). She writes of her own parents, her mother, and her own friendships, and the dangers of friendships. She candidly admits that initially she was more attracted to female characters written by men, than such written by women, and it took her time to "to learn to love women writers." She also notes how problematic it is that some women prefer "the worst male characters" in her books. Ferrante sees numerous difficulties for women in our not yet adequately redefined modern age, and that despite the advances of feminism, women cannot "lower our guard." Addressing women in writing, she states, "Every woman novelist ... should aim at being not only the best women novelist but the best of the most skilled practitioners of literature, whether male or female. To do so we have to avoid every ideological conformity, every false show of thought, every adherence to a party line or canon." She writes of the deep significance that feminism and post-feminism have had on her writing, though not overtly included in her work, and the fragility of the gains that have been won.
Ferrante is known for writing under a pseudonym and keeping her private life to herself, in her belief "that books, once they are written, have no need of their authors." Her thoughts and writing on this issue are some of the most profound of Frantumaglia (and there's a whole section on that word), taking a razor to the concept of fandom and author as celebrity. She thinks that "for real readers, who wrote it isn't important," and that even Tolstoy "is an insignificant shadow if he takes a stroll with Anna Karenina." "I believe that the true reader shouldn't be confused with the fan." She regrets that in many cases the name of the writer is "better known than his works." Ferrante notes that we know little about Shakespeare and other great writers, that knowledge of the writer is unnecessary for understanding an author's books. "A story is truly alive not because the author is photogenic."
For anyone who has read Ferrante's books and wants to know more about the stories behind the stories, this is a perfect book. For potential writers who wish to see the process of an expert, this is a great opportunity. Apparently this book was published in part to satisfy the interest in information about Ferrante, and to placate and accommodate her very patient publishers desire for more publicity for her books. Frantumaglia was first published in Italian, and came out greatly expanded in English and updated to this year (2016). 欧宝娱乐 lists it at 224 pages, but my edition had 384 pages of text. [4鈽匽
Book Review: Frantumaglia takes the reader inside a writer's mind like nothing I've ever seen before. Elena Ferrante thinks so deeply, cares so passionately, works so diligently at her craft that the reader can only sit open-mouthed. This book is like a PhD course in writing. There is so much here, almost too much. She shares everything that goes into her writing, and I couldn't help but be impressed at how profound is her dedication. She writes and remembers deeply the city of Naples (and Italy itself), which is so important to and is so strongly felt in her books. Her commitment to truth in writing is inspiring for any would be author: "when one writes one must never lie. In literary fiction you have to be sincere to the point where it's unbearable, where you suffer the emptiness of the pages." For Ferrante there is a great divide between verisimilitude and authenticity in literature. She also provides draft pages cut from the final versions of her books, and lengthy explanations of why the pages were deleted. Multilayered interpretations of her plots and characters are given.
She discusses in depth her themes of the mother-daughter relationship, friendships between women, and feminism (especially her interest in difference feminism). She writes of her own parents, her mother, and her own friendships, and the dangers of friendships. She candidly admits that initially she was more attracted to female characters written by men, than such written by women, and it took her time to "to learn to love women writers." She also notes how problematic it is that some women prefer "the worst male characters" in her books. Ferrante sees numerous difficulties for women in our not yet adequately redefined modern age, and that despite the advances of feminism, women cannot "lower our guard." Addressing women in writing, she states, "Every woman novelist ... should aim at being not only the best women novelist but the best of the most skilled practitioners of literature, whether male or female. To do so we have to avoid every ideological conformity, every false show of thought, every adherence to a party line or canon." She writes of the deep significance that feminism and post-feminism have had on her writing, though not overtly included in her work, and the fragility of the gains that have been won.
Ferrante is known for writing under a pseudonym and keeping her private life to herself, in her belief "that books, once they are written, have no need of their authors." Her thoughts and writing on this issue are some of the most profound of Frantumaglia (and there's a whole section on that word), taking a razor to the concept of fandom and author as celebrity. She thinks that "for real readers, who wrote it isn't important," and that even Tolstoy "is an insignificant shadow if he takes a stroll with Anna Karenina." "I believe that the true reader shouldn't be confused with the fan." She regrets that in many cases the name of the writer is "better known than his works." Ferrante notes that we know little about Shakespeare and other great writers, that knowledge of the writer is unnecessary for understanding an author's books. "A story is truly alive not because the author is photogenic."
For anyone who has read Ferrante's books and wants to know more about the stories behind the stories, this is a perfect book. For potential writers who wish to see the process of an expert, this is a great opportunity. Apparently this book was published in part to satisfy the interest in information about Ferrante, and to placate and accommodate her very patient publishers desire for more publicity for her books. Frantumaglia was first published in Italian, and came out greatly expanded in English and updated to this year (2016). 欧宝娱乐 lists it at 224 pages, but my edition had 384 pages of text. [4鈽匽
April 14, 2019
Que Elena Ferrante 茅 uma escritora fenomenal todo mundo j谩 est谩 careca de saber, afinal, n茫o foi 脿 toa que eu e meu ciclo de amigas fomos pegas pela "Ferrante Fever" e devoramos todos os livros escritos por ela. Desde "Um amor inc么modo", seu primeiro romance publicado em 1992, at茅 o 煤ltimo volume da S茅rie Napolitana, a escrita de Ferrante me destruiu completamente, marcando para sempre meu percurso como leitora. Eu poderia ficar aqui escrevendo linhas e linhas sobre o quanto todo mundo deveria ler Elena Ferrante...Por茅m, eu n茫o estava preparada para o que li em Frantumaglia. Precisei marcar quinhentas mil trechos do livro que me deixaram arrepiada!
Esse livro nada mais 茅 do que um compilado de entrevistas, cartas e e-mails entre Elena Ferrante e seus editores, jornalistas, cineastas e outros escritores, entre 1991 e 2016. Atrav茅s dessas correspond锚ncias, n茫o s贸 conhecemos um pouco mais sobre essa autora e suas cr铆ticas ao mundo editorial, mas tamb茅m assistimos de camarote a Ferrante mostrando o quanto 茅 sinistra!
O jornalista diz: a...
E a Elena vai l谩 e responde com um texto de 30 p谩ginas esculachando com uma maestria que te faz ficar at茅 agradecido pelo esporro.
Durante os 25 anos em que se passam as intera莽玫es desse compilado, quase todos os interlocutores de Ferrante a questionam sobre sua identidade, sua privacidade e sobre sua escolha incomum pelo "anonimato". Ao que Ferrante responde, ora sem a menor paci锚ncia (e com raz茫o), ora com longos textos que fazem a gente vibrar! Nota-se que, conforme os anos passaram, a autora tratou esse tema exaustivo de forma cada vez mais elaborada, mas ainda assim, mantendo a sua opini茫o e postura firmes.
As partes que mais me tocaram nesse livro s茫o os momentos em que Ferrante disserta sobre seu processo de escrita, suas frustra莽玫es e o peso que ela d谩 ao of铆cio de escritora na sua vida. Tamb茅m amei demais quando ela comenta sobre cada uma de suas hist贸rias e sobre a personalidade de suas protagonistas, em especial sobre Lila e Lenu <3.
Pra quem, assim como eu, ficou 贸rf茫o de Elena Ferrante depois que terminou de ler todo os livros da autora, tenho duas recomenda莽玫es:
- O document谩rio "Ferrante Fever", em que editores e escritores de v谩rios pa铆ses comentam sobre o trabalho da autora.
- A adapta莽茫o seriada da HBO de Amiga Genial. S茅rio. T谩 incr铆vel! Mas s贸 assista depois de ler os livrossssss!
"Mas Mayara, o que 茅 essa tal "Frantumaglia" afinal??"
Ah, isso eu vou deixar voc锚 descobrir sozinho. :)
Esse livro nada mais 茅 do que um compilado de entrevistas, cartas e e-mails entre Elena Ferrante e seus editores, jornalistas, cineastas e outros escritores, entre 1991 e 2016. Atrav茅s dessas correspond锚ncias, n茫o s贸 conhecemos um pouco mais sobre essa autora e suas cr铆ticas ao mundo editorial, mas tamb茅m assistimos de camarote a Ferrante mostrando o quanto 茅 sinistra!
O jornalista diz: a...
E a Elena vai l谩 e responde com um texto de 30 p谩ginas esculachando com uma maestria que te faz ficar at茅 agradecido pelo esporro.
Durante os 25 anos em que se passam as intera莽玫es desse compilado, quase todos os interlocutores de Ferrante a questionam sobre sua identidade, sua privacidade e sobre sua escolha incomum pelo "anonimato". Ao que Ferrante responde, ora sem a menor paci锚ncia (e com raz茫o), ora com longos textos que fazem a gente vibrar! Nota-se que, conforme os anos passaram, a autora tratou esse tema exaustivo de forma cada vez mais elaborada, mas ainda assim, mantendo a sua opini茫o e postura firmes.
As partes que mais me tocaram nesse livro s茫o os momentos em que Ferrante disserta sobre seu processo de escrita, suas frustra莽玫es e o peso que ela d谩 ao of铆cio de escritora na sua vida. Tamb茅m amei demais quando ela comenta sobre cada uma de suas hist贸rias e sobre a personalidade de suas protagonistas, em especial sobre Lila e Lenu <3.
Pra quem, assim como eu, ficou 贸rf茫o de Elena Ferrante depois que terminou de ler todo os livros da autora, tenho duas recomenda莽玫es:
- O document谩rio "Ferrante Fever", em que editores e escritores de v谩rios pa铆ses comentam sobre o trabalho da autora.
- A adapta莽茫o seriada da HBO de Amiga Genial. S茅rio. T谩 incr铆vel! Mas s贸 assista depois de ler os livrossssss!
"Mas Mayara, o que 茅 essa tal "Frantumaglia" afinal??"
Ah, isso eu vou deixar voc锚 descobrir sozinho. :)
October 22, 2020
This non fictional work of Ferrante carries her correspondences with her publishers, interviews and responses to her readers and even contemporaries. These writings dating from the time of her first literary publication (1991) to 2016 shows her continuing growth as a writer and her clear stance on the punctilious use of language and her anonymity. Inspite of having only read her Neapolitan Quartet, I went for this because I was curious to get behind her writing. On second thoughts, I should have been more patient and waited till I've read other works as well. Being a writer who keeps her private life away from a public gaze, in this book she allows her readers to have a glance at her writing process, her formative years of becoming a writer and even provides a description of her working space. She discusses in detail the recurring motifs and themes in her works like abandonment, loss, borders, complexities in a mother- daughter relationship and even her difficult relationship with Naples. She says she keeps away from politics but interested in economic and social contexts of her country . Yet she does not deny the ideological underpinnings in her novels. Though I might disagree with her perspective on 'politics' as a wholesome category as reflected in her critique of Naples, Berlusconi and media manipulation, her discussions surrounding feminism, women writing and location of women writers within a male literary tradition clearly marks her ideological standing. Throughout her correspondences, she maintains an interesting obsession with 'literary truth'. Something which in her opinion, shouldn't be confused with realism or verisimilitude. Her honesty as a writer can be observed from the care with which she attends to the words she had written as it gets translated from one medium to another, like adaptations.
Though some parts may seem repetitive, it can be owed mostly to the repetitiveness of the queries posed to her about her anonymity and the hype and constructed mystery surrounding it. If I had read Neapolitan Quartet with an insatiable greed, I read this one like a meditation. Taking notes, marking words and looking between and beneath words.
Though some parts may seem repetitive, it can be owed mostly to the repetitiveness of the queries posed to her about her anonymity and the hype and constructed mystery surrounding it. If I had read Neapolitan Quartet with an insatiable greed, I read this one like a meditation. Taking notes, marking words and looking between and beneath words.
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August 5, 2024鈥� Scrivere 猫 anche la storia di ci貌 che abbiamo letto e leggiamo, della qualit脿 delle nostre letture, e un buon racconto alla fine 猫 quello scritto dal fondo della nostra vita, dal cuore dei nostri rapporti con gli altri, dalla cima dei libri che ci sono piaciuti.
August 13, 2016
I thought I'd read this brief collection of interviews as an introduction to Ferrante. .. I still no nothing about her - but neither do most Italians. She's an enigmatic misanthropic recluse, I take it?
The interview questions were awkward. To wit,
The interview questions were awkward. To wit,
What does Elena Ferrante think about social questions like euthanasia? ... And, more generally, doesn't she think that for an intellectual (hence also for writer) it's important (if not in fact a duty) to participate in the public debate on the great subjects of civic life?Her answer to this and other questions is hostile-inscrutable: Life is pure suffering. Don't ask me to resort to pat phrases. I will not tell you a second time. Leave me alone. Being an author is hell. [paraphrasi!]
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