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L’amica geniale #1

by Elena Ferrante, سارا عصاره (Translator)

مارچلو، تنها، بدون برادرش، پشت فرمان فیات، او را وقتی‌که در امتداد خیابان عریض به خانه برمی‌گشته، دیده بود. به او نزدیک نشده بود، با او از پنجره حرف نزده بود. ماشین را با در باز وسط خیابان رها کرده بود و خودش را به او رسانده بود. لی‌لا به راه رفتنش ادامه داده بود، و او پشت سرش. به او التماس کرده بود که به‌خاطر رفتار گذشته‌اش ببخشدش، اعتراف کرده بود که حتی اگر او را با کاردک می‌کشت کار بسیار درستی می‌کرد. با حال منقلب به یادش آورده بود که چقدر خوب با هم در جشن مادر جیلیولا، راک رقصیده بودند و نشان می‌داد که چقدر می‌توانستند با هم تفاهم داشته باشند و درنهایت خیلی از او تعریف کرده بود: «چقدر بزرگ شده‌ای، چه چشم‌های زیبایی داری، چقدر خوشگلی.» و بعد برایش خوابی را که همان شب دیده بود، تعریف کرده بود: او از لی‌لا می‌خواست که با هم نامزد کنند، لی‌لا به او بله می‌گفت، و او به لی‌لا انگشتر نامزدی‌ای درست مانند انگشتر نامزدی مادربزرگش هدیه می‌داد، که بر رویش سه الماس داشت. لی‌لا سرانجام همان‌طور که به راه رفتنش ادامه می‌داده از او پرسیده بود: «در آن خواب به تو گفتم بله؟» مارچلو آن را تأیید کرده و لی‌لا جواب داده بود: «پس واقعاً خواب بوده، به‌خاطر این‌که تو یک حیوانی، تو و خانواده‌ات، پدربزرگت، پدرت، برادرت و با تو نامزد نمی‌کنم حتی اگر به من بگویی که من را می‌کشی.»

Genres: Fiction, Historical Fiction, Book Club, Italy, Literary Fiction, Audiobook, Italian Literature

346 pages, Paperback

First published October 19, 2011

About the author

Elena 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.

Reviews

[Kinga · Rating 4 out of 5]

I received this book as a Christmas present from my boss over a year ago. In fact, everyone in the office received a copy – that’s how much our boss wanted us to read it. Before you start wondering what sort of wonderful place I worked at, let me clarify it was a literary agency, so such things were totally commonplace. So despite the terrible cover, and a rather idiotic blurb I knew it would be a fine book.

No review of Ferrante’s book is complete without a mention of how no one knows who Ferrante is or even if she exists as an individual woman at all. Personally, I find this whole mystery of little interest as I share her view that all that the author wants to say she should say in the book and there is no need for the entire marketing circus.

Ferrante’s Naples novels have been compared to Knausgaard’s magnum opus because both authors can be characterised by their hyperreal scrutiny which seemingly can only be achieved in autobiographical novels. The autobiographical component is official in case of Knausgaard and alleged in Ferrante’s. Additionally, Knausgaard has happily joined the marketing circus, which is why I find Ferrante’s presumed exhibitionism a lot more palatable.

These books defiantly ignore all creative writing advice and cheerfully tell and not show, abandon all sensible plot structure and introduce as many characters as they feel like, not really caring whether that whole cast is in any way necessary. Neither do they have time for stylistic flourishes. Ferrante’s prose is bare; the language takes a back seat and is nothing more than a tool to the narrative that is pushed forward by its own urgency. What we are left with, though, is so vivid and authentic that no carefully polished novel could compete with it. This is great news. Rejoice, people, because in the age when it is possible to get a DEGREE in novel writing (without having to write anything of significance), comes a book which just doesn’t give a shit and still manages to steal the hearts of thousands.

I don’t suppose I have to explain what this book is about, because you have other reviews for that. But in short it’s about the intense friendship and rivalry between two girls growing up in the impoverished outskirts of Naples. You might argue it’s a book about female experience, and to an extent it certainly is, but judging by how much men love this book, I’d say it’s rather universal. But then, I generally feel female experience, once stripped of all telling signs could be pretty universal, because, you know, women are people too. Anyway, to me this book was more about class than gender. That constant anger, violence, the ‘let’s get them before they get us’ feel permeates the novel. And the moral, if ‘My Brilliant Friend’ has a moral at all, is that you can take a girl out of the Naples slums, but you can’t take the Naples slums out of the girl. Make no mistake, though. This is by no means an emotionally manipulative misery memoir. This is a story of childhood that simply doesn’t know it’s underprivileged.

[Rick Riordan · Rating 5 out of 5]

I have been studying Italian in my free time and so decided to try reading one of the most popular Italian writers of today: Elena Ferrante. There have been many articles about this author's mysterious anonymity. Her real identity is unknown except to her publisher because she wishes to have a normal life. I get that. Still, it only adds to the intrigue, as you can't help but wonder who writes these marvelous books. My Brilliant Friend is not the sort of book I would normally pick up as I prefer fantasy fiction. This is contemporary realistic fiction about two women who grow up together in the 1950s and 1960s in a poor neighborhood in Naples. The cast of characters is large, and for me, an American reader, I was missing some cultural context that made it a little bewildering at first. I read the book in English (because my Italian is not that good yet) and the style was both deeply intimate and jarringly matter-of-fact. The narrator Elena tells us everything about her upbringing in a neighborhood where harsh poverty is the norm and family violence is unremarkable, even, for instance, when a father sends a daughter flying out a second story window. Elena grows up side by side with her friend/foil/personal albatross Lila, who is naturally brilliant at everything and more beautiful than Elena, but who is held down by circumstances to work in her father's shoe store while Elena has a chance to escape her life through education. The book is a blow-by-blow confessional, following the two girls from their earliest memories through their early adulthood. The short chapters keep the pages turning, and by the end of the novel I found myself very involved in the lives of the characters. It is epic in the best sense of the word, and yet quiet and personal in its scope. At the end, there is a cliffhanger so brutal I immediately had to go and buy the next volume of this series. Wow, cliffhangers work! I should try them some time . . .

[Rebecca · Rating 1 out of 5]

I tried. I tried. I tried. For 200 pages I tried to see what it is about this writer that gets such acclaim, but with 130 pages to go, I abandoned it - there are just too many other books in my waiting pile that I want to read.
This book was chosen for book club which is why I persisted so long (I normally stop reading a book pretty quickly if it doesn't engage me).
I didn't develop any concern for the characters, and found it really repetitive - different stage school/same response from parents/same competitiveness with Lila/ it just went on and on and didn't seem to GO anywhere. It was supposed to be the story of a friendship from childhood until womanhood, set in Naples in the 1950's - but I then discovered this book only goes up until the two girls are 16 - there is a sequel - and at that point I decided OH ENOUGH! I realised I was not even going to get some sort of satisfaction from finishing it. Endless minor characters proved annoying and I gave up trying to keep up with who they were (despite the list in the front of the book) as well as all the interludes with various boys.

[Maggie Stiefvater · Rating 5 out of 5]

Anne of Green Gables if it was set in a rough Italian neighborhood and written by Donna Tartt.

[s.penkevich [hiatus-will return-miss you all] · Rating 5 out of 5]

‘What you do, I do.’

A lifelong friend is a truly special bond. With roots of friendship growing from a shared childhood soil, continuing to coil around one another’s lives through all the pruning of teenage years into adulthood, and having weathering the storms across the years together, it is a bond that bears many secrets and scars but also deep understanding. A lifetime contained in a companionship. My Brilliant Friend, the first of the Neapolitan Quartet from Elena Ferrante introduces us to Elena Greco and Raffaella Cerullo—Lenù and Lila, though everyone else calls her Lina—as adult Elena plunges us back through her memories to trace the trajectories of their lives. It is a brilliant novel, easily one of my favorites I read this year and one that consumed my thoughts and emotions in its epic of adolescence. Here we find life in a changing world as ‘a sticky, jumbled reality’ and watch the ways various ambitions play out to survive it. Across the pages of My Brilliant Friend, we experience a vastness of a community through a portrait of friendship, with Ferrante’s prose perfectly expressing naked honesty and heartfelt struggles to achieve in a violent, patriarchal community and comprehend oneself as an individual instead of merely in the context of a close companion.

‘There was something unbearable in the things, in the people, in the buildings, in the streets that, only if you reinvented it all, as in a game, became acceptable. The essential, however, was to know how to play, and she and I, only she and I, knew how to do it.’

Ferrante’s My Brilliant Friend moves at the slow yet steady pace of life through the days of childhood into adolescence. The pace and introspective narration—which sets Lenù’s sharp mind like a scalpel upon all she encounters—lulls the reader into an intimacy with the characters as if you, too, have grown up alongside them and each moment of anger or betrayal hits all the harder. While the novel contains multitudes in its thematic scope—community amidst violence and class disparity, the struggles of girlhood in an atmosphere of oppressive masculinity, education, language, and more—the heart beating boldly at the core of this impressive work is an exploration of friendship. A very complex friendship at that, so much so that Ferrante has admitted ‘ in its first rough draft, the story of Lila and Lenù fit very easily into a single, substantial volume,’ but upon writing realized how much nuance needed to be investigated until it became a four novel epic.

‘I had grown up with those boys, I considered their behavoir normal, their violent language was mine.’

Ferrante’s use of language is so direct, gritty and raw, often launching into a series of astute observations that leave you breathless. She has an unmistakable skill for crafting dynamic characters, their actions reading as so intimate and honest and the relationships so emotionally charged and complex. I enjoy how through the novel we see the side-characters also grow from children to young adults, not with a straight trajectory of unified personality but more a messy and amorphous growth that, in hindsight we can detect the a linearity but in the present can often be surprising much like how growing up with someone really is.The novel Little Women figures prominently into the story and multiple themes, and I felt there was an kinship of emotional resonance between Alcott’s work and Ferrante’s in the way we are privy to the complexities of interpersonal relationships as they navigate towards adulthood.

‘I feel no nostalgia for our childhood: it was full of violence.’

The story takes us into a neighborhood on the outskirts of Naples in the 1950s and into the violence of abuse, power and poverty. It is also the childhood home of the author, and while she doesn’t see the violence there as unique, it does register more strongly in contrast to the beauty of the region:

Since it is a city by nature of astonishing beauty, the ugly — criminality, violence, corruption, connivance, the aggressive fear in which we live defenseless, the deterioration of democracy — stands out more clearly.’
-Ferrante, in conversation with LA Times

We witness violence as rather commonplace, even amongst the children (a key early bonding moment between Lila and Lenù involves throwing rocks at boys), and toxic masculinity runs rampant. Told through the perspective of a child, we see how all the ugliness feels a natural part of their world, inseparable from daily life. Though early on we see a key realization when Lenù is shocked to find that Don Achille, the ‘ogre of fables’ is actually ‘a little out of proportion, but ordinary.’ Violence is everywhere and commonplace reality is far more menacing than any mythical creature.

‘I would have liked the nice manners that the teacher and the priest preached, but I felt that those ways were not suited to our neighborhood, even if you were a girl.’

Class divide is also inextricably linked here. Frequently we see resentments over class, or feelings of inadequacy, manifest into anger and violence. Or how those in power protect themselves through violence and intimidation. There are also deep resentments over the past and several characters have an awakening of the former sins in their community wrapped up in national politics and abuse against their own neighbors. It is not far out from the downfall of Mussolini and the fascists, which still casts a dark shadow over everything.

Though in hard times, one often finds a companion to bear the burden and what better companion for the perceptive Lenù than Lila, a girl seemingly misunderstood but in whom Lenù find ‘the characteristic of absolute determination.’ Their dynamic across the years is something that will forever shake inside me and I found it such a powerful expression of the ways we tend to perceive ourselves through the fragments reflected back by others. Their bond is both companionship and competition, at least how Lenù perceives it, and she spends her life in constant self-comparison to Lila. It is powerfully portrayed how she always feels second best to her friend, and while she also find strength through Lila she also seems to be creating a sense of identity that can only be understood in the context of Lila. In this way, she is fearful of anything that separates them, finding that if Lila has a life without her she will lose sight of her own self as well.

‘ She stopped to wait for me, and when I reached her she gave me her hand. This gesture changed everything between us forever.’

It is a novel teeming with comparisons and her entire coming-of-age is always measured against her friend. Lenù’s constant self-assesment of her body is contrasted to Lila—she develops earlier but feels slighted that Lila is uninterested in this only to later feel less attractive once Lila matures—as well as her academic success, feeling Lila’s studies of language despite not attending school surpass her own abilities and, essentially, Lenù’s sense of self-worth is that no matter how good she is, Lila is always better. I particularly enjoyed how language is so central to the book, but also an aspect that is both connection and competition. This is most notable when her pride in her own writing is shattered by a single letter from Lila she perceives as superior. It is suspected later that Lila reading Lenù’s article causes her to realize Lenù has indeed surpassed her, but we only understand Lila through Lenù’s gaze. Ferrante has said the original draft intended to give Lila a voice, but she realized it is more effective to be confined to Lenù’s impressions and anxieties so Lila remains as mysterious to us as she is to Lenù.

‘She was struggling to find, from inside the cage in which she was enclosed, a way of being all her own, that was still obscure to her.’

Returning to Little Women, I find it telling that it was this book that set them off on their goals to create—to write novels for both but later Lila changes towards wanting to create her own style of shoe—and how, like the sister’s in Alcott’s work, they take different paths to try and overcome a society that has little room for the ambitions of women. The theme of trying to break outside the socioeconomic or gender barriers seems metaphored in Lila's condition where she sees the world as 'dissolving barriers.' For Lenù it is a path of academics, pursuing and achieving far beyond the usual room given to girls. Yet, by the end, we see it has alienated her from the life of her neighborhood. Lila abandons school but chases a dream to create and rise out of poverty through marriage (also to escape a worse relationship). They both discover that they are judged for these paths and Lenù’s fear that she is never good enough suddenly opens into a different anxiety that she is too good for her own contemporaries that 'I had also been following daily a path that they were completely ignorant of,' and now 'I had to suppress myself.' Which is altogether a tragic thought as, now that she finally has something to be proud of as an achievement of her own not in the shadow of Lila, it is something beyond comprehension of her peers and makes her feel alienated. Her own teacher had long warned her away from Lila, seeing Lila as just another person who will be wasted in the whirlwind of poverty and violence that seems inescapable.

‘At that moment I knew what the plebs were, much more clearly than when, years earlier, she had asked me. The plebs were us. The plebs were that fight for food and wine, that quarrel over who should be served first and better, that dirty floor on which the waiters clattered back and forth, those increasingly vulgar toasts. The plebs were my mother, who had drunk wine and now was leaning against my father’s shoulder, while he, serious, laughed, his mouth gaping, at the sexual allusions of the metal dealer. They were all laughing, even Lila, with the expression of one who has a role and will play it to the utmost.’

The threat of violence and masculinity is constantly thwarting them. Lenu’s own struggles with her feelings for Nino are complicated by the sexual advances of his father, for instance. Lila is stuck in a bad situation because the wealthy and abusive Marcello holds his power over the fate of her family if she does not marry him. The shoes, which are a symbol of hope and ambition throughout the novel, are later transformed into a symbol of betrayal and a warning that all ambition and advancement is gatekept by men and at the mercy of larger powers of wealth.

‘She gave off a glow that seemed a violent slap in the face of the poverty of the neighborhood.’

I adored this novel. I've had quite the run of great books at the end of this year and this is another headed straight to my "favorites" list. It is gritty, it is shocking, it is emotionally introspective, it is a stunning look at a whole community and most strikingly, everything about it feels so true and honest and intimate. I felt for Lenu every step of the way, I felt her hopes and Lila’s frustrations as if they were my own Ferrante drew me in so deeply into her work. There are some absolutely breathtaking moments of writing here, the whole final sequence especially had me shivering in literary glee and tension, particularly the moment where we get an unexpected insight on the ‘brilliant friend’ of the title. For me, My Brilliant Friend was just that: brilliant. I’m already diving into the second volume and Lenu, Lila and the cast of character’s around Naples have completely stolen my heart.

5/5

‘We were little animals frightened of our own mediocrity.’

[Jaidee · Rating 1 out of 5]

1 "sweet Jesus...this is the first of four books" stars !!!

2018 Read I was Most Afraid to Hate Award

First of all a bit of translation

In English we say blahblahblah. In Italian they say blablabla.

Ms. Ferrante separates this book into two sections: Childhood (18 chapters) and Adolescence (62 chapters)

Childhood Ch 1 to 9

Ms. Ferrante writes: blablablablablablablablablab and blablablablabla

Jaidee: God I hope this gets better

Childhood Ch 10-14

Ms. Ferrante writes: blablablablabla and blablablablabla

Jaidee: This is boring me to tears !

Adolescence Ch 1 - 12

Ms. Ferrante writes: bla bla bla bla bla bla blabla

Jaidee: What's with the three creepy little girls with crinoline on the cover?

Adolescence Ch 13-36

Ms. Ferrante writes: blablablablablabalbla blablablabla bla bla bla

Jaidee: Oh I guess this about a lot of blablabla....when does it get good....forty three people and their mother insisted that I read this !!

Adolescence Ch 37 to 54

Ms. Ferrante writes: blablabla blabla bla blabla bla

Jaidee: Please let this be over and What the fuck am I missing....oh yes maybe a few blablablas !!

Adolescence Ch 54 to 62

Ms. Ferrante writes: Bla bla bla bla bla bla bla bla bla bla !!!

Jaidee: Am I in Purgatory ??


I am guessing the content of Books 2 through 4 will be

Blablablablablabla and more blablablablablabla

I will not be finding out !

I say Bleh Bleh Blech !!

[Fionnuala]

type, edit, delete,

undo delete,

type, edit, delete..

deep breath

start again

type, edit, delete…

make a coffee

type, edit, delete…

pour a drink

type, edit, delete..

desperation sets in

The dog ate my review!

………………................................

Why, why, why can’t I find any words to say about this book?

The problem is I don’t know what I feel about it. In fact, the book has left me without any feelings, good or bad. It has left me blank. I’m not used to feeling blank after reading.

I read Ferrante’s The Days of Abandonment last year and I was excited while reading - I felt every line of it intensely. I was so stimulated by the writing - the words and the dramatic tone seemed to match the episodes of the narrative quite perfectly - that I started writing the review even before I’d finished reading the book.

With this one, I skimmed, I nodded off, I left it down often and only reluctantly picked it up again. I finally finished it on a flight after I’d deliberately not carried any other reading material with me.

In my desperation to find something to say about the book, I even thought about rereading it…

[Sara Carrolli · Rating 2 out of 5]

It hurts to say I didn’t love this one because I know how well loved it is 💔

We follow two young girls through their childhood & adolescence as they become friends and grow up in Italy during the 1950s

I enjoyed seeing how the neighborhood these girls lived in, the family they came from and their circumstances shaped them as they grew up. It just fell a bit flat for me because I couldn’t connect to our narrator & rather didn’t like her as a character, and I didn’t love the portrayal of friendship. I understand why people love this one, it just sadly wasn’t for me!

[emma · Rating 3 out of 5]

The thing about this book is that the more that happened, the less I liked it.

At the beginning of this book, there was no plot. Just vibes. Just two kids existing in Italy and being good at school. Sometimes they go into the sewer, where they are convinced a Pennywise-esque interpretation of their scary neighbor has made his weird little home. Sometimes they throw rocks at children, or have rocks thrown at them. These are fun moments.

But they are just events with no throughline. The writing is pretty, the characters are intriguing, the shifting dynamics are present and accounted for, and there is very little story or tension or anything to pull you along.

That's my kind of book.

Then these characters grow up (gross) and fall in love (disgusting) and have a story! Of all things!

The betrayal when, past the halfway point, this suddenly had a plot...devastating.

No one has been as upset and surprised as I was at the inevitability of adulthood's approach since Peter Pan.

Bottom line: Go back to the good stuff!!!! (No stuff.)

(But the non-no stuff stuff was still good stuff.)

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pre-review

crazy that i just lived my entire childhood, adolescence, and teenager-dom in italy today alone.

review to come / 3.5 stars

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currently-reading updates

I'M DOING IT!!!

clear ur shit prompt 4: a book people talk about
follow my progress here

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pre-review

something i love to do is read the first few pages of a book in a bookstore, convince myself i cannot live without it, purchase it, and then let it sit on my shelves without reading it for months on end.

[Lucie Cavaroc · Rating 2 out of 5]

The entire time I spent reading this book I asked myself "What is wrong with this book? Why am I having so much trouble getting into it?". It is incredibly slow-paced, but I also believe the Italian-to-English translation must be flawed. Many of the sentences were confusing and even contradictory. The redeeming factor, and the reason I gave it two stars instead of one, was that the Italian atmosphere was strongly prevalent and somewhat enjoyable - I learned what living in Naples in the 50s must have been like.

[Glenn Sumi · Rating 5 out of 5]

UPDATED November 2018: here’s my review of the new HBO miniseries. Hint: It’s just as good as the book!

https://nowtoronto.com/movies/reviews...

*****

My Brilliant Friend, a.k.a. My Brilliant New Obsession

Believe all the hype. This is a rich, immersive, deeply satisfying book that, like many great novels, captures a particular time and place with complete authority. I can’t wait to read the other books in the series.

In a dirt poor neighbourhood on the outskirts of Naples in the 1950s, bright working class girls Elena Greco (our narrator) and bestie Lila Cerrullo survive childhood and adolescence, learning how to navigate school, boys, sex and the limited opportunities available to them because of their class and gender.

Initially I found the book disorienting. The prologue is set decades later and involves people we don’t yet know. Lila has disappeared and Elena is trying to discover what happened to her. Presumably these books are her way of finding that out.

And once the story proper begins, it takes a while to keep all the names straight. Who is Nino, again? Enzo? What are the grocers called? (It doesn’t help that only Elena calls her friend Lila; everyone else calls her Lina, and her birth name is Rafaella! Also: Elena is often called Lenu.) An index of the family names at the beginning proves very helpful.

But Elena Ferrante’s prose is ravishing. It’s graceful without being precious, mature and knowing while still immediate and visceral. She literally plunges you into the lives of these children. Family vendettas take on the power of myth; middle school is a fraught war zone where learning goes beyond what’s in the books; each change in the girls' bodies is registered and assessed in terms of their newfound power (or lack of it).

Late childhood and early adolescence can be a painful time; the stakes are high; your identity isn’t yet formed. There’s a sense of danger lurking everywhere. One month that boy in class could be a friendly ally; a few months later he might spit at your feet, ignore you and take up your best friend. Every situation, not just a class assignment, is a problem to be solved.

Near the end of the book, the way one character orchestrates her way out of one engagement and into another is worthy of something from The Godfather movies.

In its insights, rich texture and violence – murder, threats, being thrown out of a window – the book reminded me of Alice Munro’s early masterpiece Lives Of Girls And Women.

And several things will continue to haunt me:

• The girls’ first trip outside their neighbourhood – when they “run away”
• How the title is mentioned in the final section of the book (this makes you wonder who, exactly, is the “brilliant” one)
• A scene in which the neighbourhood’s teens, all dressed up, cross into a fancier part of town and realize, with insecurity and anger, how limited their world and lives are
• The climactic wedding scene, in which all the threads of the story come together – sex, romance, class, destiny – up until the surprising twist in the final line, which will make you reconsider a big chunk of the story
• Elena’s introduction to the pleasures (and dangers) of sexuality
• The idea of how we sometimes act to impress friends, mimic being courageous by thinking of others' actions, or more subtly, do things while imagining our friends doing them
• The longings, fears and sheer awkwardness of adolescence
• The legacy of fascism, complete with stories about what family did what to whom, and the changing nature of Italian society
• The idea of how education gets you ahead but also alienates you from the class you might soon be leaving behind

Ferrante (a pen name) has structured the book so carefully that an early sequence in which the girls try to retrieve their dolls in a sewer contains, in miniature, everything that the book will eventually deal with: lost innocence, petty jealousy, money, imagination, sinister men, courage, and the way that one person’s account of the facts can vary drastically with the so-called truth.

Now that I've come down with "Ferrante fever," I look forward to the next novel, The Story Of A New Name.

[Adina ( not enough time ) · Rating 4 out of 5]

Edit July 2024: I finally got the time to peruse the NY Times The 100 Best Books of the 21st Century. I read 28 of them, 4 from top 10, in case you were wondering. I was quite surprised (an not necessary in a good way) that this novel took the top spot. It is a beautifully written novel, I do not deny that, but the best of the 21st century? Not by a long shot. I have a strong feeling that half of the authors's popularity comes from the mystery surrounding her/his identity. The fact that there are two more books by the author on this list confirms my theory, more than refutes it. Anyway, I have many doubts about the merit of about a third of the books on this list but, hey, I am no author or expert of literature.

Review in English (Romanian below)

Read in Romanian, translated from Italian by Cerasela Barbone and audiobook narrated by Adriana Muraru

Finally! I read something by the mysterious Italian writer,Elena Ferrante, who seems to be worshiped by everyone. Honestly, I was expecting to hate the novel, as I seem to do with a lot of hyped authors. The subject was not necessary something I thought I would enjoy and Naples is not my favourite city in the world. For the first 50 pages or so I thought, ok, another book about families and friendship. However, the writing slowly grew on me and I became enamoured by the novel. Somehow, the author made an old and overdone subject feel fresh although not much happens. How? Was it the matter of fact writing style about horrible people and events? Was it the complex and realistic portrayal of a friendship, with its love, jealousy and sometimes-even hate? Was it the excellent and vivid portrayal of Napoli and its culture, so well done that you could see yourself there, smelling and feeling what the characters did? Maybe all of it, or none. What’s certain is that I am sold and I am looking forward to reading the next volume which I already bought in Italian.

Recenzie in romana

Citit in Romana, tradus din italiana Cerasela Barbone si audiobook narat de Adriana Muraru
In sfarsit am citit ceva scris de misterioasa si prea-slavita autoare italiana, Elena Ferrante. Sincer, ma asteptam sa urasc cartea, cum mi se intampla destul de des cu scrierile prea laudate. Subiectul nu mi se parea prea interesant iar Napoli nu este orasul meu preferat. In primele 50 de pagini mi-am zis, ok, o alta carte despre familii si prietenia intre fete/femei. Totusi, scriitura m-a prins incet cu incetul si m-am indragostit de carte. Cumva, autorul transforma un subiect banal si folosit des, in ceva prospat. Cum? Poate de vina este scrisul direct, natural despre persoane si evenimente nu prea placute. Sau poate respunzator este portretul realist si complex al prieteniei dintre Lila si Elena, cu momente de dragoste, gelozie si chiar ura? Oare o fi descrierea excelenta a orasului Napoli, astfel incat sa te simti acolo, ca vezi, mirosi si traiesti impreuna cu personajele cartii? Poate toate aceste motive, sau poate nici unul. Ceea ce este cert este ca autoarea m-a castigat si deabia astept sa conntinui cu al doilea volum.

[Nayra.Hassan · Rating 4 out of 5]

هذه روايةلا يمكن رفضها..لم يكتبها رجل او إمرأةبل كتبها قرين/ شيطان ليظهر خفايا مظلمة في نفس الانثى

هذا ليس سردا او بوحا عاديا..بل نافذة على ضمير انثي منذ طفولتها لشيخوختها ؛عن كل ما ينهشنا من الداخل..
:تحكي لنا ايلينا غريكو بصراحة لا ..لا "بشراسة"عن ليلا شيرلو

كثيرا ما خنقتني انا نيرة ثلاثة أسئلة و اجابتني عنهاببساطة صديقتي المذهلة
هل كان مصيري سيتغير
لو كنت اكثر ذكاء و اقرب للعبقرية؟
لو لم احظ بهذا الأب الناجح اللامع ؟
لو لم اختر اختياراً مصيريًا غبيا في مراهقتي و اخترت بعقلانية؟

في شمال افريقيا او جنوب امريكا او قاهرة المعز او جنوب ايطاليا
في مطلع الخمسينات او اخر التسعينات الفقر يوحد الهموم و النظرة للانثى واحدة و شقاؤها و بلاؤها و نجاتها و سقوطها دائمآ و ابدا سيظلوا في ايدي الرجال..آباء كانوا ام احباء ..اخوة او حتى ابناء ..اعداء او اصدقاء

♡قواعد الغيرة الاربعون♡
في مطلع الخمسينات و في اعقاب حرب عالميةاثقلت على اخلاقيات و مبادىء اهل اوروبا ننطلق بخطوات عنيفة للمدرسة مع ايلينا ابنة بواب البلدية في مطلع صداقتها مع ليلا ابنة اسكافي الحي النابولتاني الفقير

كم كانت ليلا مكتفية بذاتها منذ سن السادسة..
كم كانت إيلينا تستمد قيمتها من نظرة الاخرين
لنشهد صراعا قدريا بين الحظ و الشطارة
بين العبقرية و الإجتهاد
بين السمو و الخبث و الدناءة
بين الخير الذي يحمل مذاق الشر
و الحب التائه في سراديب الغيرة

☆فلتنحاز دائما للعائلة ☆
عبر عشر سنوات نشهد استمرار احدى الفتاتين في الدراسة بتفوق و استثمار الاخرى لوقتها بشكل يمنحها جاذبية مغناطيسية استثنائية
احداهما عاطفية ترفض اسرتها ذات المنبت الحقير
و الاخرى عقلانية تستبسل لتغير واقع أسرتها الفقير


☆ كن طيبا و احرص على الا يعرف احد انك طيب☆

قد لا يصدق البعض ان الطباع/المصير تتجلى نهائيا في سن12/13لذا تقاس براعة الاديب باستعادته لخلجات نفس الطفل بتجردها و عبوره للنضج ؛و كاتبتنا هنا تفوقت :بوقاحة

☆الطيب..الشرس..القبيح☆
روايتنا عن الظل و النور ..عن شعور من يحيا مقهورا في ظل من منحته الاقدار بسخاء :عقلا و جمالا و شخصية حازمة كاسحة
عن شعور الاغتراب و الوحدة الذي تمنحه لك:القمة
عن الانسلاخ من اهانات متكررة و قبح الجهل
عن مسميات استغلالك للاخرين و استغلالهم لك
عن التوق لان تكون مقبولاً..محبوبا..و منتميا

رواية :مذهلة تركتني انا و صديقي العزيز كمال صبري متساءلين : من هو حقا الطيب هنا و من الشرس و من القبيح ؟

☆القارىء لا يهزم☆
كنت اود حقا ان ابدا مراجعتي بهذه المقولة و لكن
I know better
فلسنا في الجنة بل في طين حواري نابولى..توقعت نهاية"ليلا" القاسية قبل مائة صفحة منذ ان تساءلت عن : الكرامة في اخر تحديث قراءة.. و لكن النهاية كانت اقسى مما يتحمله احد

و النجمة الناقصة لتوقعي المبكر و ايضا للاسهاب في وصف مشاعر/مقالب الغيرة الانثوية ..بينما و انا مراهقة لم تتمكن مني الغيرة او تسير حياتي الى هذا الحد و سألت ابنتي و صديقة لها اكدوا وجودها نعم..لكن ليس بهذا الاستغراق

الدميتان اشعر انهما رمز للفتاتين و عدم العثور عليهما يرمز لضياعهما و ضياع براءتهما و لهما دورا ما

اسعدني الحظ بزيارة نابولي و ما حولها☆
من مصايف وكان وصف سوقية و اندفاع و حيوية النابولتيايين موفقا و بارعا..و لكنها كانت مرات قليلة التي شعرت فيها فعلا في الرواية بحجر الاسكافي العريق و ساحة غريبالدي ..ربما لان الكاتبة ركزت على الانسان لا المكان واعتقد المسلسل الاخير عن الرواية يسد هذه الثغرة و يبدو بجودة الرواية

ترجمة معاوية عبد المجيد اسطورية /استاذية و تفوق على نفسه هذه المرة من الصعب الاحتفاظ بانتباهي في هذا العمر و لكن انسابت القصة بسلاسة كلحن نينو روتا الشهير :العراب

و اخيرا و بعد هذه الملحمة الأنثوية وجدت ملامح" مني "في ليلا و ملامح في إلينا. .و لكني وجدت نفسي احيانا مع الصبي:نينو ساروتوري بعقده و سلبيته و صراعه الابدي مع الرمادية و الانانية والفقر ..
وهذا ما وجدته مضحكا..للغاية

لينكات لريفيوهاتي عن باقي الاجزاء للرباعية
https://www.goodreads.com/review/show...
حكاية الإسم الجديد

https://www.goodreads.com/review/show... الهاربون و الباقون

https://www.goodreads.com/review/show...
الطفلة الضائعة

[Emily (Books with Emily Fox on Youtube) · Rating 5 out of 5]

I haven't read literally fiction in a while and wow I had missed it!

Complex female friendship, great writing and... one hell of an ending.

I need to continue ASAP.

*It made it to my best books of 2022:
https://youtu.be/WmTndjsYFIc

[Manny · Rating 5 out of 5]

From the age of two until twelve, I lived in Merthyr Tydfil, Wales. During the Industrial Revolution, Merthyr had briefly been the iron capital of the world, but things didn't work out; iron ore became harder to mine, the people running the refining works didn't adopt modern methods quickly enough, the town was too far from the sea. Everything fell apart, and by the 1930s unemployment was running at 80%. When I arrived with my parents in 1960, things had become a little better, but the town was still one of the poorest in Britain.

Why did we move there? It was the time of the counter-culture: some idealistic peace protesters had decided to found a commune - I still have no idea why they chose Merthyr - and my parents wanted to join them. The members of the commune didn't get on, the usual story, and after a couple of years they disbanded. We were stuck in Merthyr, and that's where I grew up. I attended primary school at Heolgerrig, a little village just outside town. In summer, I walked to and from school, a pleasant trip that lasted about forty minutes. In winter, my siblings and I took the bus.

There were two kinds of children at Heolgerrig. The smaller group was the contingent of middle-class kids, most of whom lived on the new estate just down the road from the school. They spoke normal English, though with a Welsh accent, and their parents had white-collar jobs. A couple of other kids also belonged to this group; the one I remember best was Avril Griffiths, the vicar's daughter. Avril was a fat, priggish girl with an annoying manner, whom I hated for all of the five years we were in the same class together. Her younger brother, Wayne, was a bully, and I hated him too. But the majority of the class was quite different. They were the children of the local working class, spoke Welsh by preference, and were poor, dirty and violent.

Violence was an integral part of school life. There were fights all the time in the playground, and they weren't friendly; the kids generally wanted to hurt each other. The teachers made frequent use of physical punishment when they thought things were getting out of hand, or sometimes, I thought, just because they were crazy too. There was one particularly dangerous teacher called Mr Haines. He would yell at us when we didn't understand his questions: his favorite expression was "Blocks of wood!" I can hear him yelling it now. He liked to use his cane. The boys, even at age eight or nine, were already fond of playing sexual games. One day, the biggest gang started a game called "Kiss chase", which involved kidnapping girls and dragging them back to the boys' lavatory. I never learned exactly what happened to them there, but when Mr Haines found out he completely lost it and thrashed all the boys who had taken part. I now realise that he only hit the poor, Welsh-speaking boys. I never got hit.

But this kind of violence was only a kind of muted background noise behind the real incidents, surprisingly many of which involved permanent disfigurement or death. One boy in the class above me managed to put an eye out using some wood-carving tools; another was killed when he was showing off by the side of the road and fell in front of a car. A particularly memorable and gruesome story started when the school decided to retire the ancient classroom furniture, units which had the seat attached to the desk with a heavy cast-iron frame, and replace them with modern tubular steel tables and plastic chairs. We didn't much like the change, but the upside was that the old desks had not been taken away. They were stacked in a shed out at the side of the yard, and they made a great climbing-frame. Unfortunately, they had not been stacked very carefully. One day a pile collapsed and killed a young child, not one I knew. A couple of weeks later, a fire started during the middle of the night and burned down half the school. It only occurred to me much later that these two events might have been linked. All of the foregoing, however, were still comparatively minor incidents. The big one happened at 9.15 am on October 21 1966 in Aberfan, a few miles down the road from us. A large slag-heap, which hadn't been properly maintained, suddenly turned into a landslide as a result of heavy rainfall. It buried the local school and killed (I just looked it up in Wikipedia) 116 children and 28 adults. My father wanted to go and help with the search and rescue effort; we started crying and made such a fuss that we managed to dissuade him.

Anyway, what I wanted to say was that I liked this novel very much. It reminded me of my childhood.

[To Le nouveau nom]

[Orsodimondo · Rating 4 out of 5]

LA SMARGINATURA


Herbert List. Foto usata per il flano dell'adattamento teatrale in lingua inglese della tetralogia ferrantiana.

Ho l’impressione che Elena Ferrante ami spiazzare il lettore, e da lettore, trovo che essere spiazzato sia una bella sensazione.

All’inizio di questo romanzo c’è un ricco elenco di famiglie e nomi e relazioni: ma non serve, non è necessario, si segue agevolmente il racconto anche senza consultarlo.



Nell’elenco sono compresi molti personaggi femminili e maschili: ma gli uomini (maschi?) fanno la solita misera figura che fanno nelle opere di questa misteriosa scrittrice – e tutti, incluse le tante donne, sono solo contorno, perché la narrazione ha ben al centro, senza deviazioni, due bambine che vediamo diventare adolescenti e giovani donne, Lila ed Elena detta Lenuccia o Lenù. Questa è la loro storia, quella della loro amicizia e della loro vita.

Si parte dall’oggi, tra Torino e Napoli, con l’io narrante già sessantenne.
Ma si dimentica presto il prologo, e Torino scompare, l’azione rimane a Napoli, in un rione di periferia e di povertà, si piomba e ci si immerge negli anni Cinquanta.
E come dicevo, presto il prologo sparisce dalla nostra attenzione, e ci si concentra su cosa succede, e molto si aspetta cosa succederà. Si ha voglia di conoscere qualcosa che in fondo sappiamo già.



Tra Lila ed Elena, io lettore avrei definito ‘amica geniale’ la prima: invece, è proprio Lila a usare questa espressione per Elena, l’io narrante.

È la storia della loro amicizia, dicevo: un’amicizia che all’inizio sembra difficile, le due si tengono distanti, quasi separate – ma si guardano, si studiano, come se si prendessero le misure.
E proprio quella più tosta, Lila, spesso definita cattiva, descritta aspra forte determinata fino alla violenza, proprio lei sarà la prima a tendere la mano.
Anche questo momento è spiazzante, arriva non previsto. Bello.



In una storia così calata nella Napoli povera del dopoguerra, aspettarsi dialoghi in dialetto è scontato. Invece, Ferrante evita, accenna appena, e rimane agganciata alla lingua comune. Come Lila, Elena Ferrante parla attraverso la scrittura: …non lasciava traccia di innaturalezza, non si sentiva l’artificio della parola scritta. Leggevo e intanto vedevo, sentivo lei.

Si respira cinema, le immagini sono incise, nitide, anche piacevolmente stereotipate: proiettare Sofia Loren o una Magnani scesa all’ombra del Vesuvio è automatico.



Però, è questione di poco, e Ferrante cambia prospettiva, perennemente affascinata da cosa c’è dietro e sotto, dal lato oscuro, come la figlia del suo penultimo romanzo, la parte cattiva, il lato indegno, perfino meschino.
Come tra Lila e Lenù la grande amicizia è basata su un gioco continuo di scambio e rovesciamento, Ferrante sorprende e confonde senza nascondere, racconta personaggi che nessuna forma può contenere, che prima o poi possono spaccare tutto un’altra volta, come succede alla pentola di rame - con un'ansia particolare, quasi urgenza di tirare fuori, spiegare, che regala a queste pagine una piacevolezza di lettura inaspettata.



Non ho nostalgia della nostra infanzia, è piena di violenza. Ci succedeva di tutto, in casa e fuori, ogni giorno, ma non ricordo di aver mai pensato che la vita che c’era capitata fosse particolarmente brutta. La vita era così e basta, crescevamo con l’obbligo di renderla difficile agli altri prima che gli altri la rendessero difficile a noi. Certo, a me sarebbero piaciuti i modi gentili che predicavano la maestra e il parroco, ma sentivo che quei modi non erano adatti al nostro rione, anche se eri femmina. Le donne combattevano tra loro più degli uomini, si prendevano per i capelli, si facevano male. Far male era una malattia.


James Franco e la Ferrante Fever.

[Carolyn Marie · Rating 5 out of 5]

Review in progress… I’m currently too busy picking up my jaw off of the floor.

[Maxwell · Rating 4 out of 5]

[4.5 stars]
If I were to describe Elena Ferrante's My Brilliant Friend in one word it would be 'mythic.' The minutiae of Elena and Lila's lives into which Ferrante dives takes on these mythic proportions, pulling the reader along on a tense and frightful story. But at first glance, the story is anything but tense and frightful. It's a story of female friendship, between two lower-class girls in Naples following WWII. Ferrante, with precision and passion, recounts the lives of these girls as anything less than ideal. There's an underlying push and pull to their friendship that goes against the expected narrative of girlhood. It's compelling and constantly teetering on the edge of disaster, again bringing back this theme of myth and how each detail lends itself to something greater, something disastrous.

We learn as the characters learn. Ferrante excels at establishing a tone fit to the story. When Elena, our narrator, is unsure, we are unsure. When she's jealous, we're jealous. She's spiteful at times, and compassionate at others. It all builds upon itself to create a vivid atmosphere that is only enhanced by the gritty Neapolitan setting.

I wasn't convinced by the first half of the book. But the second part really sold me. And I think that if I were to go back now and re-read the beginning, I'd be much more comfortable with the characters, the setting and the narrative structure. It's disconcerting and disorienting at first, getting thrown into a world with so many characters and so little hand-holding. But I appreciate Ferrante's confidence in the reader. She gives you more than you might handle, but once you get a grip on it, it's incredibly satisfying. I'm intrigued to see where the story goes, so much so that I ordered the next book in the series immediately after finishing this one. I only expect the books to get better and better; and based on what Ferrante's proved with this one, I'm sure I won't be disappointed.

First read: January 14-23, 2016
Second read: December 23-26, 2016
Third read: October 3-7, 2018

[Kelly · Rating 5 out of 5]

When did we all start talking about Elena Ferrante, guys? I can’t remember- was it last year? Maybe 2013? I know she’s been writing for far longer than that, but it was definitely only recently that she became A Thing. Whenever it was, we should have been talking about her sooner.

And with different words. Better words. Words whose value hasn’t been sucked out by the marketing blurbs they’ve been a part of, with the same accompanying modifiers (if I never hear “compulsively readable” again that would be okay with me, marketing departments). Too many eyes will glaze over when I use these words that would once have excited the grab-the-keys-and-run-to-the-bookstore response this book deserves. And that might make you, like me, not pick this up for absolutely years after you read this.

So I need better words. Words that will make you pick it up tomorrow. Because I still can’t believe I somehow developed the impression that this was a book that I could miss. How did I somehow think this wasn’t a series of books that I should have had on pre-order every time like it was Game of Thrones? (… or, you know, something better than that given the quality of the last installment.)

But in the absence of an unused vocabulary floating around somewhere I’ll try to convince you with the words I have, because- and please read this in the tone of your dad giving advice at a crucial life moment-I don’t want you to make the mistakes that I did, sonny boy.

How do I love this novel? Let me count the ways…

* * *

My Brilliant Friend is the first installment of Ferrante’s Neapolitan trilogy. It is an old woman’s memories of her friendship with a girl named Lila in the slums of 1950s Naples. They are both clever girls growing up in the midst of a grinding cycle of poverty and isolation generated by the problems of the post-war, post-Fascist Italian state (and the pre-war, mostly-in-name-only Italian “unification”). Both of them, along with the other children of the neighborhood, have a possibility of escaping the cycle and breaking out into the new Marshall Plan supported dolce vita- and some of the story is about that. But not mostly. Mostly it’s about what it’s like to be blessed/cursed enough to have a childhood friend who is the center of your universe, and how that friendship can literally change all the things in your life, and make you the person that you are in the process of becoming.

Straightforward enough, yes? You’ve read that before. Sure…but then why is it so poignant? Why did I spend hours upon hours with this book yesterday, unable to put it down? How did such an ordinary story work such undeniable magic?

There are many answers to that, but let’s start with this: The story. The plot was the most natural, organic thing I’ve ever read. She started telling it and kept on doing it without pauses for literary reflections or metaphors, or for pretty much anything that might send the “oh right, this is fiction,” signal to your brain. She let the damn thing be and run its course without interfering. She didn’t shy away from having her character be involved in all the quotidian things of childhood or adolescence- zits, dresses, best friends, boyfriends, finding out what bad words mean, and endless status competitions. But never once did she make it feel tired or like something I’ve read a zillion times. Nobody came equipped with signifier clue words or pre-packaged, recognizable YA storylines, with immature emotional truths being repeated in italics, in between descriptions of clothing and hair. And you know what was fascinating? There totally was a popular girl everyone wanted here, there were mean bullies, nerdy intellectuals, hot jocks, slutty cheerleaders, apparently motivationlessly awful villains, and our heroine was even intellectual and had glasses. But that never occurred to me until I started to write this review.

This is mostly because Ferrante allows her characters a kind of full, honest emotional range of expression that I’ve rarely seen in books about children and teenagers. She conveys the pettiness and center-of-the-universe feeling that characterizes childhood without ever quite making you detach from or become disgusted with the characters involved. When someone’s doll is thrown away, and another character retaliates, instead of rolling her eyes and refereeing whose fault it is, Ferrante just keeps staring at both characters and watching them go through that moment and what happens afterwards. There’s no adult intervention, whether that’s with an adult character or with an adult narrator.

As is typical with Ferrante, this is deliberate a choice that serves several purposes at once. One of which is to highlight the lack of fully developed adults anywhere in these children’s lives. This is one of the many effective ways Ferrante finds to seep you in the atmosphere of the Naples neighborhood where this all takes place, right from the beginning, but beautifully, dropping it in between the cracks of action and thought:

“I waited to see if Lila would have second thoughts and turn back. I knew what she wanted to do, I had hoped that she would forget about it, but in vain. The street lamps were not yet lit, nor were the lights on the stairs. From the apartments came irritable voices. To follow Lila, I had to leave the bluish light of the courtyard and enter the black of the doorway. When I finally made up my mind, I saw nothing at first, there was only an odor of old junk and DDT. Then I got used to the darkness… We kept to the side where the wall was, she two steps ahead, I two steps behind, torn between shortening the distance or letting it increase. I can still feel my shoulder inching along the flaking wall and the idea that the steps were very high, higher than my own apartment across the way… There was an odor of sautéing garlic. Maria, Don Achille’s wife, would put me in the pan of boiling oil, the children would eat me, he would suck my head the way my father did with mullets…”

Never once does she need to set aside pages and pages of description as some authors do, because it’s given to us in pieces like that, while we’re following the action, until we have a full picture of a crumbling courtyard of a creaky old apartment building on a beaten down street in a bad part of town without ever really knowing how we got there.

She also does a lot, effectively, with repetition. Repetition shows us a lot about why the characters are the way that they are. The violence of the neighborhood, in particular, is depicted with a frighteningly normalizing banality. We see violence happen over and over again- not as an isolated, cinematic horror, the fright of one’s life- as something mentioned as an afterthought, “they argued, and then sometimes, after dinner, he beat her.” The deliberate use of “sometimes” was chilling, like we’re not even hearing about all the other times when it happens. It’s not even worthy of comment. What’s even more terrifying is the dispassionate, impartial gaze turned on it by a narrator who has never known anything different. It only occurs to the sixty year old character who is the actual narrator of the story about two-thirds of the way through to get outside of herself and mention that she realizes now that her neighborhood was not the norm- it’s like in telling the story she put herself back under the spell and forgot that herself. It takes something 2015 Hollywood-level cinematically, publicly violent for anyone to feel the slightest bit bad about something that happens- like throwing your eleven year old daughter out a window into the street. The pernicious, weed-like growth of a particularly violent form of aggressive masculinity is at the root of most of the problem, but its societal reinforcement and indeed, the respect shown for those who display it, is shown, through this enforced repetition, to be the true cancer that not even young boys with the best of intentions and a deliberate intent to break the cycle seem to be able to escape. (Not to mention the girls who never had a chance to begin with.)

Something that further increased the powerfully true impression I got from her writing was her gentle use of not-quite chronological time. Time in the novel wavers into being, then very slowly circles back to its origin point until you’ve almost forgotten where you started. But even this tried and true literary device never felt like a literary device. Again, it was so well and seamlessly executed it felt like a natural, organic process that was necessary to telling the story. It was like what happens when someone is telling you a story and realizes you don’t have the context to understand it, so they back it up and up until they feel they’ve given you the whole story, and then only just remember why they were telling you the story in the first place.

But beyond that, the prose itself: Ferrante has that magical Tolstoy thing. The power of it isn’t in the individual sentence, which I guarantee you will be perfectly ordinary, but a string of sentences put together in just the right order. It is almost never going to be a striking word choice that nabs you, but rather a continuous flow that lulls you into its depths so that you’re surprised awake occasionally, just realizing that it’s happened to you. I honestly can’t think of anybody else except Tolstoy when he’s not ranting or religious, or Austen when she wasn’t being mischievous or clever, who can give the impression of being so utterly absent, as if someone simply left a kind of recorder on that would let you see what was going on inside and outside of the characters’ heads.

But while the plot is compelling enough, the hot, poisonous atmosphere and her rare gift for naturalistic, barely-there powerful writing are more than enough reason to show up, that's what you notice later, after you’re done and you can breathe normally again.
At the time all you really notice are these girls. It’s Lila. Lila, Lila, Lila. If you’ve ever been friends with someone who was demonstrably smarter than you (or you were so convinced they were as to make no difference), then you know Lila. You know what it’s like to know that no matter what you do you’ll always feel inferior- whether they praise you or encourage you or not. It makes so much sense to me that Lila was the transformative experience for Elena. She’s a heady thing for a child to experience. She is a person who is seemingly born free of gaze. She’ll process what you say for the words you actually use- not the social status you have while you say it, not the yearning she has to be like you or not like you at all, nor does she care about the image she is projecting to you. One of the things the narrator worries about in Lila in 1950s Italy is that she doesn’t have the instinctive, eyes down response that the other girls do when they are getting harassed on the street. Lila threatens people with a knife, or simply asks them curious questions about what on earth they’re talking about when they do that to her. She literally stares down or completely ignores a gaze that is the all-encompassing foundation, path and walls of all the women (and, to be frank, most of the men) around her. That’s an intoxicating cocktail of a thing to be around. A possibly dangerous, even ruinous thing to be around, if you’re a smart, insecure teenager with an imagination and a constant societal message that you are not good enough.

Like Elena, the narrator. Her character development was very cleverly done. She had us, and Elena, so focused on her friend that her own story seems to happen under the radar, in asides, as if just necessary for context and to get us to the next Lila story. Which is a brilliant way to depict someone with the kind of self-esteem issues and brewing existential problems that are the major driver of most of Elena’s choices. She becomes a person somewhere along the way, without even realizing it- she builds an entire personality around Lila, the only thing she can see as worth motivating herself for in her horrible little dirty world. But it makes her beautiful moment of self-awareness at the end of the novel all the more poignant. She is shocked to discover that a disappointment she has in her own life, unrelated to Lila in any way, is important to her. This realization of her own, independent being as a person means she is able to have her first out of body experience, and look beyond the isolation and suffocation of her neighborhood to see herself with a gaze that might actually benefit her, in the end:

“I discovered that I had considered the publication of those few lines, my name in print, as a sign that I really had a destiny, that the hard work of school would surely lead upward, somewhere, that Maestra Oliviero had been right to push me forward and to abandon Lila. “Do you know what plebs are?” “Yes, Maestra.” And at that moment I knew what plebs were, much more clearly than when, years earlier, she had asked me. The plebs were us. The plebs were that fight for food and wine, that quarrel over who should be served first and better, that dirty floor on which the waiters clattered back and forth, those increasingly vulgar toasts. The plebs were my mother, who had drunk wine and was now leaning against my father’s shoulder, while he, serious, laughed, his mouth gaping, at the sexual allusions of the metal dealer. They were all laughing, even Lila, with the expression of one who has a role and will play it to the utmost.”

But most of all there is the friendship between these two girls. The content of it is some of the most honest that I’ve seen. It’s neither a sentimental Victorian ode to sisterly support nor is it as cynical as some more modern reinterpretations of female friendship would suggest. It trusts you to understand that these are real people and to acknowledge that because you are willing to acknowledge it within yourself without ever telling you to acknowledge it. We know that the narrator doesn’t mean it maliciously, necessarily, when she needs a boyfriend because she thinks her friend has one, that she throws her friend’s doll down a hole because her friend did, that she feels better if she looks a little better than her sometimes. We also see that whenever something truly bad happens to her friend she notices it and she helps- she gets her through some tough situations when she has no obligation to. We also see how fixated she is on her friend, and how nothing is really worth it to her if she doesn’t share in it with her: she shows us what it means when your life is really, as literally as possible, almost entirely about your perception of another person. We see this so often in the context of romantic literature, but almost never in the context of friendship. I think the latter is far more common

I do not claim the novel is faultless. There were two moments where her assured voice broke and she fell down into the exaggerated metaphorical exercises I was so happy to see absent from most of the book. (Though one of those times is forgivable, because it came from a dramatic adolescent who dramatically drew out the metaphor herself in the weird, obsessive way that teenagers do. I also did wish that we might have spent slightly more time with the narrator herself, in her own home and her own life so that we might have gotten to know her better. But that was a reader’s wish for a sympathetic character to know herself better, mostly- that’s not what this story was about. It would have been the poorer for following what I wanted it to do. The faults were mostly the faults of the character, put there deliberately to emphasize a character trait.

So perhaps it is nearly faultless after all. What did I miss? Maybe someone else can tell me where she went wrong, because I can’t find it. Or I probably could, actually, but I think I’ll be much too busy reading the next installment: The Story of a New Name. Which, I predict, is exactly what you’ll be doing as soon as you finish this book.

Go on. I’ll get you started…..

“My friendship with Lila began the day we decided to go up the dark stairs that led, step after step, flight after flight, to the door of Don Achille’s apartment. I remember the violet light of the courtyard, the smells of a warm spring evening. The mothers were making dinner, it was time to go home, but we delayed, challenging each other, without ever saying a word, testing our courage…..”


(This book originally appeared on my blog at: http://shouldacouldawouldabooks.com/2... )

[julieta · Rating 5 out of 5]

Una maravilla. Elena Ferrante te tiene en tensión durante todo el libro, algo insólito. No había leído nada suyo, pero con esta me quedo con ganas no solo de terminar esta trilogía, si no de leer todo lo que ha publicado.
Muy recomendable. Se convierte en una adicción, de las buenas, no podía ya hacer nada más que seguir leyendo la historia de Lena y Lila. Pero no es solo eso, me parece que Ferrante retrata las relaciones humanas en general, al hacer el retrato de estas dos amigas. Es la naturaleza humana, cuando dos personas se acercan tanto, cada una encuentra un papel que cumplir dentro de esa relación. Elena es la sensata, la que sigue estudiando, la que reflexiona todo. Lila es una tormenta en persona, su manera de llevar sus relaciones, con amigos, con familia, es violenta, pero no solo porque puede sacar un cuchillo y usarlo si es necesario, si no porque todo el tiempo está como en medio de una explosión.
Quería esperar a conseguir los libros que siguen en español mejor, que lo leí en inglés (aunque la traducción no está nada mal), pero no creo que vaya a aguantar.
La recomiendo con todo.

------------
Segunda lectura, después de haber leído toda la serie. Si se sostiene! :D lo sigo recomendando.

[Diane · Rating 4 out of 5]

This novel has so much violence that it should come with some kind of rating. Seriously, I had no idea it was so dangerous to grow up in Naples.

"I feel no nostalgia for our childhood: it was full of violence."

My Brilliant Friend is the story of two childhood friends, Elena and Lila. It is the first in a series, and I confess that when I started reading it, I did not intend to continue with them — I was just going to read this first one to see what all the fuss over Ferrante was about.

It took me a while to get into the book; there are so many families in the neighborhood, and everyone has nicknames that it was tough to remember who was who and who did what to which relative. (There is a cast of characters listed at the front of the book, but it's still confusing.) About midway through the book, I really connected with the two main characters, especially after they started going to school. I could relate to Elena's jealousy about Lila, and how she admired and imitated her strength. Occasionally Lila opens up and admits how important Elena is to her, and those moments are lovely. Ferrante's descriptions are so good that eventually it felt as if I had been living with these families.

But what exactly is the story, you ask? Well, there are lots of them. There are stories about cruel boys in the neighborhood. There are stories about Lila's dream of making it rich by designing special shoes to sell. There are stories about the competitions at school, and how Elena and Lila would push each other to learn more. There are stories of Lila's family, and how her father would abuse her when he lost his temper. There are stories about the men who pursued Lila when she became a beautiful teenager, and how she risked offending a powerful family. There is the story of Elena's first boyfriend, and how she has to navigate high school. And finally, there is the story of a wedding.

The wedding scene is what closes out this first novel, and something happens there that convinced me to read the second book. You win, Ferrante.

Update: A Few Weeks Later
I have gotten so involved in this series that I am reading Book 3 and have already ordered Book 4. My advice to those starting out is to be patient with this first novel -- a lot of the events that happen in Elena's childhood have long-lasting effects, like seeds that had to be planted so they could sprout later on. The more I read about these two women, the more I admire them. I highly recommend these Ferrante novels.

Favorite Quote
"Right away, from the first day, school had seemed to me a much nicer place than home. It was the place in the neighborhood where I felt safest, I went there with excitement. I paid attention to the lessons, I carried out with the greatest diligence everything that I was told to carry out, I learned. But most of all I liked pleasing the teacher, I liked pleasing everyone."

A Disturbing But Incredible Passage
"We lived in a world in which children and adults were often wounded, blood flowed from the wounds, they festered, and sometimes people died. One of the daughters of Signora Assunta, the fruit and vegetable seller, had stepped on a nail and died of tetanus. Signora Spagnuole's youngest child had died of croup. A cousin of mine, at the age of twenty, had gone one morning to move some rubble and that night was dead, crushed, the blood pouring out of his ears and mouth. My mother's father had been killed when he fell from a scaffolding at a building site. The father of Signor Peluso was missing an arm, the lathe had caught him unawares. The sister of Giuseppina, Signor Peluso's wife, had died of tuberculosis at twenty-two. The oldest son of Don Achille — I had never seen him, and yet I seemed to remember him — had gone to war and died twice: drowned in the Pacific Ocean, then eaten by sharks. The entire Melchiorre family had died clinging to each other, screaming with fear, in a bombardment. Old Signorina Clorinda had died inhaling gas instead of air. Guanine, who was in fourth grade when were were in first, had died one day because he had come across a bomb and touched it. Legion, with whom we had played in the courtyard, or maybe not, she was only a name, had died of typhus. Our world was like that, full of words that killed: croup, tetanus, typhus, gas, war, lathe, rubble, work, bombardment, bomb, tuberculosis, infection. With these words and those years I bring back the many fears that accompanied me all my life."

[Dolors · Rating 3 out of 5]

Much has been said about this book, the first of the Naples trilogy, and by many.
I opened this novel with the expectation to be enthralled in a world I could relate to, with characters that would bring back echoes of my own childhood and adolescence and also hoping to be surprised by Ferrante’s unique conception of friendship.
It turns out the book did nothing of the sort. That doesn’t mean I can’t understand why some readers feel attracted to it, as I detect a sort of addictiveness in Ferrante’s style that I can’t rightly place. My fault, probably.

Ferrante’s ability to paint a dexterous tableau vivant of Naples in the mid-fifties is undeniable; its gratuitous gender violence, the pressing presence of the Camorra that threatens the lives of young and old in a modest working neighborhood, the weight of a patriarchal system that harasses girls of all ages… it all leaps off the page, and yet, and yet…
My reservations arise from the lack of emotion with which all the above is framed by the two protagonists of the story: Lenu and Lila. They couldn’t be more different, Lila is daring, kind of a rebel, Lenu is dependant, a follower. And still, who is the “brilliant friend” in this story? The narrator or the narrated? Ferrante seems to suggest that Lila’s potential is subdued by her circumstances, but Lenu manages to flourish in them, as if she sucked her friend’s talent in spite of her apparent dominance over everybody around her.
Promising, right?
There is basis for a great story in this novel, one that could easily portray the true meaning of friendship, including its ugly side marred by envy and jealousy, but my response is undermined by the way in which Ferrante carried it through, which was, in my opinion, insipid in literary terms. Flat. Lifeless. I wasn’t pulled into the story, I couldn’t empathize with neither of the characters and I did find little narrative beauty in Ferrante’s unpolished sentences.

I’ll confess that the last page didn’t urge me to get the next installment; I just felt relieved to see the abrupt ending that gave me the perfect excuse to let these two girls go on their ways without me.
Closing the book felt like having eaten a bunch of junk food, easy to gobble up but knowing it will provide little nourishment to one’s body…or reading soul, in this case. So, no harm in doing that from time to time, but not on a daily basis.

[Quirine · Rating 4 out of 5]

What touched me most in this book is the brutally honest portrayal of girlhood. The shameful thoughts that come with it, the jealousy, the feeling of competition with your own sex and the need for approval of men, against your better judgment. They are the thoughts we do not speak out loud because we hate ourselves for them as we get older, and know better - but Elena Ferrante laid them all bare in this book and I love her all the more for it.

[Violet wells · Rating 4 out of 5]

“I am made and remade continually. Different people draw different words from me.” So said Virginia Woolf and this, the forging of identity in relationship, is very much the theme of Elena Ferrante’s compelling novel. Elena, the narrator of the novel, is in first grade when we first meet her. She lives in a violent and impoverished working class district of Naples where kindred spirits or role models are hard to find. Certainly not her mother – “My mother did her best to make me understand that I was superfluous in her life. I wasn’t agreeable to her nor was she to me. I found her body repulsive.” Then she meets Lila. Lila is a wild child with exalted sensibility and intelligence for her age. In Lila Elena finally identifies an ideal she can aspire to. The portrait of Elena and Lila’s bond is the novel’s masterstroke. As all around them the somewhat coarse uneducated boys of the neighbourhood seek to distort and shape the girls to suit their own masculine vanity – “dissolve the margins” of separation - the two girls forge an independence of spirit that is nurtured by the inspiration they find in each other. They create a compelling and exciting inner world together, a stage on which they both are able to dramatise themselves as the heroines of their own fate. The novel is the story of their friendship and Elena’s attempts to transcend her background of thrift and mean spirited bullying.

It’s an unusual and highly distinctive novel (visually reminiscent of de Sica’s early brilliant films). Essentially because of the intensity and lucidity of Ferrante’s prose. She manages to write about the most prosaic detail with a kind of hallucinatory urgency and as such her voice hits exactly the right notes in expressing the joys and torments of adolescence when every day seems to hold moments of both pivotal humiliation and triumph, moments few adults are capable of perceiving. Thus the narrative is a constant high tension wire where the mundane relentlessly spills over into epiphany or violence. There’s a passage when Elena is writing about Lila’s prose style which would serve as the perfect eulogy of Ferrante’s prose style – “She expressed herself in sentences that were well constructed, and without error, even though she had stopped going to school, but – further – she left no trace of effort, you weren’t aware of the artifice of the written word. I read and I saw her, heard her. The voice set in the writing overwhelmed me, enthralled me even more than when we talked face to face; it was completely cleansed of the dross of speech, the confusion of the oral.”

[Tatiana]

I just don't get the hype. I found the writing (or translation) incredibly choppy and the story overlong, repetitive and incoherent at times.

There must be better writers in Italy than Ferrante.

[Candi · Rating 4 out of 5]

"It was as if, because of an evil spell, the joy or sorrow of one required the sorrow or joy of the other; even our physical aspect, it seemed to me, shared in that swing."

Elena and Lila, a friendship born of necessity – the need to find another human soul that understands us, our longings and sorrows - someone to emulate, someone that drives each of us to become our very best self. These two girls, born into poverty in 1950s Naples, forge a relationship that is both captivating and completely authentic. There is something about a novel told from the point of view of an adult looking back at his or her childhood that thoroughly captures my attention and feels so convincing. Even if I cannot relate to the circumstances or the surroundings, the emotions are so very real and bring back such sharp memories of my own inexperience and innocent yearnings.

With keen insight and skillful writing, Elena Ferrante has crafted a vivid account of two young lives struggling to rise above the usual fate of those born into such harsh conditions. The impoverishment and violence of the neighborhood are part of the daily fabric of Elena and Lila’s lives, but they dream of a life elevated above those around them. The key to achieving this dream – education. "In that last year of elementary school, wealth became our obsession. We talked about it the way characters in novels talk about searching for treasure… Then, I don’t know why, things changed and we began to link school to wealth. We thought that if we studied hard we would be able to write books and that the books would make us rich. Wealth was still the glitter of gold coins stored in countless chests, but to get there all you had to do was go to school and write a book." Oh yes, there was a time when I believed diligent studying would achieve similar results! What little girl doesn’t dream of becoming rich or famous?! Both girls work hard, but it is quite evident that Lila is the dominant one in the relationship – academics come easy to her and Elena finds herself wanting to reach those same heights. She often feels inferior to Lila and it becomes her goal to keep up with her, but believing she can never surpass the brilliance of her friend.

Of course, the competition between two coming-of-age girls doesn’t just end at schoolwork. The fragility of such a relationship is further tested by the attraction they hold for the boys of the neighborhood. In this arena, Elena perhaps feels she has an advantage over Lila: "In general I was the pretty one, while she was skinny, like a salted anchovy, she gave off an odor of wildness, she had a long face, narrow at the temples, framed by two bands of smooth black hair." However, true to the nature of girlhood, feelings of inadequacy settle in and Elena feels second-string once again. "But Lila now had retaken the upper hand, satisfaction had magnified her beauty, while I, overwhelmed by schoolwork, exhausted by my frustrated love for Nino, was growing ugly again. My healthy color faded, the acne returned. And suddenly one morning the specter of glasses appeared."

I couldn’t help but wish that Elena would stand up for herself, value herself as an individual separate from her attachment to Lila. Lila, the leader and Elena, the follower – certainly a familiar dynamic in a friendship. I wonder who benefits most from these friendships. Perhaps Elena needed the competition to drive her own ambition and rise above her circumstances. But Lila too needed someone to ground her, give her some sense of stability in her own life. I think perhaps such relationships are fluid – giving and receiving on both ends at different times, always changing along with the trials and tribulations each experiences. Ferrante does an exceptional job of examining the complexities of friendships and this is what I found to be the most fascinating aspect of this novel. The ending leaves one with a question and the desire to grab the second book in the series. Without a doubt, I will do exactly that. I am eager to follow not just Elena and Lila’s friendship but also to learn more about the fate of the large cast of characters – especially Nino, Stefano, Rino, Pasquale, Antonio, and even the city of Naples itself.

[Britany · Rating 1 out of 5]

Oh this book... quite literally pushed me into a reading slump.

I picked this book up at a recent library trip because everybody had such amazing things to say about this series, and it had been on my shortlist forever. I decided to pack it on my recent trip to Ireland/Scotland. I started reading in on the ferry over to Ireland. Readers--- I was almost bored to tears. Surely this HAD to get better, right? RIGHT?

Lila and Elena are best friends, but they have the most strange friendship I have ever read about. Plus, they have about 7 different names. Present day- Lila goes missing and Elena decides to write their story. I'm sure she picked events that were important to the storyline of their lives, but what a snoozefest. I couldn't keep any of the characters straight because there are at least 137 of them. In addition to the literal whole city of Naples being involved in this book, so many of them are characters that I didn't like. I never wanted to pick this one back up again, but forced myself to finish it because I have this crazy reading pet peeve of finishing every damn book.

It's really hard for me to completely give up on this series when so many of you enjoyed it so much. Should I give the next book a chance? Perhaps on audio?

[Cathrine ☯️ · Rating 2 out of 5]

A not so satisfying read for me. By many other accounts, a great book and writer. The first part of a trilogy beginning with childhood girlfriends who, come to find out, don’t get past the age of 16 in this first installment. And therein lies my problem with it. I wanted it to move into their adult years and become more interesting and relevant to me personally. I should state that I rarely enjoy reading about childhood from the child’s perspective for an entire book. For the duration, it read like the early pages of a novel you’re trying to get through so you can get to the main storyline. Half way in and beyond, I’m still reading about translating latin and struggling with studying and class exams along with the onset of puberty and its challenges. Reflections of poor children growing up in tough surroundings during a six year period of time. Then it ends abruptly, like part I of a big novel with no part II. I can say that if I was willing to read the second book I might enjoy it as it was just getting interesting. Not within my personal interest radar. But it looks like I’m in the minority.

[Warwick · Rating 3 out of 5]

Early in Emily Brontë's Wuthering Heights, the narrator arrives at the eponymous farmhouse and has the following exchange with the Earnshaws' servant, Joseph:

‘What are ye for?’ he shouted. ‘T' maister's down i' t' fowld. Go round by th' end o' t' laith, if ye went to spake to him.’

‘Is there nobody inside to open the door?’ I hallooed, responsively.

‘There's nobbut t' missis; and shoo'll not oppen 't an ye mak' yer flaysome dins till neeght.’

Charming. Now imagine, for a moment, that the scene had instead been written like this:

‘What do you want?’ he shouted in dialect. ‘The master's down in the fold. Go round past the end of the barn if you want to speak to him.’

‘Is there nobody inside to open the door,’ I hallooed, responsively, in English.

‘There's no one but the mistress; and she won't open even if you make that dreadful noise until nighttime.’

It's more immediately comprehensible, certainly; but it's productive to think about what might have been lost in such a version. This is somewhat the situation you are in with Elena Ferrante's novels, in which the use of ‘dialect’ is made to assume gigantic significance, while never actually being shown to us.

At first I thought the constant dialogue tags – ‘she said in Italian’, ‘he replied in dialect’ – were a device of the translator to show where Ferrante herself was switching between standard Italian and Neapolitan. But no; in fact, the original writing is all in purest Italian and those markers (in dialetto, in italiano) are just the same for Italian readers as they are for me. While I was reading, and enjoying, this book, I was also struggling to work out what about this was bothering me.

The thing is, casual readers would be forgiven for thinking that Ferrante's ‘dialect’ is some ungrammatical or degraded urban street version of Italian; in fact, of course, Neapolitan is a sister-language with a long, proud literary and administrative history. The Kingdom of Naples isn't some medieval nonentity – it lasted right up to the Risorgimento, and didn't really join ‘Italy’ until 1861. Neapolitan is no more a dialect than the Florentine dialect which has been enshrined (arbitrarily) as standard Italian. (At unification, by the way, the proportion of Italians who spoke ‘Italian’ has been estimated at no more than 2.5 percent.)

I put ‘dialogue’ in inverted commas before because the words ‘language’ and ‘dialect’ do not have any scientific meaning in linguistics, and the decision to call something a dialect is, in the end, a sociopolitical one. We see in this book that people speak ‘pure Italian’, ‘good Italian’, but ‘rough dialect’, ‘the thickest dialect’; Neapolitan is what they use for shouting, swearing, insulting, getting excited. Lenù's boyfriend frustrates her because ‘he never abandoned dialect, and in dialect it was hard to discuss the corruption of earthly justice’ and other high-flown intellectual topics; when he falls out with her (though this is actually at the start of the second book, not this one), it's specifically because ‘he heard scarcely any dialect in [Lenù's] voice, he noted the long sentence, the subjunctives, and he lost his temper’. Even the toastmaster at Lila's wedding is originally chosen on the grounds that he ‘had married a Florentine woman and had taken on the local accent’.

Of course, people really do look down on minority languages, they really are associated with poor education and low social status, and to that extent Ferrante is reflecting the reality of the situation. (In Naples as everywhere else – my wife was always told off at school in Edinburgh if she ever used ‘heid’ for ‘head’ or ‘ken’ for ‘know’.) And yet so much of the novel is about overturning preconceptions about Lenù's friends and neighbours, about restoring some respect to the lives of the working class in this neighbourhood; the novel aims to give a voice to a community that a lot of people do not hear from or understand. While this is often powerfully done, the book itself, on a sociolinguistic level, is profoundly conservative. Something about this friction sat uneasily with me and modulated the way I was reacting to the story.

News that RAI and HBO are producing a TV series of these books raises my hopes that a screen version will – perversely – foreground the language issue in a way that the literary version doesn't quite. Since it's being made in Italian, it's hard to imagine that the producers could duck the issue of using Neapolitan in the way that Ferrante can duck it in text – as a regional language, its use in oral contexts like film and music (’O sole mio, most famously) is, I suppose, more acceptable than in print. I get a sense of how Lila and Antonio and the Solaras sound – but it's distant, even allowing for the fact that I'm reading in translation. Maybe, on screen, I'll feel like I'm finally hearing their voices.

[Cecily · Rating 4 out of 5]

Born into a poor and violent neighbourhood, plagued by death, most people accept their fate, some dream, and a few make plans. For Elena, the narrator, studying hard becomes the likely route out. Lila, the shoe-mender’s daughter, hopes her fantastical shoe designs will one day bring wealth. Footwear is a transformative element in so many myths and fairytales, it seems apt: Hermes/Mercury, Cinderella, The Elves and the Shoemaker, Puss in Boots, The Wizard of Oz, and The Red Shoes.

Image: Mythical winged sandals (Source)

This charts the early years of Elena and Lila’s lives, as friends and rivals, bonded forever, whatever the future may hold.

Location: time and place

“We lived in a world in which children and adults were often wounded, blood flowed from the wounds, they festered, and sometimes people died.”
The setting is utterly alien: 1950s (mostly) in an impoverished, closely interconnected neighbourhood of Naples, where people speak a slum dialect rather than “school Italian”, and the Neapolitan equivalent of the mafia, the Camorra, hold sway.
“There were no written rules, everyone knew that’s how it was.”

But it’s so vividly portrayed, filled with universal experiences (childhood friendships and fears, mythologising, dares, competitiveness, battles with parents, shame, showing off, puberty, sexual stirrings, fashion, slut and fag-shaming, manipulative and difficult relationships), that there’s familiarity too - despite the normalised violence and abuse.

Roots and routes

School gives Elena the possibility of a different life, but it increasingly distances her from those she is growing up with.
“I had grown up with these boys, I considered their behaviour normal, their violent language was mine. But for six years now I had also been following daily a path that they were completely ignorant of… With them… I had to suppress myself.”

When Don Sarratore publishes a book of poems and moves to a better area, she begins to believe it is possible to escape one’s roots - for people like her to succeed, even by writing (she doesn’t seem to consider it might be easier for a man).
“Was it possible that only our neighborhood was filled with conflicts and violence, while the rest of the city was radiant and benevolent?”

Nevertheless, Elena’s childhood means that long after she’s moved away, violence, death, and poverty are among “the many fears that accompanied me all my life”.

Yin and yang

“A continuous game of exchanges and reversals.”
Again and again, Lila’s and Elena’s experiences switch: when one is happy or pretty or popular, the other is not - until it flips.



Yet despite that, broad differences persist. Lila is wild and angry, brilliant and, eventually, beautiful. By age six, she’s taught herself to read, despite living in a barely literate household. Elena is scared and in awe of her, but decides to accept Lila’s superiority, while being determined to keep up with her:
“That was my way of reacting to envy, and hatred, and of suffocating them.”
Even in the context of school work, the vocabulary is violent.

“My life was splendid but uneventful… while hers was dark but full.”
It seems that Lila is the brilliant one, going to waste, while Elena succeeds through hard graft and being allowed to continue in school. But it’s Lila who tells Elena, “You’re my brilliant friend”.

Dissolving margins

In childhood, the girls are constrained within their tiny neighbourhood, but as teens they occasionally venture to more affluent areas.
“It was like crossing a border. I remember a dense crowd and a sort of humiliating difference… The women: they were absolutely different from us. They seemed to have breathed another air… They didn’t see any of the five of us.

This is a grimly and sublimely realistic novel, with an intriguing exception: Lila’s occasional experience of “dissolving margins”. It could be a type of migraine or a touch of magical-realism. Either way, it’s also a metaphor for the boundaries and breaches that run through the book.


Image: Children playing in the street in Naples, c1950 (Source)

Scale

When I opened this medium-length novel, I was startled by the dauntingly long cast list. When I finished, I was startled that it just stopped, in the middle of a big celebration, with trouble brewing. That’s because this is actually an epic novel published in 4 volumes, following Elena and Lila, born in Naples c1944, from childhood to old age. This one has a short present-day prologue, 60 pages about their childhood, and 240 of their adolescence. I will get the other three volumes.

Quotes

• “Trained by our school books to speak with great skill about what we had never seen we were excited by the invisible.”

• “She took the facts and in a natural way charged them with tension; she intensified reality as she reduced it to words.”

• “The sea. But what a sea. It was very rough, and loud; the wind took your breath away, pasted your clothes to your body and blew the hair off your forehead… The waves rolled in like blue metal tubes carrying an egg white of foam on their peaks, then broke in a thousand glittering splinters and came up the street.”

• “I lay in the sun reading, dissolving into the pages like a jellyfish.”

• “I was terrified… by the horror it created, but the pleasure that I nevertheless felt.” [a brave, but plausible description of a teen being gently (only in a physical sense) sexually assaulted]

• “She gave off a glow that seemed a violent slap in the face of the poverty of the neighborhood.”

• “The embarrassment of gazing with pleasure at her body… I was washing her… just so that [person] could sully her.”

• “To listen to him lighted up my mind almost the way Lila once had.”

The Neapolitan quartet

1. My Brilliant Friend, read November ‘22, 4* (this review).
2. The Story of a New Name, read April ‘23, 4*, review HERE.
3. Those Who Leave and Those Who Stay, tbr.
4. The Story of the Lost Child, tbr.

Who's the “brilliant” one?
In book 1, Lila calls Elena her brilliant friend.
In book 2, their old teacher says that Lila was the best student she ever taught.