It’s a sensation that I’ve felt very often, and I’m afraid that I will again. But perhaps that’s true of New York, London, Paris. Also, the work that ensued in the following years was surprisingly easy, a kind of permanent party. Of course, if that energy exists, it’s because either it finds no other outlets or, consciously or not, I’ve refused to give it other outlets. Een naam. Novels should never come with instructions for use, least of all when drawn up by those who write them. In alle vijfentwintig in Frantumaglia (2016) gebundelde interviews wordt haar de vraag gesteld: wat zit er achter dat pseudoniem? Elena Ferrante: You’re right, the two friends belong to the world of print books, as do I, who invented them. We’re confident he’s up to the task.A study of patients who came to UCLA clinics and hospitals to be treated for coughs suggests the coronavirus may have been in Los Angeles by Christmas.When the dust has settled and the TV cameras are gone, will white solidarity with black lives endure? The state built the structure in the fifties as housing for officials of the carabinieri, and Anedda’s grandfather, a general, purchased their apartment at that time. To concentrate exclusively and with complete freedom on writing and its strategies.D: Do you have a sense of how people in the community feel about the books?E: No. Answers by Elena Ferrante and Translated by Ann Goldstein But I know other stories and hope I’ll be able to write them. Is it possible that you’d ever be tempted to let Lila tell her own story?E: No. Instead, we must continue fighting to bring about profound change.
Elena Ferrante (Italian pronunciation: [ˌɛːlena ferˈrante]) is a pseudonymous Italian novelist.Ferrante's books, originally published in Italian, have been translated into many languages. The visible is there, but reimagined by the swerve from ordinary perspectives and scales.Is the visible, and its image as the visual, the most important dimension of the poem for you?Poetry makes reality reality. Sometimes sick children came into it, sometimes a poisoned dog. Or when you remember a street corner but you can’t remember where it is?
They might be separate and identifiable—childhood places, family members, schoolmates, insulting or tender voices, moments of great tension.
Elena Ferrante does not exist. The consequence is that I’ve rarely been convinced that I should publish. And does it have to change its tactics to do so?E: First of all, we must never forget there are vast areas of the planet where women live in the most terrible conditions.
At the end of 2010, given the mass of pages that had accumulated merely for telling the story of the childhood and adolescence of Lila and Lenù, the publisher and I decided to publish it in several volumes.It was a completely new experience for me. It’s an early work that begins, “Carried on the breeze, / the Spring’s music drifted from far, far away.” The poem was about space and wind—how the wind breaks open the clouds to reveal a strip of blue sky.When I was seven, a member of my family, a person I loved, died in front of me. Above all, I would avoid saying that I was formed essentially by women’s writing, even though I very much loved and still love “House of Liars,” by Elsa Morante.
(“Elena Ferrante” is a pen name.) We tried the seafront, but in the end, because it was a rainy evening, we retreated to the lobby of the Hotel Royal Continental, just opposite the Castel dell’Ovo.“From here, out of the rain, we could every so often glimpse people passing along the street and imagine the characters who have for so long occupied our imaginations and our hearts. Anedda and her husband, Flaminio Mormile, a pulmonologist at the large Gemelli Hospital, moved there in 1994 and raised their daughter, Maria Sofia, a historian of the French Revolution, amid the mementos, books, paintings, and upright piano of Anedda’s grandmother.We sat in the living/dining room, speaking in Italian and English. But that holds for all the fundamental experiences of life. It’s always easy to reduce a story to clichés for mass consumption.On the thirtieth anniversary of the book’s original release, Robert Hass revisits Gary Snyder’s ‘The Practice of the Wild.’Antonella Anedda, born in 1955, is one of Italy’s most lauded contemporary poets. Against all odds, the supposed revelation of the identity of Ferrante provoked a worldwide scandal.For her readers, Ferrante must be allowed to remain anonymous, should she wish to be. Rummaging in the great historical warehouse of the novel and the anti-novel is today, in my opinion, a duty for anyone who is by profession a narrator. The reader understands that this may be an aspect of Elena’s self-deprecating narration – she may simply feel dominated by Lila. Above all, it entails quite a few feelings of guilt. My pleasure derives from this kind of disposition, of being attentive, of being able to catch sounds, lights.
They hit us, they overwhelm us, and then, if we don’t end up dead in a corner, we write.The metaphor of birth applied to literary works has never seemed convincing to me. The ways Elena and Lila behave are just two different aspects of the same arduous and almost always unhappy adjustment to men and their sexuality. The state built the structure in the fifties as housing for officials of the carabinieri, and Anedda’s grandfather, a general, purchased their apartment at that time. We often get together in Trastevere and the city center to talk and read and visit bookstores. For her, once a book has been finished, it must stand on its own. She compares the experiences of the great Hollywood actresses to those of the poor women of Naples, in a particularly stirring defense. Even though the power of [offenders] large and small at the center of the world or on its peripheries lies in not being ashamed of the various forms of rape they subject us to and, by means of a repulsive stratagem, in making us think that it is we who should be ashamed.A certain disdain for the feminism of mothers and grandmothers has spread among the younger generations in recent years. D: Which of the two women do you feel most affection for?E: I have much love for Lila; that is, I have much love for the way in which Elena tells her story and the way in which Lila tells her own story through her friend.