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Those Who Leave and Those Who Stay: middle age (Neapolitan Quartet, 3)

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Elena Ferrante, Art of Fiction No. 228." Interviewed by Sandro and Sandra Ferri. Paris Review. Spring 2015. No. 212. Throughout Elena’s narrative the reader gets small glimpses of Lila’s life. In the beginning of the novel, Lila lives in a squalid apartment with Enzo Scanno and her son. She works long hours at a sausage factory and is treated abominably. By chance she is introduced to a group of young, elite Communists, who wish to use Lila’s cleverness and natural leadership ability to infiltrate the workers union. Lila’s involvement causes a near physical and emotional breakdown, not to mention a fearful run-in with Michele Solara, who works for the Fascists. Wood, James (January 21, 2013). "Women on the Verge: The fiction of Elena Ferrante". The New Yorker . Retrieved July 20, 2015. The relationship between migration and kinship enjoys a long scholarly tradition and attention. How does the emigration of family members affect the personal and social biographies of those left behind? How do those who stay behind justify their choice: to emigrate or not to emigrate. To what extent is it useful to talk about emigration as a ‘personal choice’?

Melina Cappuccio (the mad woman, in love with Donato Sarratore, cleans the neighborhood's buildings' staircases) This sentence stages our most polemic claim—“taste is just another name for internalized misogyny”—as a truth claim at the foundation of an argument rather than the argument itself. More, the claim can’t hold, argumentatively: it is out of scale with itself. It contains a multitude of debatable assumptions about how taste, culture, gender, and even psychology work, yet we were uninterested in debating any of them. Because the very fact of having to debate them, carefully, with evidence and expertise, dissipates the deep feelings—of love, of irritation—that the covers cause us to feel and, importantly, what the discussion of the covers lead us to know but to know other than through agreed upon standards of argument. The knowledge, here, came from the accrued feeling of living for years in a world that finds a pastel aesthetic distasteful. Criticism’s carefulness would defuse the power of experience behind this claim. Moylan, Brian (February 9, 2016). "Elena Ferrante's Neapolitan novels set for TV adaptation". The Guardian. Ferrante's writing seems to say something that hasn't been said before, in a way so compelling its readers forget where they are, abandon friends and disdain sleep."— London Review of Books The series was also adapted for radio, produced by Pier for BBC Radio 4 and first broadcast in July 2016.Pietro represents everything she thinks she wants from life, Nino everything she thinks she wants to escape. Crucially, though, Nino is also entwined with Lila; she loved him, she had him, she lost him. Elena’s attraction to him is, equally, a desire to succeed where Lila failed.

Olga Onuch (Senior Lecturer in Politics at the University of Manchester, Principle Investigator of the Mobilise Project) From pettiness to rape threats, obviously the underlying concern of this essay has been how gendered experience shapes criticism. Despite the fact that scholarship has worked for decades to describe how gender enters into criticism, it remains an unresolved question, and we would posit that this may be because the form of criticism itself disallows admission of the emotional experience in which gender most forcefully resides. Claiming that gender is an emotional experience is not at all to deny that is also an embodied, interpretive, and economic one—instead it is to say that all these conditions combine to generate an emotional state, and that often the state of those who fall under the sign “woman,” and who seek to speak about that experience, is one primarily of irritation: not quite a wound, but a rawness. (Perhaps that’s why so many of us spend so much money on salves.) Elissa Schappel, writing for Vanity Fair, reviewed the last book of the Quartet as "This is Ferrante at the height of her brilliance." [20] Roger Cohen wrote for the New York Review of Books: "The interacting qualities of the two women are central to the quartet, which is at once introspective and sweeping, personal and political, covering the more than six decades of the two women's lives and the way those lives intersect with Italy's upheavals, from the revolutionary violence of the leftist Red Brigades to radical feminism." [21]Elena plans to use birth control and start on a new novel, but her plans are derailed by an early pregnancy. Her new marriage is put to the test as both partners are struggling in their careers and dealing with a newborn. After the baby is finally weaned, Elena draws on inspiration from Lila’s life as a struggling factory worker to try a new novel; however, it only makes it as far as her mother-in-law Adele, who proclaims it poor, sensationalist writing. Elena’s fondness for her husband never makes it to the passion stage; he is devoted to their small family but is detached and dull. He shows no interest in Elena’s gifts, her career, or her devotion to politics. Their relationship begins to suffer. Another child comes along, this one easier than the first, and Elena continues to struggle with significance and her ego. Pietro Airota (their son, also a professor, and Elena's husband and the father of Elena's two older daughters)

Ada Cappuccio (Antonio's sister, helps her mother clean staircases, later works at the Carracci grocery shop) With the publication of her Neapolitan Novels, (Ferrante) has established herself as the foremost writer in Italy—and the world."— The Sunday Times Research on the migration-social reproduction nexus has been gaining more and more prominence in recent years. While many accounts are focused on female migrants’ role in host societies’ infrastructures and structures of care, less attention has been paid to the effects these circuits of migration have on sending countries, regions, and communities. We are interested in deepening these conversations with regards to the gendered consequences of emigration for structures and infrastructures of social reproduction at home. How do educational mobility, seasonal work and long-term emigration affect economies of care? What are the individual and collective challenges that the gendered character of emigration poses? What’s most interesting about all the novels is (again, of course) the Lila-Elena relationship. But a close second is all that Nino business. Nino is that rare thing: a childhood crush who remains alluring into adulthood. But more than that, he’s deeply entangled with Elena’s other loves: Lila (who was his lover, and who may have born his child), and professional ambition as a writer. The Lila aspect isn’t all that explored, at least in Book 3 – early on in the book, Nino tells Elena that Lila had been bad in bed, but that’s almost it.The story begins in the 1950s, in a poor but vibrant neighborhood on the outskirts of Naples, Italy. Growing up on these tough streets the two girls learn to rely on each other ahead of anyone or anything else. As they grow, as their paths repeatedly diverge and converge, Elena and Lila remain best friends whose respective destinies are reflected and refracted in the other. They are likewise the embodiments of a nation undergoing momentous change. Through the lives of these two women, Ferrante tells the story of a neighborhood, a city, and a country as it is transformed in ways that, in turn, also transform the relationship between her protagonists, the unforgettable Elena and Lila. Perhaps you all know how this ends. Perhaps it is hardly surprising for me to tell you that we are scattered now, that many of us no longer talk at all. I never told them this, but I didn’t want to live in California anyway. The Neapolitan Novels, also known as the Neapolitan Quartet, are a four-part series of fiction by the pseudonymous Italian author Elena Ferrante, published originally by Edizioni e/o, translated into English by Ann Goldstein, and published by Europa Editions (New York). The English-language titles of the novels are My Brilliant Friend (2012), The Story of a New Name (2013), Those Who Leave and Those Who Stay (2014), and The Story of the Lost Child (2015). In the original Italian edition, the whole series bears the title of the first novel L'amica geniale ("My Brilliant Friend"). The series has been characterized as a bildungsroman, or coming-of-age story. [1] In an interview in Harper's Magazine, Elena Ferrante has stated that she considers the four books to be "a single novel" published serially for reasons of length and duration. [2] The series has sold over 10 million copies in 40 countries. [3]

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