Mary, I'm back in a different location from the first time. I still haven't read all the way through since you warn there are spoilers. But I kept in mind your advisement at Inner Life that your analysis is of the novels, not the TV series. At this point, I'm about halfway through season 2, but it was evident to me within the first couple of episodes of the series that your reading, "that the two characters are the same person," is surely the way to understand their relationship and development. Of course, I'm eager to see how that intersection of identities further develops. I'm also very glad I was not an Italian woman in the second half of the Twentieth Century.
Great analysis Mary. I thought of them as the same person when I was reading the books. I thought Ferrante was examining the roads a person could take in terms of class and education, but it's even deeper than that I think after reading your essay. Mirrors. Interesting.
Ah, Krista, I think you may be the first person reading this essay to say that you saw that, too. I do think "mirroring" in her what-seems-to-be auto-fiction appears to me as a recurring technique that is indeed hard to discern, if I'm right, anyway. As I've said, she's no trickster so the stories are layered and can be read from the reader's reaction--wondrous writing.
This is great, Mary. Perhaps because I have an identical twin, questions of identity like this always fascinate me! I think Ferrante is a brilliant writer, well served by an excellent English translator.
I love this multi-level analysis of Ferrante. I've read The Lost Daughter but not the other books (yet) and had not considered the whole question of identity throughout her work *and* her persona as an author. So interesting. Thank you for opening up this perspective for us!
What an interesting take. Thanks for not including spoilers as I'm not finished with #3. And the novels as books now sound more compelling than watching a film version. Her nom de plume, the doppelgangers and the confusion of calling Lina something else certainly point to her points about identity in the novels. Compelling essay.
Oh, lovely. Do let me know what you think when you finish book 4. I found all four to be compelling reads and couldn't stop thinking about them--as you can tell.
Oh, Mary! Haven't heard from you for a long time. So nice to read you again. I loved My Brilliant Friend, but not last volume. The author (who is the author, by away? So many secrets.) repeats herself and becomes boring. But first two books are wonderful, reminded me neorealism of Italian movies of 1950-60s. I can't say anything about American version to TV, haven't seen it. Larisa
Who is author?- I meant the several articles, if I remember correctly, in The New Yorker that Elena Ferrante -is a pseudonym of unknown person and a man. At least, there is no real person with that name.
For those of us who haven't read Ferrante yet, your introduction to her in this post assures us we are in for a sophisticated time with the tetralogy. She sounds perfect for summer reading. Your sense of how she handles character sounds fascinating!
Hello, Summer? Won't you stay just a little bit longer? Please, please, say you will. :-)
What a treat to read your thoughts on Elena Ferrante, Mary! I adored Ferrante's tetralogy and I could see how your theory on their mirroring makes sense. Makes me, in fact, want to re-read the books all over again.
Mary, I'm back in a different location from the first time. I still haven't read all the way through since you warn there are spoilers. But I kept in mind your advisement at Inner Life that your analysis is of the novels, not the TV series. At this point, I'm about halfway through season 2, but it was evident to me within the first couple of episodes of the series that your reading, "that the two characters are the same person," is surely the way to understand their relationship and development. Of course, I'm eager to see how that intersection of identities further develops. I'm also very glad I was not an Italian woman in the second half of the Twentieth Century.
Ah so, my friend ... I think the essay has no serious spoilers -- but I get your point and offer again my thanks for our connection.
Great analysis Mary. I thought of them as the same person when I was reading the books. I thought Ferrante was examining the roads a person could take in terms of class and education, but it's even deeper than that I think after reading your essay. Mirrors. Interesting.
Ah, Krista, I think you may be the first person reading this essay to say that you saw that, too. I do think "mirroring" in her what-seems-to-be auto-fiction appears to me as a recurring technique that is indeed hard to discern, if I'm right, anyway. As I've said, she's no trickster so the stories are layered and can be read from the reader's reaction--wondrous writing.
This is great, Mary. Perhaps because I have an identical twin, questions of identity like this always fascinate me! I think Ferrante is a brilliant writer, well served by an excellent English translator.
New fact about you: identical twin. Golly, almost as if there might be another mind as brilliant as yours. And, yes, Ferrante is incomparable.
🙂
I love this multi-level analysis of Ferrante. I've read The Lost Daughter but not the other books (yet) and had not considered the whole question of identity throughout her work *and* her persona as an author. So interesting. Thank you for opening up this perspective for us!
You are a reader--and more than that: a love.
What an interesting take. Thanks for not including spoilers as I'm not finished with #3. And the novels as books now sound more compelling than watching a film version. Her nom de plume, the doppelgangers and the confusion of calling Lina something else certainly point to her points about identity in the novels. Compelling essay.
Oh, lovely. Do let me know what you think when you finish book 4. I found all four to be compelling reads and couldn't stop thinking about them--as you can tell.
Oh, Mary! Haven't heard from you for a long time. So nice to read you again. I loved My Brilliant Friend, but not last volume. The author (who is the author, by away? So many secrets.) repeats herself and becomes boring. But first two books are wonderful, reminded me neorealism of Italian movies of 1950-60s. I can't say anything about American version to TV, haven't seen it. Larisa
Hi, Larissa, the author is Elena Ferrante. Go to Who by Fire Chapter 5: https://marytabor.substack.com/p/who-by-fire-evan xx ~ Mary
Who is author?- I meant the several articles, if I remember correctly, in The New Yorker that Elena Ferrante -is a pseudonym of unknown person and a man. At least, there is no real person with that name.
Noone knows for sure but most believe the author is woman.
Thank you, Mary, for putting a smile on my face by returning me to the lovely book My Brilliant Friend!
So glad we share the love! xx ~ Mary
Thank you, Mary, for seeing to it that the Enchanted-by-a-Book party carries on! I couldn't have planned it better.
What a gift you are to Substack, Tara, and I suspect to anyone who has the good luck to get to know you and read you. xx ~ Mary
❤️
For those of us who haven't read Ferrante yet, your introduction to her in this post assures us we are in for a sophisticated time with the tetralogy. She sounds perfect for summer reading. Your sense of how she handles character sounds fascinating!
Hello, Summer? Won't you stay just a little bit longer? Please, please, say you will. :-)
You are in for a treat, Tara! If only I could experience the tetralogy for the first time again...
Ooo, thank you for helping build anticipation. That’s part of the fun. :-)
I so want your thoughts when you get the time to read Ferrante! You are a treasure.
What a treat to read your thoughts on Elena Ferrante, Mary! I adored Ferrante's tetralogy and I could see how your theory on their mirroring makes sense. Makes me, in fact, want to re-read the books all over again.
Rereading her is such an adventure. That's what prompted me to write this essay.