My Brilliant Friend of Elena Ferrante Review

The following sample essay on My brilliant friend of Elena Ferrante Review. Almost no other book has been in recent years so picked apart internationally like this to no other, there was a major hype. This can include the self-imposed game of hide contributed to the writer who wanted to completely withdraw behind their work and caused just by this act of humility a flood of Investigationen and speculation. It was not until the beginning of this October she was dragged out permanently from their anonymity.

Were While Ferrante novels rather celebrate unanimously in their homeland and abroad (at least according to James Woods recommendation in the, sparked “My brilliant friend” in Germany even a nasty swirl of (fired by a brilliant marketing campaign Promotionsseite the Suhrkamp Verlag to Elena Ferrante””

The concept of external action is simple. Tell is (in four volumes) as the friendship between Elena Greco and Raffaella Cerullo, two intelligent is ambitious, and highly sensitive girl from the Neapolitan working class, developed.

the first volume includes their primary and further education years in the postwar period up in the sixties, when Italy’s economic miracle emerged. It closes in the sixteenth Age of two with big events that make you curious to the second volume. Since the paths diverge – Raffaella marries Italian family life rubs as a worker and the narrow specifications on, Elena studied in northern Italy, celebrating success as a novelist, but fails in love. Until the age the friendship remains through all the years of separation, and (in Italian) are over 1,700 pages, and a host of minor characters accompanied eternal ups and downs.

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In addition to the impressive multifaceted character images gives Elena Ferrante in its tetralogy of “Neapolitan Saga” (s. bibliography below), a comprehensive, vivid panorama of changing Italian society and Naples in particular. Elena ( “Lenuccia” or “lenu”) is the daughter of a porter at the city council, the father Raffaella ( “Lina” or “Purple”) is Schuster. Both children are decided early on to leave their impoverished social milieu behind them, and they have what it takes – a strong will, quick learner, tireless dedication, high intelligence, unexpected talents. But they also differ in many ways: lenu, the narrator acts, doggedly, the top position developed in every area that is important to her, by iron discipline and renunciation. Purple however, seems out of himself truly “awesome”: see, understand and master encircled it for them one (interesting how the book titles in different languages: “L’amica brilliant”, “De ingenious vriendin”, “My Brilliant Friend “” La amiga estupenda “,” L’amie prodigieuse “…).

She has the greater intellectual potential, but it uses light-hearted, bolder. “They knew how to limits passed without ever really face the consequences.” As if she could once or ausknipsen their services at will, she throws after intra-family squabbles their school career away, neglected for months and years intellectual work and then can but suddenly teach ancient Greek itself simply because the girlfriend will soon study it in high school. the complicated rivalry between the two girls is the central driving force, proximity and alienation between them the central theme. On one hand, they compete with each other, inspire each other, then they despise the other, playing their achievements down, ignore inside their merits – to the fear of loss they drift back toward each other. Purple seems total, although afterwards in their physical development, as the stronger of the two. Lenu other hand, looks rather undecided – a wise, sensitive observer, but always surprised by the powerful chess moves, with which Lila tries to control her life. She admits that Lilas nature rubs off on them; at times it drives the concern that it could lose its own originality and not train.

All of these fluctuations spreads Elena Ferrante in countless episodes from. Whose dramatic force is highly variable. Much of reality and dream Girls can quite shocking. But due Ferrantes style, leaving only a few – are fundamental to the overall development – scenes a lasting impression: the common descent into a dark basement, the rise of the staircase to the apartment of a dreaded phantom being, the Mafia Dons Achille, the first expedition out of the narrow district ( “Rione”), where the girls looking the sea, but pass through a surreal world full of garbage, scrap metal and asphalt, the evening stroll the modestly well-dressed teenagers in Rione (later in the wealthy business streets of the city center), a New Year’s Eve fireworks with almost deadly escalation, conflict in families, pompous celebrations and the like. These scenes rise like islands from a small steps, infinite image and detailed narrative stream that is not a psychological nuance of relationship development leaves out, no shade, no comment, no presumption, no glimpse. The uniformity meticulous logging, often many pages long without points, can fatigue, overwhelm, entice the diagonal reading.

structure give a few guidelines, in particular the objectives of the girls like the best in the school to be rich to be (only as novelists and later as a shoe manufacturer) to free themselves from their environment. With increasing historians and political awareness impress the stark class differences in Rione and in their city strong, but with varying effect admire times, sometimes they despise wealth, glamor and power. While all of this oscillation is understandable and convincing motivated in detail, the development has a whole then it will. Because the ups and downs somehow cancel all other and everything just as well could have been different run (like life just as plays), Elena Greco and Raffaella Cerullos fates do not go to the reader under the skin. One is interested, but not fascinated.

Ertragreicher I found how Elena Ferrante designed the backgrounds of individual biographies. How wonderful are below the surface of everyday Beziehungsflirrens in Rione, living in various traditionally dominated families, illustrating changing social consciousness of the pervasive entrepreneurial spirit, or at least be reflected indirectly. Men are almost always Machos, as born of the cliché. They are short-tempered, violent, uncontrolled, charming only against young girls, otherwise only the strongest women can oppose their tangible repression. Lilas brother Rino undergoes an example of the usual career: As a teenager admired, he supports and protects his sister, but after he gets the short end in competition with the Father and has severe humiliation plug, it is feminine all the frustrated oppressors

<. p> In particular, it is clear the complex nature of the Camorra-being. On the one hand, the Mafiosi give noble, generous, solidarity with the little people in Rione, defend bravely, on the other hand they can fall unrestrained selfishness, ask insidious traps and snap shut, act inconceivably brutal against rivals. Almost incidentally is understandable how the Un system Naples has solidified over decades. More surprising that an ancient pillars of this peculiar community and its mentality plays almost no role in Ferrante’s novel. Piety and the Catholic Church

Undoubtedly Elena Ferrante an extraordinary writer, capable of the complicated psychological dynamics of a situation to fully analyze and verbalize subtly with their razor-sharp vocabulary. The translator Karin Krieger has yielded an equally admirable performance by carefully captures the style of their template and apply faithfully. (Have yourself a comparative look at these two excerpts (PDF format): (von the side of the publisher “edizioni e/o”)” Leseprobe from Elena Ferrante: “L’amica geniale”

Bibliography

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• ” Storia del nuovo cognome ” Elena Ferrante:” Storia del nuovo cognome /li> “in” / li>
• ” Storia di chi fugge e di chi resta </ ​​strong>” Elena Ferrante: “Storia di chi fugge e di chi resta” at “< li> ” Storia della bambina perduta </ ​​strong>” Elena Ferrante: “Storia della bambina perduta” at “/li> </ ul>