Fascinating. I haven’t read or seen this but it’s now on my radar. And I’m always intrigued by the notion of our many selves. Voice Dialogue is a therapeutic technique whereby the patient identifies and then speaks from their inner theater of characters in order to understand how they relate to one another. Some may call the schizophrenic but I think there’s a lot of insight we can draw from understanding our multiple selves.:)
I stopped reading early on because I'm well reminded that I need to watch this series, and I don't want to be influenced by your ideas, though I I caught the early one about the two characters being metaphorically the same person. I'll binge now to catch up for season 4.
Ah, yes, but for my point to be understood fully, you'd also need to read the quartet--though maybe the series that I have been watching reveals in some way. We'll see ...
This is a most interesting idea that rings true and that I have not seen elsewhere. Given the richness and depth of Ferrante's work that you discuss, I'd be interested in your take on her latest, "The Lying Life of Adults," which doesn't seem to me on a par with her earlier work. Am I missing something? Thanks once again, Mary, for bringing your insight in such an original way and opening doors for me.
I read the novel and watched the television series, and I agree, at this point, with your assessment of the comparison to the quartet and _The Lost Daughter_. I add this opening paragraph from the novel that I assert continues to build on the mirroring effect; get this opening inside the first paragraph: "But I slipped away, am still slipping away, within these lines that are intended to give me a story, while in fact I am nothin, nothing of my own, nothing that has really begun or really brought to completion: only a tangled knot, and nobody, not even the one who at this moment is writing, knows if it contains the right thread for a story or is merely a snarled confusion of suffering, without redemption." More to say perhaps as I think about the novel in the aftermath of the reading.
Mary, I am reading Marquez (my favourite writer!) in Spanish right now, as I am preparing for my trip to Colombia! How crazy is that? We are kindred spirits! :) Would love to talk, yes! And it would be a pleasure to write for inner life, as I am a big fan of everything I read there. Funny you should say an “essay”… the first academic essay I wrote in Italian was about Ferrante, so I clearly have a lot to say about her. From one kindred spirit to another, sending you a big hug.
I'm inclined to agree with you, Mary, and I appreciate this careful execution of your theory. Ferrante's (and Gyllenhall's) brilliance, at least in part, is how they recognize that just below the surface for so many women is this shadow, opposite, or inverse picture of womanhood in its many "identity" forms as mother, daughter, sister, friend, etc. It looks so bold to show women upending proper categories; Ferrante simply knows: we do not fit them. We only try to fit them. And when we don't it may be th most natural thing -- to be who we are -- but it looks brave or radical to speak it, or at least profoundly unsettling. So when you look at Elena and Lina as the same woman, in a sense, I get it.
This is a very interesting theory Mary, and I completely see your case for it. Whether Lenú and Lila are the same person, or two separate people, I think what Ferrante does so brilliantly is to write about the complexity of human nature, especially motherhood, femininity, friendship - all the while also presenting a complex Italian history, in which women are at the centre, and not the margins! I long argued that Ferrante’s strength might not be her beautiful language (I read her in the original Italian). Her language is deceptively “simplistic”. But few writers know the human psyche as well as she does! In all of her books there is this ambivalence. Ambivalence towards friendship, love, sex, relationships, writing… nothing is one dimensional. She also writes the best sex scenes. They are so uncomfortable to read, yet real. I wrote an entire play (in Italian) inspired by her line in “The days of abandonment” about “the stink of motherhood”!! The way she wrote about it blew my mind. Motherhood as a stink she tried to scrub off and couldn’t… I thought it was brave, vulnerable and also very recognisable. Certainly to me at the time, as a young mother. But a shameful admission than no mother would say in public, and so boldly! Ferrante was the writer who encouraged me to write about my experiences of motherhood with more honesty. I may not have had the courage to explore the complexity of marriage, motherhood and domestic violence if it wasn’t for Ferrante’s work. I could write so much more on this topic, but I’ll stop here because I’m already in tears…. :) I’m very much looking forward to the series (which I hope to watch on Italian Rai). Thank you for this beautiful essay Mary. How nice it would be to chat in person about Ferrante’s work.
Imola, I would so love to talk with you and perhaps we can arrange that. Your comment here is an essay in itself, much welcomed by me. I so wish I could read Ferrante in the Italian--as I have done with Marquez in the Spanish. I also think that you should write for us on Inner Life in the new year and will be in touch to arrange that. Thank you so for this full and open comment that extends my essay with immeasurable worth..
Fascinating. I haven’t read or seen this but it’s now on my radar. And I’m always intrigued by the notion of our many selves. Voice Dialogue is a therapeutic technique whereby the patient identifies and then speaks from their inner theater of characters in order to understand how they relate to one another. Some may call the schizophrenic but I think there’s a lot of insight we can draw from understanding our multiple selves.:)
Such a thoughtful reply that adds so much to my discussion. Thank you, Kimberly.
I stopped reading early on because I'm well reminded that I need to watch this series, and I don't want to be influenced by your ideas, though I I caught the early one about the two characters being metaphorically the same person. I'll binge now to catch up for season 4.
Ah, yes, but for my point to be understood fully, you'd also need to read the quartet--though maybe the series that I have been watching reveals in some way. We'll see ...
This is a most interesting idea that rings true and that I have not seen elsewhere. Given the richness and depth of Ferrante's work that you discuss, I'd be interested in your take on her latest, "The Lying Life of Adults," which doesn't seem to me on a par with her earlier work. Am I missing something? Thanks once again, Mary, for bringing your insight in such an original way and opening doors for me.
I read the novel and watched the television series, and I agree, at this point, with your assessment of the comparison to the quartet and _The Lost Daughter_. I add this opening paragraph from the novel that I assert continues to build on the mirroring effect; get this opening inside the first paragraph: "But I slipped away, am still slipping away, within these lines that are intended to give me a story, while in fact I am nothin, nothing of my own, nothing that has really begun or really brought to completion: only a tangled knot, and nobody, not even the one who at this moment is writing, knows if it contains the right thread for a story or is merely a snarled confusion of suffering, without redemption." More to say perhaps as I think about the novel in the aftermath of the reading.
Mary, I am reading Marquez (my favourite writer!) in Spanish right now, as I am preparing for my trip to Colombia! How crazy is that? We are kindred spirits! :) Would love to talk, yes! And it would be a pleasure to write for inner life, as I am a big fan of everything I read there. Funny you should say an “essay”… the first academic essay I wrote in Italian was about Ferrante, so I clearly have a lot to say about her. From one kindred spirit to another, sending you a big hug.
I'm inclined to agree with you, Mary, and I appreciate this careful execution of your theory. Ferrante's (and Gyllenhall's) brilliance, at least in part, is how they recognize that just below the surface for so many women is this shadow, opposite, or inverse picture of womanhood in its many "identity" forms as mother, daughter, sister, friend, etc. It looks so bold to show women upending proper categories; Ferrante simply knows: we do not fit them. We only try to fit them. And when we don't it may be th most natural thing -- to be who we are -- but it looks brave or radical to speak it, or at least profoundly unsettling. So when you look at Elena and Lina as the same woman, in a sense, I get it.
Eloquent support, Carol, for the argument I posit here, and you get at why I wrote the essay. Thank you so. ~ Mary
This is a very interesting theory Mary, and I completely see your case for it. Whether Lenú and Lila are the same person, or two separate people, I think what Ferrante does so brilliantly is to write about the complexity of human nature, especially motherhood, femininity, friendship - all the while also presenting a complex Italian history, in which women are at the centre, and not the margins! I long argued that Ferrante’s strength might not be her beautiful language (I read her in the original Italian). Her language is deceptively “simplistic”. But few writers know the human psyche as well as she does! In all of her books there is this ambivalence. Ambivalence towards friendship, love, sex, relationships, writing… nothing is one dimensional. She also writes the best sex scenes. They are so uncomfortable to read, yet real. I wrote an entire play (in Italian) inspired by her line in “The days of abandonment” about “the stink of motherhood”!! The way she wrote about it blew my mind. Motherhood as a stink she tried to scrub off and couldn’t… I thought it was brave, vulnerable and also very recognisable. Certainly to me at the time, as a young mother. But a shameful admission than no mother would say in public, and so boldly! Ferrante was the writer who encouraged me to write about my experiences of motherhood with more honesty. I may not have had the courage to explore the complexity of marriage, motherhood and domestic violence if it wasn’t for Ferrante’s work. I could write so much more on this topic, but I’ll stop here because I’m already in tears…. :) I’m very much looking forward to the series (which I hope to watch on Italian Rai). Thank you for this beautiful essay Mary. How nice it would be to chat in person about Ferrante’s work.
Imola, I would so love to talk with you and perhaps we can arrange that. Your comment here is an essay in itself, much welcomed by me. I so wish I could read Ferrante in the Italian--as I have done with Marquez in the Spanish. I also think that you should write for us on Inner Life in the new year and will be in touch to arrange that. Thank you so for this full and open comment that extends my essay with immeasurable worth..