BBC World Service - Weekend, Man Booker Shortlist: Translating Elena Ferrante". BBC News . Retrieved 2023-02-27.

Elena Ferrante's Naples: A Visual Promenade." Le Nouvel Observateur, October 28, 2016. A tour of the novels' Neapolitan settings.

Those Who Leave and Those Who Stay Full Details

a b Hill, Katherine (2020-01-29). "The Elena Ferrante in My Head". The Paris Review . Retrieved 2023-02-27. What are the consequences of emigration for political participation in sending countries? Has ‘exit’ hindered ‘voice’ at home? Has emigration diminished or rather transformed protest mobilization and electoral participation in sending countries?

In this third Neapolitan novel, Elena and Lila, the two girls whom readers first met in My Brilliant Friend, have become women. Lila married at sixteen and has a young son; she has left her abusive husband and now works as a common laborer. Elena has left the neighborhood, earned her college degree, and published a successful novel, all of which have opened the doors to a world of learned interlocutors and richly furnished salons. Both women have pushed against the walls of a prison that would have seen them living a life of misery, ignorance, and submission. They are afloat on the great sea of opportunities that opened up during the nineteen-seventies. Yet they are still very much bound to each other by a strong, unbreakable bond. Those Who Leave and Those Who Stay (The Neapolitan Novels, #3) by Elena Ferrante – eBook Details In The Guardian, it was noted the growing popularity of Ferrante, especially among writers: "Partly because her work describes domestic experiences – such as vivid sexual jealousy and other forms of shame – that are underexplored in fiction, Ferrante's reputation is soaring, especially among women (Zadie Smith, Mona Simpson and Jhumpa Lahiri are fans)". [9] 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. Virginia Fanny Faccenda (University Saint-Louis Bruxelles) and Mariam Camilla Rechchad (University of Turin)

Subjects

The Story of the Lost Child; won the 2016 ALTA Translation Prizes, in the category translations form Italian. [28] The latter is certainly felt in the novel’s bold turns to the future, and its motion of “fleeing” old ruins. Through her characters’ travels and travails, it could be said, Ferrante sings of arms and the woman. Elena struggles throughout Those Who Leave to find the courage to live and write again after enduring a dismissive husband and the widespread panning of her second novel. Through her, Ferrante has also broken through a wall of sorts, and though there is a tone of bitterness throughout the novel, it closes in a fire of triumphant exultation, not merely “fleeing” but taking flight. “I wanted to become, even though I had never known what,” Ferrante writes. 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. The series follows the lives of two perceptive and intelligent girls, Elena (sometimes called "Lenù") Greco and Raffaella ("Lila") Cerullo, from childhood to adulthood and old age, as they try to create lives for themselves amidst the violent and stultifying culture of their home – a poor neighborhood on the outskirts of Naples, Italy. [4] The novels are narrated by Elena Greco. 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.

With the publication of her Neapolitan Novels, (Ferrante) has established herself as the foremost writer in Italy—and the world."— The Sunday Times 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. A meeting with Pietro’s sister Mariarosa introduces Elena to the feminist cause, and there she finds her voice. As a model for her own life, Elena explores how women can only be defined in society by their men. In the midst of a creative frenzy that finally gives her life, Nino Sarratore shows up once more and plants small seeds of dissent in Elena’s heart. Next to Nino, Pietro looks even more drab and dull, while Nino is filled with vibrant ideas and political furor. Under Nino’s encouragement, Elena finishes her essay and it is brilliant. The two begin an affair that eventually ends with both of them leaving their families and traveling away together. Unchained and untamed: women who left Turkey for Europe in the early emigration period (1960-1970s) We might also measure the forcefulness of its impact in another way, one that we hope shows that we are not making an ideological or political claim about the positive value of this mode of writing: it’s the only thing we’ve ever run in Avidly that ever provoked a rape threat.

Our essay sought to interrupt what seemed to be a consensus opinion that the covers were, obviously, “bad.” But we didn’t want to argue that they were, in fact, “good.” We wanted to poke at what we maintain are the misogynistic value claims about good and bad taste. Critics seemed to agree, no matter where they were writing, that the “cheesy romance novel” quality of the covers was antithetical to good writing, good thinking, or even a good account of anarchic emotional life (and thus that if the covers had any merit, it was ironic, still buying into the same standards of taste). Yet, we argued, this was wrong. We wrote: Harnett, Emily (2016-07-03). "The Subtle Genius of Elena Ferrante's Bad Book Covers". The Atlantic . Retrieved 2023-02-27.