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

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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 Review of the Great Books The Story of a New Name, Those Who Leave and Those Who Stay, The Story of the Lost Child (The Neapolitan Novels #2-4) by Elena Ferrante 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

The interdisciplinary conference ‘Those who leave and those who stay: the consequences of emigration for sending countries’ aims to bring together researchers from different fields – political science, education, anthropology, history, political economy, and sociology, among others – who explore the socio-political and economic consequences of emigration for sending countries, regions and communities. The field of international migration is predominantly focused on the topic of immigration, debating its causes, the legal challenges it poses, and the way it has been politicised in receiving countries, among other topics of scholarly and political importance. Yet, there has been much less focus on ‘those who stay’, that is on how emigration transforms the places and people who are left behind.

What to do with this, we really don’t know—would a clearer argument, more engagement, have prevented the rape threat? Probably not. But it does seem clear that something about the shamelessness of how the original piece made an unsupportable claim, the refusal to inhabit “legitimate” modes of exchange, is part of what provoked it. A 32-part television series The Neapolitan Novels is also in the works and will be co-produced by the Italian producer Wildside for Fandango Productions, with screenwriting led by the writer Francesco Piccolo. [32] On March 30, 2017, it was announced that HBO and RAI would broadcast the first eight episodes which are an adaptation of My Brilliant Friend, the first of the four Neapolitan Novels, [33] and they premiered on HBO on November 18, 2018. [34]

If you’re looking for a series of books you can fall in love with, take a look at Elena Ferrante’s best-selling, four-book series of Neapolitan Novels. We noticed that the last book in the series, The Story of the Lost Child, made a lot of “Best Books of 2015” lists including NPR, the New York Times and O Magazine, so we decided to take a look for ourselves. The books also made our list of favorites. You’re in for a treat! 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? In a recent interview, Ferrante explained that, for her, “the passion to write never coincided with the desire to become a writer .” In Italy, where the cult of celebrity can be especially toxic, her anonymity is not a denial of the presence of herself in her works (“what lies silent in the dep­ths of me”) but, rather, of “the media emphasis, the predo­minance of the icon of the author over his work.” She repeats again and again in Fragments that although she brings her novels to life, they must then be allowed to stand alone, separate from her.

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In Those Who Leave and Those Who Stay, Elena Ferrante’s characters deal with love and strife in a changing world. Lenù is a critic and a novelist, and yet neither of those modes of writing or evaluation have helped her answer the most urgent questions she has. For Lenù, criticism is not even an objective mode of evaluation: instead, it manifests narratively mostly as a series of bad boyfriends and bad moms, counterweighted for a while, Nancy Meyer-ishly, by increasingly nice apartments. In other words, as a life.

One woman is always leaving the other behind, or, rather, “fleeing” her, as the original “fugge” of the Italian title puts it. First Elena left their grubby, provincial hometown to become a celebrated author, rising academic, and now the wife of a prominent young Florentine professor. But Lila is not to be outdone; although she has dropped out of school, remained poor, and been through a failed marriage, her ambitions remain. Soon Elena falls into postpartum depression and stalls in her career, while the unusually intelligent, still-beautiful Lila finds success as a factory technician and revolutionary voice in the politically agitated moment of 1968. Whoever is faltering in the given moment chases the other down to beg for her support, yet every conversation is inevitably tense, full of bluffing, accusations, and denials, because the balance of power could shift at any moment—a new reversal is often lurking just around the following corner of the sentence. At some point it becomes impossible to tell who is chasing whom. In all cases Ferrante remains ahead of her reader.Roxborough, Scott (September 3, 2018). "HBO's Big Italian Bet With 'My Brilliant Friend' ". The Hollywood Reporter . Retrieved September 7, 2018. While each of her novels is uniquely beguiling, they interrogate a shared set of concerns and obsessions, with bracing narrative frankness. The cumulative effect of her oeuvre is that of reading the distillation of someone’s deepest, most furtive thoughts. The narrator is Elena Greco, the brilliant writer who still struggles with her place in the world. Early in the novel she reconnects with Nino Sarratore, the young man from the neighborhood who has made himself a great name. He still holds a place in her heart. After her book is published to great success and receives a lot of attention, particularly its “racy” scenes, Elena marries Professor Pietro Airota and moves to Florence. This third volume of the Neopolitan trilogy continues to chronicle the turbulent lives of longtime friends Lila and Elena, as begun in the enigmatic Ferrante’s My Brilliant Friend (2012) and The Story of a New Name (2013).