The next book I read from my “Summer Haul” was The Lost Daughter by Elena Ferrante. As I stated in my previous post, the novels I picked up in July seemed to anticipate my travels and my embracement of the season. They were thin books, foreign books, and all of them focused on relationships of one kind or another. I’ve been meaning to read more non-English language authors, as well as more female authors. Ferrante was the perfect choice. Her novel The Lost Daughter, in particular, is one that fits the season; it is set over a single summer, the narrator is herself on vacation, and the setting is a coastal town in Italy. But don’t get the wrong impression: this book is anything but light and cheery. It’s light in the sense that it’s easy to read, but it’s certainly not light in tone. This novel is one of the darkest, most unflinchingly-sober portraits of the human psyche and all its fascinating grotesquerie that I have ever read. And I love it. This might just be one of the greatest books I have ever read. I don’t really have favorite novelists, whose works I consume one after the other like so many Aunt Sally’s pralinettes. I drift from writer to writer, genre to genre. But Ferrante might just break this attitude of mine. I have to go back. I must go back. This person has something to say. Something unique and important. Ferrante’s insights into human nature are as cutting as they are utterly compelling. I’m going to read more of her work, and do my best not to read all her novels at once, so that I may maintain some basic semblance of variety. Even though Ferrante writes in a way completely different from Cormac McCarthy, they are alike in that they are the only two active writers that make me feel like I’m reading the work of genius. Something about them just seems- at least to me- a cut above the rest.
But who is this mysterious person upon whom I’m lavishing such praise? No fucking idea. You tell me. All that we know about Elena Ferrante is that she’s an Italian woman, born in 1943, raised in Naples, and that she has a degree in Classics. Since her literary career began in 1992, she’s opted to remain anonymous. There’s a lot of curiosity regarding her true identity, which I think is natural. But I nonetheless sympathize with the idea that everything a writer has or desires to say can be found in their work alone. I don’t think there’s necessarily anything wrong with someone trying to find out who she is- but what I don’t like is the idea of that person making her identity public. The instinct to know is fine, but the decision to violate her wish for privacy is flat out wrong. It’s egregiously offensive to publish someone’s personal details in the public sphere if they’ve requested anonymity. Besides, it achieves little of anything. We have her body of work in the public domain, and that’s all we need.
A lot of what is commonly believed about Ferrante is inferred from recurring themes in her novels. She writes about motherhood in a strikingly unsentimental way. The theme of ambivalent motherhood is very much at the center of The Lost Daughter– my introduction to Ferrante. In brief, the premise is thus: Leda is a single mom living in Florence, whose two daughters- now in their twenties- have left Italy to live with their father in Canada. At first, Leda feels like a weight has been lifted. With no responsibilities, she decides to take a break for the summer and do something for herself. She rents an apartment in a small coastal town and begins taking her books to the beach each day to study. It’s at this beach that she discovers this loud, brash, uncouth family from Naples that make her feel uneasy. A small crime is committed that brings her path and the Neapolitans’ together. As she becomes obsessed with them, she is forced to confront some dark things from her past.
You’re hooked now, aren’t you? Go out and buy a copy, because it doesn’t disappoint. The novel itself is only 140 pages long and it’s very straightforward. Like the last couple of books I’ve read, it’s not very plot-heavy. The adjective that comes foremost to my mind when describing the tone of this book is “confessional”. The events of the present are interspersed with Leda’s memories of the past. She muses on things and goes on tangents of thought, and much of it reads like an interior monologue. That might not sound exciting, but her thoughts are so raw and interesting that every page grows more addictive. I had to re-read several passages, not because I didn’t understand them, but because I found them so compelling. Every page seems to have a revelation of one kind or another. Like I said, it’s quite easy to read, for the reason that the protagonist is so forthcoming and straightforward. Nothing is dressed up in style, nothing is omitted for us to infer. Everything is conveyed in a very direct manner. But it’s no less profound or complex for being so accessible. The narrative voice suits the story. I’d like to see a creative writing professor try to tell Elena Ferrante she’s “telling and not showing” because to do so would be to invite a verbal truncheoning by every literary critic from here to Bishkek.
I loved this novel, and I can’t wait to read more Elena Ferrante and blog about it here on TumbleweedWrites. It’s a dark story, but it’s not dark in the Gillian Flynn sense of the word. The mothers of Ferrante aren’t poisoning their daughters, they’re just neglecting them. I’m just pointing this out in case you’re a squeamish type. There’s no gore here. Instead, The Lost Daughter’s darkness is manifest in its tone. It’s unsettling. It’s a powerful, challenging look at the relationships between mothers and daughters and the way the sins of the past come back to haunt the present. Anyway, I hope I’ve encouraged some of y’all to give Ferrante a read.
Let me know in the comments what you think of Elena Ferrante!
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