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The Story of the Lost Child (2014)

de Elena Ferrante

Outros autores: Veja a seção outros autores.

Séries: Neapolitan Novels (4)

MembrosResenhasPopularidadeAvaliação médiaMenções
1,823866,808 (4.25)121
Here is the dazzling saga of two women: the brilliant, bookish Elena and the fiery, uncontainable Lila. Both are now adults; many of life's great discoveries have been made, its vagaries and losses have been suffered. Through it all, the women's friendship has remained the gravitational center of their lives. Both women once fought to escape the neighborhood in which they grew up-a prison of conformity, violence, and inviolable taboos. Elena married, moved to Florence, started a family, and published several well-received novels. In this final book, she has returned to Naples. Lila, on the other hand, never succeeded in freeing herself from the city of her birth. She has become a successful entrepreneur, but her success draws her into closer proximity to the nepotism, chauvinism, and criminal violence that infect her neighborhood. Nearness to the world she has always rejected only brings her role as its unacknowledged leader into relief. For Lila is unstoppable, unmanageable, and unforgettable. Against the backdrop of a Naples that is as seductive as it is perilous, the story of a lifelong friendship is told with unmatched honesty and brilliance. The four volumes in this series constitute a long, remarkable story that listeners will return to again and again, and every return will bring with it new revelations.… (mais)
Adicionado recentemente porbiblioteca privada, RosanaDR, LasellVillage, gamasennin, Rodahc, GabbadelaMoraP, Dabs, mirmir, m_z, GillKHart
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Mostrando 1-5 de 86 (seguinte | mostrar todas)
Even if we don’t admit or try to deny it, we all have a difficult relationship with mirrors. As I age, I believe I have become more disdainful of it, less preoccupied with the reflection of myself, less worried that I don’t conform to some societal rules of beauty or femininity. Yet, if I don’t scrutinize the mirror as I once did in my teenage years – oh, those years when the mirror seemed to reflect so much of my perceived faults – these days the mirror surprises me. There are times when a fast glance shows not the person I perceive myself to be, but I get glimpses of my mother, my grandmothers, my sisters, or even my father in a nanosecond of time. A smile, a wrinkle, a stance… all remind me of others, what I have become or will become, and what I am no longer.

What if then the mirror was alive, an organic entity, that also changed as time went by? Would the mirror see in us its faults? Would the mirror idealize us or hate us?

In this series – I am writing this one single review for the 4 books as I felt them to be too interconnected to be reviewed separately – Elena Ferrante’s writing made me think of mirrors constantly. The 2 main characters lives are connected in a web of relationships, friendship, cultural and geographical background, aspirations, tragedy, envy, love and hate. They reflected each other’s lives and used such reflection as measurement of themselves, either being propelled forward by the comparison, or held back in a stated of continual resentment and hurt for what they did not achieve. We all have experienced this, I am sure. The facebook friend’s vacation that reminds us that we have not had a vacation in a long time. The high school classmate that looks so much younger, happier and richer than we do. Or the one that has been struck by personal tragedy and that reminds us that our own lives are blessed after all. All reflecting back at us, as true mirrors, our unfilled dreams, our shortcomings and, if we perceive ourselves being happy and successful, our pride and entitlement.

In the background of the main storyline, the lives of two women for more than 50 years, we learn of the neighborhood dynamics in this Naples shantytown, then of the political and cultural waves happening in Italy. We are exposed to motherhood, feminism, class warfare, family dysfunction, sexual awakening, violence, etc, etc, etc….

If I have one complain about Elena Ferrante’s writing is that it seems too long winding at times. She – whoever she may be, or he, as Elena Ferrante is an alias and although all the speculation about its true identy, we might never know – has a love for words and descriptions. We as readers can almost feel the pleasure she must have felt writing long and beautiful lines. I felt as drunk for her words as she must have felt writing them. But at times I wished that the narrator hurried on. The amount of detail seemed unnecessary and overly done. However I will forgive her, because when it was finally done, I felt sorry that she had not keep on going and lulled me along for yet longer.

I should mention that I listened to the whole series in audio and that Hilary Huber does a beautiful and nuanced reading of it.
( )
  RosanaDR | Apr 15, 2021 |
Por fin terminé la saga #dosamigas de #elenaferrante. Creo que en las últimas semanas incluso me hice boicot para no desprenderme de los personajes.
Va a ser difícil olvidarme de ellas, de la muchas mujeres que son a la vez y más difícil decidir qué libro elegir para desaparecer de Nápoles y sus calles o nomás, pa volver a desaparecer...
El final no me mata y me parece que después de 4 libros deja algunas cosas inconclusas o sin profundizar. ( )
  GabbadelaMoraP | Apr 8, 2021 |
Elsa Ferrante a réussi à écrire une fresque ample et très vivante de Naples et de l’Italie, au sortir de la seconde guerre mondiale jusqu’à la fin du siècle, en passant par les noires années du fascisme.
C’est une véritable saga mettant en scène de multiples personnages presque tous liés les aux autres d’une manière ou d’une autre. Il y est question de plusieurs familles dont certaines se vouent une haine féroce.
Les personnages au centre du récit sont Elena, la narratrice qui, aux moyens d’efforts scolaires sans compter, parviendra à sortir du lot jusqu’à devenir une auteure assez célébrée, et Lila, camarade d’école extraordinairement intelligente et douée qui, happée par la pauvreté de son milieu, se marie très jeune avec un boutiquier sans jamais mettre à profit ses dons hors du commun.
Tandis que le premier volume décrit les années d’enfance et d’adolescence, les deux tomes qui suivent font le récit de l’âge adulte, le quatrième allant jusqu’à l’orée de la vieillesse.
Fidélité à l’enfance en même temps qu’un immense besoin de s’affranchir de la misère qu’elle caractérise, tant matérielle qu’intellectuelle au sein de la famille : la tétralogie d’Elena Ferrante est un long roman d’apprentissage dans lequel l’évolution n'est jamais linéaire. De doutes en remises en question, d’échecs en succès, de belles surprises en revers, rien n’est jamais acquis et l’objectif d’une vie supérieure et « heureuse » (si tant est que le bonheur ait véritablement un sens dans ce récit) se vit d’abord comme une course aveugle entre rivaux (mais n’en est-il pas hélas ainsi de tant de vies ?). Elena et Lila n’ont de cesse de se mesurer l’une à l’autre, de s’ignorer et de se dévorer tour à tour, de s’aimer et de se détester. Elles peinent à exister sans le regard de l’autre, encore davantage sous le regard de l’autre.
Caractère insondable, trouble, ambivalent et terriblement inconstant des relations que l’on entretient avec autrui, notamment au sein d’une relation « amicale ». On est loin de l’amitié de Montaigne et de La Boétie !
Il faut dire qu’aucun personnage ne suscite la sympathie dans cette tétralogie à la fois sombre et réaliste (ou alors de courte durée). Chacun est dépeint, à commencer par la narratrice, dans sa vérité la plus crue et souvent peu reluisante. Colère, envie, jalousie, désir de vengeance et d’écraser « son prochain » occupent la plupart des personnages. Il y a heureusement des exceptions : Enzo, compagnon taiseux et stable de Lila après qu’elle ait quitté son mari, et Pietro, mari d’Elena que cette dernière quittera pour Nino, l’amour d’enfance, brillant et séduisant, ambitieux et malin, mais qui aime toutes les femmes et qui n’appartient à personne.
Source d’agacement régulière par la profusion de détails qu’il charrie, ce long roman n’en étonne pas moins par son ampleur et sa force. Que de personnages, que de thématiques, quel regard acéré et sans concession porté sur les relations interpersonnelles ! Amitié, folie amoureuse, carcan familial, affranchissement par l’acquisition de connaissance, militantisme, mafia, écriture, sexualité, violence, féminisme, maternité, deuil, etc., font partie des nombreuses thématiques véritablement développées et en aucun cas effleurées.
On est effrayé par le degré de violence omniprésente régnant à Naples au siècle dernier (et il n’est pas certain que cette violence se soit radicalement apaisée depuis), par le caractère inextricable de l’attachement à la famille, y compris quand elle montre son visage le plus monstrueux.
Le premier tome, plus particulièrement dédié aux années d’enfance et d’adolescence des deux protagonistes, a suscité chez moi un intérêt somme toute un peu tiède. Il n’en a pas été de même avec les deux tomes suivants, que j’ai trouvés plus mûrs et plus percutants, alors que l’on assiste au combat de personnages, désormais plus familiers et plus riches par l’épaisseur que l’auteure leur a conféré, tentant de faire face à leur existence et même de lui donner un sens (par le militantisme, le terrorisme, l’écriture, l’amour, l’agent…). Petite baisse de régime, me semble-t-il, dans le quatrième et derrnier tome... peut-être en écho au rythme des existences qui faiblit au fur et à mesure du temps qui passe ? ( )
  biche1968 | Feb 5, 2021 |
A breathless sovereign capstone. ( )
  _janson_ | Jan 22, 2021 |
My least favorite of the four -- in spite of the terrible tragedy (see title), the book does not really dwell on it -- if you don't read carefully you may actually miss the event. Everyone is older but does not appear to be learning a lot about themselves, and the characters who used to be likable are no longer so. ( )
  WiebkeK | Jan 21, 2021 |
Mostrando 1-5 de 86 (seguinte | mostrar todas)
Ferrante evokes this unforgiving and opaque culture with great power. Its malevolence affects almost everyone.
adicionado por ScattershotSteph | editarThe New York Review of Books, Roger Cohen (pay site) (May 26, 2016)
 
Ferrante’s accomplishment in these novels is to extract an enduring masterpiece from dissolving margins, from the commingling of self and other, creator and created, new and old, real and whatever the opposite of real may be.
 
[Ferrante] has charted, as precisely as possible, the shifts in one person’s feelings and perceptions about another over time, and in so doing has made a life’s inferno recede even as she captures its roar.
 
Elena brings up every objection to the entire endeavour that a reader might have. If it is so-called auto-fiction then why is it not a mess, like life? If it is the story of a friendship then isn’t every word a betrayal to that friend? If it is sincere and authentic, why is the author’s name on the cover a lie? Borders between autobiography and fiction dissolve, just as the edges of Lila (both her sanity and her body) blur, and Elena provides a continual commentary on this process. Rather than this being annoying and meta, the effect is to make the writing feel alive.
 
Ferrante is no Balzac or Dickens or Trollope; she is not Zola or Tolstoy. Her narrator does not have the storyteller’s wider vision. Unlike War and Peace, Ferrante’s big book has a narrow lens, and her idea of friendship is more about shared experience than affection.
 

» Adicionar outros autores (19 possíveis)

Nome do autorFunçãoTipo de autorObra?Status
Ferrante, Elenaautor principaltodas as ediçõesconfirmado
Damien, ElsaTradutorautor secundárioalgumas ediçõesconfirmado
Goldstein, AnnTradutorautor secundárioalgumas ediçõesconfirmado
Krieger, KarinÜbersetzerautor secundárioalgumas ediçõesconfirmado
Laake, Marieke vanTradutorautor secundárioalgumas ediçõesconfirmado
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Here is the dazzling saga of two women: the brilliant, bookish Elena and the fiery, uncontainable Lila. Both are now adults; many of life's great discoveries have been made, its vagaries and losses have been suffered. Through it all, the women's friendship has remained the gravitational center of their lives. Both women once fought to escape the neighborhood in which they grew up-a prison of conformity, violence, and inviolable taboos. Elena married, moved to Florence, started a family, and published several well-received novels. In this final book, she has returned to Naples. Lila, on the other hand, never succeeded in freeing herself from the city of her birth. She has become a successful entrepreneur, but her success draws her into closer proximity to the nepotism, chauvinism, and criminal violence that infect her neighborhood. Nearness to the world she has always rejected only brings her role as its unacknowledged leader into relief. For Lila is unstoppable, unmanageable, and unforgettable. Against the backdrop of a Naples that is as seductive as it is perilous, the story of a lifelong friendship is told with unmatched honesty and brilliance. The four volumes in this series constitute a long, remarkable story that listeners will return to again and again, and every return will bring with it new revelations.

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