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My Brilliant Friend: Neapolitan Novels, Book One, by Elena Ferrante
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A modern masterpiece from one of Italy’s most acclaimed authors, My Brilliant Friend is a rich, intense, and generous-hearted story about two friends, Elena and Lila. Ferrante’s inimitable style lends itself perfectly to a meticulous portrait of these two women that is also the story of a nation and a touching meditation on the nature of friendship.
The story begins in the 1950s, in a poor but vibrant neighborhood on the outskirts of Naples. Growing up on these tough streets the two girls learn to rely on each other ahead of anyone or anything else. As they grow, as their paths repeatedly diverge and converge, Elena and Lila remain best friends whose respective destinies are reflected and refracted in the other. They are likewise the embodiments of a nation undergoing momentous change. Through the lives of these two women, Ferrante tells the story of a neighborhood, a city, and a country as it is transformed in ways that, in turn, also transform the relationship between her protagonists, the unforgettable Elena and Lila.
Ferrante is the author of three previous works of critically acclaimed fiction: The Days of Abandonment, Troubling Love, and The Lost Daughter. With this novel, the first in a tetralogy, she proves herself to be one of Italy’s great storytellers. She has given her readers a masterfully plotted page-turner, abundant and generous in its narrative details and characterizations, that is also a stylish work of literary fiction destined to delight her many fans and win new readers to her fiction.
From the Trade Paperback edition.
- Sales Rank: #438 in eBooks
- Published on: 2012-09-25
- Released on: 2012-09-25
- Format: Kindle eBook
Review
Praise for Elena Ferrante and�The Neapolitan Novels
The United States
“Ferrante’s novels are intensely, violently personal, and because of this they seem to dangle bristling key chains of confession before the unsuspecting reader.” —James Wood,�The New Yorker
�
“One of the more nuanced portraits of feminine friendship in recent memory.” —Megan O’Grady,�Vogue
�
“Amazing!�My Brilliant Friend�took my breath away. If I were president of the world I would make everyone read this book. It is so honest and right and opens up heart to so much. Reading Ferrante reminded me of that child-like excitement when you can’t look up from the page, when your eyes seem to be popping from your head, when you think: I didn’t know books could do this!” —Elizabeth Strout,�author of�Olive Kitteridge
�
“I like the Italian writer, Elena Ferrante, a lot. I've been reading all her work and all about her.” —�John Waters,�actor and director
�
“Elena Ferrante may be the best contemporary novelist you’ve never heard of”—�The Economist
�
“Ferrante’s freshness has nothing to do with fashion…it is imbued with the most haunting music of all, the echoes of literary history.”�—The New York Times Book Review
�
“I am such a fan of Ferrante’s work, and have been for quite a while.” —Jennifer Gilmore,�author of�The Mothers
�
“The women’s fraught relationship and shifting fortunes are the life forces of the poignant book” —�Publisher’s Weekly
�
“When I read [the Neapolitan novels] I find that I never want to stop. I feel vexed by the obstacles—my job, or acquaintances on the subway—that threaten to keep me apart from the books. I mourn separations (a year until the next one—how?). I am propelled by a ravenous will to keep going.”—Molly Fischer,�The New Yorker
“[Ferrante’s Neapolitan Novels] don’t merely offer a teeming vision of working-class Naples, with its cobblers and professors, communists and mobbed-up businessmen, womanizing poets and downtrodden wives; they present one of modern fiction’s richest portraits of a friendship.”�—John Powers, Fresh Air,�NPR
�
“Elena Ferrante is one of the great novelists of our time. Her voice is passionate, her view sweeping and her gaze basilisk . . . In these bold, gorgeous, relentless novels, Ferrante traces the deep connections between the political and the domestic. This is a new version of the way we live now — one we need, one told brilliantly, by a woman.”—Roxana Robinson, The New York Times Book Review
�
“An intoxicatingly furious portrait of enmeshed friends Lila and Elena, Bright and passionate girls from a raucous neighborhood in world-class Naples. Ferrante writes with such aggression �and unnerving psychological insight about the messy complexity of female friendship that the real world can drop away when you’re reading her.”—Entertainment Weekly
"It's just hypnotic.�I could not stop reading it or thinking about it."—Hillary Clinton
�
“Ferrante seasons the prose with provocative perceptions not unlike the way Proust did.”�—Shelf Awareness
�
“It would be difficult to find a deeper portrait of women’s friendship than the one in Ferrante’s Neapolitan novels, which unfold from the fifties to the twenty-first century to tell a single story with the possessive force of an origin myth.”—Megan O’Grady,�Vogue�
�
“Ferrante’s writing is so unencumbered, so natural, and yet so lovely, brazen, and flush. The constancy of detail and the pacing that zips and skips then slows to a real-time crawl have an almost psychic effect, bringing you deeply into synchronicity with the discomforts and urgency of the characters’ emotions. Ferrante is unlike other writers—not because she’s innovative, but rather because she’s unselfconscious and brutally, diligently honest.”—Minna Proctor,�Bookforum
�
“Ferrante can do a woman’s interior dialogue like no one else, with a ferocity that is shockingly honest, unnervingly blunt.”—Booklist
�
“The truest evocation of a complex and lifelong friendship between women I’ve ever read.”�—Emily Gould,�author of�Friendship
�
“Elena Ferrante is the author of several remarkable, lucid, austerely honest novels . . . My Brilliant Friend is a large, captivating, amiably peopled bildungsroman.”—James Wood,�The New Yorker
�
“Compelling, visceral and immediate . . . a riveting examination of power . . . The Neapolitan novels are a tour de force.”—Jennifer Gilmore,�The Los Angeles Times
�
“Those Who Leave and Those Who Stay�surpasses the rapturous storytelling of the previous titles in the Neapolitan Novels.”—Publishers Weekly�(starred review)
�
“Ferrante’s voice feels necessary. She is the Italian Alice Munro.”—Mona Simpson,author of�Casebook�and�Anywhere But Here
�
“Elena Ferrante will blow you away.”—Alice Sebold,�author of�The Lovely Bones
�
“The Days of Abandonment�is a powerful, heartrending novel.”—Jhumpa Lahiri, Pulitzer-prize winning author of�The Lowland�
�
“The Neapolitan novel cycle is an unconditional masterpiece . . . I read all the books in a state of immersion; I was totally enthralled. There was nothing else I wanted to do except follow the lives of Lila and Len� to the end.”—Jhumpa Lahiri, Pulitzer-prize�winning author of�The Lowland
�
“Reading Ferrante reminded me of that child-like excitement when you can’t look up from the page, when your eyes seem to be popping from your head, when you think: I didn’t know books could do this!”—Elizabeth Strout, Pulitzer-prize winning author of�The Burgess Boys
�
“Elena Ferrante: the best angry woman writer ever!”—John Waters, director
�
“The feverish speculation about the identity of Elena Ferrante betrays an understandable failure of imagination: it seems impossible that right now somewhere someone sits in a room and draws up these books. Palatial and heartbreaking beyond measure, the Neapolitan novels seem less written than they do revealed. One simply surrenders. When the final volume appears—may that day never come!—they’re bound to be acknowledged as one of the most powerful works of art, in any medium, of our age.”—Gideon Lewis-Kraus, author of�A Sense of Direction
�
“Ferrante tackles girlhood and friendship with amazing force.”—Gwyneth Paltrow, actor
�
“Elena Ferrante’s The Story of a New Name. Book two in her Naples trilogy. Two words: Read it.”—Ann Hood, writer (from Twitter)
�
“Ferrante continues to imbue this growing saga with great magic.”—Booklist(starred review)
�
“One of Italy’s best contemporary novelists.”?—The�Seattle Times
“Ferrante’s emotional and carnal candor are so potent.”—Janet Maslin,�The New York Times
�
“Elena Ferrante’s gutsy and compulsively readable new novel, the first of a quartet, is a terrific entry point for Americans unfamiliar with the famously reclusive writer, whose go-for-broke tales of women’s shadow selves—those ambivalent mothers and seething divorc�es too complex or unseemly for polite society (and most literary fiction, for that matter)—shimmer with Balzacian human detail and subtle psychological suspense . . . The Neapolitan novels offer one of the more nuanced portraits of feminine friendship in recent memory—from the make-up and break-up quarrels of young girls to the way in which we carefully define ourselves against each other as teens—Ferrante wisely balances her memoir-like emotional authenticity with a wry sociological understanding of a society on the verge of dramatic change.”�—Megan O’Grady,�Vogue
�
“My Brilliant Friend is a sweeping family-centered epic that encompasses issues of loyalty, love, and a transforming Europe. This gorgeous novel should bring a host of new readers to one of Italy’s most acclaimed authors.”—The�Barnes and Noble Review
�
“Ferrante draws an indelible picture of the city’s mean streets and the poverty, violence and sameness of lives lived in the same place forever . . . She is a fierce writer.”—Shelf Awareness
�
“Ferrante transforms the love, separation and reunion of two poor urban girls into the general tragedy of their city.”––The New York Times
�
“Beautifully translated by Ann Goldstein . . . Ferrante writes with a ferocious, intimate urgency that is a celebration of anger. Ferrante is terribly good with anger, a very specific sort of wrath harbored by women, who are so often not allowed to give voice to it. We are angry, a lot of the time, at the position we’re in—whether it’s as wife, daughter, mother, friend—and I can think of no other woman writing who is so swift and gorgeous in this rage, so bracingly fearless in mining�fury.”—Susanna Sonnenberg, The�San Francisco Chronicle
�
“Everyone should read anything with Ferrante’s name on it.”—The Boston Globe
�
“The through-line in all of Ferrante’s investigations, for me, is nothing less than one long, mind-and-heart-shredding howl for the history of women (not only Neapolitan women), and its implicit j’accuse . . . Ferrante’s effect, critics agree, is inarguable. ‘Intensely, violently personal’ and ‘brutal directness, familial torment’ is how James Wood ventures to categorize her—descriptions that seem mild after you’ve encountered the work.”�—Joan Frank,�The�San Francisco Chronicle
�
“Lila, mercurial, unsparing, and, at the end of this first episode in a planned trilogy from Ferrante, seemingly capable of starting a full-scale neighborhood war, is a memorable character.”—Publishers Weekly
�
“An engrossing, wildly original contemporary epic about the demonic power of human (and particularly female) creativity checked by the forces of history and society.”�—The Los Angeles Review of Books
�
“Ferrante’s own writing has no limits, is willing to take every thought forward to its most radical conclusion and backwards to its most radical birthing.”�—The New Yorker
The United Kingdom
“The Story of a New Name, like its predecessor, is fiction of the very highest order.”—Independent on Sunday
�
“My Brilliant Friend, translated by Ann Goldstein, is stunning: an intense, forensic exploration of the friendship between Lila and the story’s narrator, Elena. Ferrante’s evocation of the working-class district of Naples where Elena and Lila first meet as two wiry eight-year-olds is cinematic in the density of its detail.”—The Times Literary Supplement
�
“This is a story about friendship as a mass of roiling currents—love, envy, pity, spite, dependency and Schadenfreude coiling around one another, tricky to untangle.”—Intelligent Life
�
“Elena Ferrante may be the best contemporary novelist you have never heard of. The Italian author has written six lavishly praised novels. But she writes under a pseudonym and will not offer herself for public consumption. Her characters likewise defy convention . . . Her prose is crystal, and her storytelling both visceral and compelling.”—The Economist
�
Ferrante is an expert above all at the rhythm of plotting: certain feuds and oppositions are kept simmering and in abeyance for years, so that a particular confrontation – a particular scene – can be many hundreds of pages in coming, but when it arrives seems at once shocking and inevitable.”—The Independent
Italy
�
“Those Who Leave and Those Who Stay evokes the vital flux of a heartbeat, of blood flowing through our veins.”––La Repubblica
�
“We don’t know who she is, but it doesn’t matter. Ferrante’s books are enthralling self-contained monoliths that do not seek friendship but demand silent, fervid admiration from her passionate readers . . . The thing most real in these novels is the intense, almost osmotic relationship that unites Elena and Lila, the two girls from a neighborhood in Naples who are the peerless protagonists of the Neapolitan novels.”—Famiglia Cristiana
�
“Today it is near impossible to find writers capable of bringing smells, tastes, feelings, and contradictory passions to their pages. Elena Ferrante, alone, seems able to do it. There is no writer better suited to composing the great Italian novel of her generation, her country, and her time than she.”—Il Manifesto
�
“Elena Ferrante is a very great novelist . . . In a world often held prisoner to minimalism, her writing is extremely powerful, earthy, and audacious.”—Francesca Marciano, author of�The Other Language
�
“Regardless of who is behind the name Elena Ferrante, the mysterious pseudonym used by the author of the Neapolitan novels, two things are certain: she is a woman and she knows how to describe Naples like nobody else. She does so with a style that recalls an enchanted spider web with its expressive power and the wizardry with which it creates an entire world.”�—Huffington Post�(Italy)
�
“A marvel that is without limits and beyond genre.”—Il Salvagente
“Elena Ferrante is proving that literature can cure our present ills; it can cure the spirit by operating as an antidote to the nervous attempts we make to see ourselves reflected in the present-day of a country that is increasingly repellent.”—Il Mattino
“My Brilliant Friend flows from the soul like an eruption from Mount Vesuvio.”—La Repubblica
Australia
�
“No one has a voice quite like Ferrante’s. Her gritty, ruthlessly frank novels roar off the page with a barbed fury, like an attack that is also a defense . . . Ferrante’s fictions are fierce, unsentimental glimpses at the way a woman is constantly under threat, her identity submerged in marriage, eclipsed by motherhood, mythologised by desire. Imagine if Jane Austen got angry and you’ll have some idea of how explosive these works are.”—John Freeman,�The Australian
�
“One of the most astounding—and mysterious—contemporary Italian novelists available in translation, Elena Ferrante unfolds the tumultuous inner lives of women in her thrillingly menacing stories of lost love, negligent mothers and unfulfilled desires.”—The Age
�
“Ferrante bewitches with her tiny, intricately drawn world . . . My Brilliant Friend journeys fearlessly into some of that murkier psychological territory where questions of individual identity are inextricable from circumstance and the ever-changing identities of others.”�—The Melbourne Review
�
“The Neapolitan novels move far from contrivance, logic or respectability to ask uncomfortable questions about how we live, how we love, how we singe an existence in a deeply flawed world that expects pretty acquiescence from its women. In all their beauty, their ugliness, their devotion and deceit, these girls enchant and repulse, like life, like our very selves.”�—The�Sydney Morning Herald
�
“The best thing I’ve read this year, far and away, would be Elena Ferrante…I just think she puts most other writing at the moment in the shade. She’s marvelous. I like her so much I’m now doing something I only do when I really love the writer: I’m only allowing myself two pages a day.”�—Richard Flanagan, author of Book prize finalist,�The Narrow Road to the Deep North
Spain
�
“Elena Ferrante’s female characters are genuine works of art . . . It is clear that her novel is the child of Italian neorealism and an abiding fascination with scene.”—El Pais
About the Author
Elena Ferrante was born in Naples, Italy. She is the author of My Brilliant Friend, The Story of a New Name, and her previous novels�The Days of Abandonment, Troubling Love, and The Lost Daughter.
Most helpful customer reviews
235 of 250 people found the following review helpful.
A great book about friendship, but also about poverty, backwardness, and isolation.
By sumoran
This is a great book. Not everybody will enjoy it and it is definitively not a chick-lit.
While this is a book about friendship, I noticed that a lot of people with negative reviews came disappointed with that aspect of the book. This is a brilliant book about more than just friendship. It is also a powerful story about poverty, backwardness, class, and isolation (I know, favorite topics of most readers). What is brilliant about the book's treatment of these problems, is that while it is placed in a specific place and time (Naples in 1950s), it gets to the universal effects these problems create in people's lives from childhood onwards. In essence, it says a lot about poor rural areas or urban ghettoes in the US in 2014.
This is also a book about what it takes to get out of these problems and about the power of example, love, and friendship.
It is written in a direct and sometimes disturbing way. It's raw. There is no hiding or prettifying the truth.
So, if you are looking for a chick-lit, keep looking. If violence and abuse of any kind disturb you, move on. If you want something that will make you feel good at all times, do the same.
Finally, it gets better after a first quarter or so. It is worth sticking with it even if your are not excited early on.
6 of 6 people found the following review helpful.
A boring book!
By Kate Runyan
My Brilliant Friend is a slow moving and very boring novel with far too many characters perhaps the author thinks she's a 19th century Russian novelist. I found the prologue interesting and engaging where and why had Lila totally disappeared without a trace, although rather odd and not engaging but still I was mildly curious. The reasons about why was she doing that, why and where she totally vanished without a trace, that was never answered, maybe in some much later book as I'm not sure that I'll finish this book it's so boring I certainly won't get onto later books, who cares about any of these characters. After a few pages, the author got into childhood situations and their family in Naples in the 50's, and I didn't care in the least. I midly wanted to know what happened to Lila, but I could have done without a long rendition on her childhood and all the interconnections , or it could have been handled briefly in a few pages.
5 of 5 people found the following review helpful.
Complex friendships born in poverty
By A. Murphy
This has been popping up on lists of must-reads and recommendations all over the place for me. I was excited to dive in, but it took me a full ninety pages before I really felt like I was invested in the book and enjoying it. Maybe I just wasn't in the mood, maybe it dragged in places, maybe I just took me a minute to get my head around the extensive list of characters in the story. Whatever the reason, it took a while for this one to click, but I am glad I stuck with it.
I am into the second book now and there are a lot of threads and themes to follow in this story. The ones that stood out for me were the poverty and friendship themes. This is the story of two girls and their friendship through the years, but as any woman knows, those friendships are complicated and nuanced in a way that only female relationships can be. This book is an introduction to that friendship, with all of the petty jealousies of youth, the codependency, the comparisons, and the competitiveness. All of this is slowly and subtly wound into the story so that you care deeply about Lila and Lenu, but also so that you feel their malaise, the pull they have on each other and the effect that the community has on them.
The second theme that really struck me was the one of poverty and the impact that it has on individuals and the community. The overarching poverty of this neighbourhood in the post-war years governs the behaviour of everyone. The way that is demonstrated through violence was very familiar to me. Although the circumstances are not at all the same, I grew up near a town called Mt. Druitt in Australia, that was once one of the poorest suburbs in Sydney. The pervasiveness and acceptance of violence in that community was very similar to the neighbourhood in the book. Ferrante's handling of that poverty and violence was fascinating to me and rang very true. The corollary of that is how the community changes as people become more affluent.
These are just two of the themes that struck me the most. There is also an examination of the role of women, their place and power in the community and vis-a-vis men. The power of youth and sex and control of those things. Ambition. Acceptance. Growth. This book is so good because it wraps all of this and more into the story of two girls.
This is just my first stab at thoughts on this book. I imagine I will have more to chew on as the story progresses. It may have taken me ninety pages, but I am definitely hooked now.
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