书籍介绍
In this collection of writings and responses gathered from over 30 years of correspondence, the reclusive Italian author addresses her unwavering decision to remain anonymous, her literary inspirations, Italian politics and culture, and the role of the writer (and the publisher) in modern society. Ferrante’s voice is as direct, penetrating, acute, inspiring, and intimate as it is in her acclaimed novels.
This book invites readers into Elena Ferrante’s workshop. It offers a glimpse into the drawers of her writing desk, those drawers from which emerged her three early standalone novels and the four installments of My Brilliant Friend, known in English as the Neapolitan Quartet. Consisting of letters, essays, reflections, and interviews, it is a unique depiction of an author who embodies a consummate passion for writing.
In these pages Ferrante answers many of her readers’ questions she addresses her choice to stand aside and let her books live autonomous lives. She discusses her thoughts and concerns as her novels are being adapted into films. She talks about the challenge of finding concise answers to interview questions. She explains the joys and the struggles of writing, the anguish of composing a story only to discover that that story isn’t good enough. She contemplates her relationship with psychoanalysis, with the cities she has lived in, with motherhood, with feminism, and with her childhood as a storehouse for memories, impressions, and fantasies. The result is a vibrant and intimate self-portrait of a writer at work.
AI导读
核心看点
- 揭秘费兰特匿名背后的创作哲学与女性困境
- 解析核心概念“碎片”，直面内心痛苦与矛盾
- 探讨家庭暴力本质及女性文学传统的建立
适合谁读
- 那不勒斯四部曲忠实读者及费兰特粉丝
- 关注女性主义、性别议题与文学创作的读者
- 对作家生平、书信体非虚构作品感兴趣的群体
读前提醒
- 内容多为书信访谈，部分观点可能重复拖沓
- 建议先读四部曲，否则前半部分阅读门槛较高
- 需耐心品味其犀利文风，非传统故事叙述
读者共识
- 文字坦诚犀利，深刻剖析自我与女性处境
- 对匿名坚持的解读令人信服，展现作家风骨
- 部分读者觉得像采访汇总，缺乏新意与洞见
本导读基于书籍简介、目录、原文摘录、短评和书评生成，不等同于全文精读。
精彩摘录
- "但大学专业经常和我们真正学到的一出自激情和需求学习到的东西没有太大关系。矛盾的是，那些真正塑造我们的东西，通常没有被写进我们的履历。"
- "我希望事情是什么样子的呢？当我长大成人，远离母亲时，我想着她，我想想清楚自己会成为什么样的女人。我想变得漂亮，但怎么才能漂亮？难道真的只能在黯淡和光彩夺目之间选一个吗？这两个途径都无法抵达我之前提到的那件裙子，就是海蕊身上穿的那件可怕的裙子，那件永远都穿在你的身上、没法脱去的裙子？我很焦灼地寻找一条自己的自由之路。这条路，是不是就像塞斯佩德斯通过亚历桑德拉之口说出来的那句好像是源于某本经书的比喻，“要学会的不是穿衣服一一衣服是自然而然的结果一一而是穿上自己的身体？”怎么能跨越衣服、妆容和社会对美的普通观念，到达身体？"
- "假如你们愿意的话，我更愿意深入分析你们提出的另一个词——痛苦，这个词从我童年开始一直在陪伴着我，包括在我写这两本小说时。 我母亲留给我一个方言词汇，那是她经常说的，就是当一个人遭受各种矛盾情感的折磨时感受到的东西，她说她内心一团“碎片”（frantumaglia）。这些碎片折磨着她，在她内心东拉西扯，让她头晕，嘴里发苦。这是一种很难说出口的苦，指的是脑子里有各种各样的东西搅和在一起，就像是漂浮在脑子上的残渣。“碎片”神秘，会让人做出一些莫名其妙的事情，它会引起那些难以名状的痛苦。当我母亲不再年轻，这些沉渣“碎片”会让她在夜里醒来，让她自说自话，又让她对此感到羞愧，会让她不由自主哼唱起一些小曲儿"
- "费兰特：现在女性的期待都很高。庆幸的是，过去的男女间的行为模式现在已经解体，已经无法复原了，重新做出让双方都满意的定义也很难。现在最大的风险就是：女性会怀念之前那些“真正的男人”。假如男性的暴力已经得到清除，女性倒退的渴望不容忽视。在“那不勒斯四部曲”中，有很多女性欣赏故事中最槽糕的那些男人身上的性能量和敏感，也是展示了这种倾向。"
- "家庭本身就是暴力的，所有建立在血缘关系之上的东西，都有暴力的因素。也就是说，家庭关系并非我们选择的关系，那是责任强加给我们的，也不是我们决定承担的。在家庭内部，美好或糟糕的情感总是很夸张：我们总是夸大温情，拼命否认那些负面情感。"
- "Is a book, from the media point of view, above all the name of the person who writes it? Is the fame of the author or, rather, the author personality who takes the stage thanks to the media, a crucial support for the book? Isn't it newsworthy, for the cultural pages, that a good book has been publis"
- "I think the good news is always: a book worth reading has come out. I also think that for real readers, who wrote it isn't important. I think that readers of a good book hope at most that the author of a good book will continue to work conscientiously and make other good books. I think, finally, tha"
- "我们应该去打造女性自己的传统，我们永远都不要放弃前辈留下的技艺。作为女性，我们要建立一个强大、丰富和广阔的文学世界，和男性作家的文学世界一样丰富，甚至更加丰富。因此，我们要更好地武装起来，我们必须深入挖掘我们的不同，要运用先进的工具去挖掘。尤其是，我们不能放弃自由。每一个女作家，就像在其他领域，目标不应该只是成为女作家中最好的，而应该成为所有作家中最好的，无论男女，都要尽可能发挥自己的文学才能。为了做到这一点，我们不能受到任何意识形态的束缚，要摆脱所有主流、正确的路线和思想指导。一个写作的女性，她唯一应该考虑的事情是把自己所了解的、体会的东西讲述出来，无论美丑，无论有没有矛盾，不用去遵照任何准"
用户评论
Words make unpredictable journeys in the reader’s mind.
目前只看过费兰特的四部曲，所以选看了书中第三部分。补
这本书是费兰特和出版商、记者之间关于早期的两本书Troubling Love和The Days of Abandonment以及那不勒斯四部曲的疑问沟通，都是以书信和邮件形式，很多地方都涉及到作者匿名的原因。在书中费兰特对Frantumaglia这个词作了解释: A word to describe how she felt when she was racked by contradictory sensations that were tearing her apart, a jumble of fragments. 最后一部分是回答Nicola Lagioia的问题，作者似乎很享受，但理解起来真消耗脑细胞。
耐心地听，一遍遍，“作家本身是最不重要的”，诗人可以毫无诗意。
读过那不勒斯四部曲对这个神秘的匿名作家感到好奇，这本书是作者跟出版商的书信往来，也提到了作者匿名的原因，更多的是作者对于写作的一片赤诚，想来正是因为热爱，所以才能写出如此精彩关于女性之间友谊以及母女关系的优秀的作品。
I don’t care about who Elena Ferrante is, her writing is just brilliant that’s all
封面哇是伍德曼！！
After Troubling Love and the Days of abandonment, I embarked on a new journey on which I use the art of losing as a thread to piece together my fragments. Where am I heading to and when could the whirling vortex stop? Or could it? And how can I survive in such a moment of crisis. How can women survive
并无太多新意与洞见 更像是杂志采访稿汇总
verisimilitude and authenticity/writing is not to make sense but to shatter the existence into pieces which is only lifelike
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