20 de outubro de 2020 , por
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They create the appearance of a unified self, smoothing the painful and unassimilable edges out of our histories; they offer a false sense of consolation, which we accept, eager not to look too hard at ourselves.
The novel alludes to the quartet as it closes, and Giovanna (the reader) and her poetic friend Ida (the writer) leave for Venice together, vowing to become “adults as no one ever had before.” On the one hand, the ending could be read ironically, as a version of the thrillingly cliché adolescent illusion that running away from home will free us from the ties that bind. But while the temptation to view Ferrante’s Naples as a single continuous space that absorbs all of her writing is compelling, its persuasiveness is a red flag. Ferrante herself clearly plays with and upon this repetition through the consistency of certain elements, even specific images, like the inevitability of inheritance — described as the aunt’s face emerging from the niece’s, or the body of the mother deforming that of the daughter — that can often make it difficult to tease these Neapolitan stories apart.
"A girl, a city, an inhospitable society: Ferrante's formula works again!" In Naples in the early 1990s, twelve-year-old Giovanna Trada overhears her father Andrea disparagingly liken her appearance to that of his estranged sister Vittoria.
As promised, its subject is the part of life that adults lie about — sex, yes, but more precisely the chaos, infidelity and fear that hang on sex, freighting it with meaning and danger. It is a novel of disillusionment, as the literary critic Georg Lukács once described the category: a novel that strips away its young protagonist’s major social relationships to elevate her interiority to “the status of a completely independent world.” From its origins in Balzac’s Lost Illusions and Flaubert’s Sentimental Education, the genre explores an individual’s struggle to adapt private fantasies and illusions to an outer world hostile to them.
Elena Ferrante, 2019 (2020, U.S.) Europa Editions. His work is about “compunction,” which he describes to her not as moral scrupulousness, but as “a needle that had to pull the thread through the scattered fragments of our existence.” That he will let her down is inevitable—from the moment they meet, we know he will never live up to her illusions. Visit Today.
The effect of this repetition is not absurdity or confusion, but rather expansiveness.
Cooking from Scratch with Shereen : Because You Can! "[The Lying Life of Adults] is highly addictive." Upon meeting her aunt, Giovanna is shocked to find that “Vittoria seemed to me to have a beauty so unbearable that to consider her ugly became a necessity.” This beauty is as harsh and unmediated as truth.
All lie differently from The Lying Life of Adults itself, which invites us to evaluate lying not only as a moral problem, but also as an aesthetic challenge—to ask whether a lie can ever be elevated into an art form.
Soon Vittoria is describing sex with her now-dead lover in terms equally fascinating and repulsive, concluding: "If you, in all your life, don't do this thing as I did it, with the passion I did it with, the love I did it with, and I don't mean eleven times but at least once, it's pointless to live."
The dissolving margin between ugliness and real beauty, first articulated in this early meeting, quickly becomes more and more central to Giovanna’s journey of often bathetic discovery through her emerging sexuality, her family’s history, and the different social strata of Naples.
In this novel, to be declared ugly, or to declare oneself ugly, is often an indication of another thing that can’t be ignored, that also sits outside the false binary of good and bad: honesty.
The things she has been raised to believe beautiful — like her parents’ relationship and the institution of marriage, and ultimately, the romantic ideals of true love and passion — rapidly grow as brittle as flaking gold leaf.
", Although Giovanna doesn't know what her aunt looks like, she starts hunting for signs of Vittoria in every feature: "Was my body — the long neck that seemed as if it might break like the filament of a spider web, straight bony shoulders, breasts that continued to swell and had dark nipples, thin legs that came up too high, almost to my armpits — me or the advance guard of my aunt, her, in all her horrors?".
Peppa Pig: Peppa's Best Day Ever : Magnet Book.
The novel follows Giovanna from the ages of 13 to 16, the lurching years when every new experience is edged on one side with vague desire and the other with revulsion.
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The gorgeous ugliness of Naples is a major asset of a Ferrante novel.
Her mother teaches Greek and Latin and proofreads romance novels.
Yet nowhere else, as much as in The Lying Life of Adults, do we see Ferrante’s splendidly harsh laws of physics so clearly laid out. that the reviews shown do not properly reflect the range of media opinion now available,
We Insist: A Timeline Of Protest Music In 2020, Translator Behind Elena Ferrante Novels Says Her Job Is To Be An 'Enabler', For Literary World, Unmasking Elena Ferrante Is Not A Scoop. After her father's slight, Giovanna becomes cagey, angry, unwilling to be looked at, with "a very violent need for degradation." Then her lies start to toggle between fable and romance, with their enchanted objects (she imagines a bracelet Vittoria gives her as possessing magic) and fairy-tale archetypes (she casts Vittoria as an evil witch). Gentility, manners and even ideals have no power over sex, which is for Ferrante's characters an almost ungovernable force.
Publication Information. As non-novelists—teachers of the classics, proofreaders of romance—their lies borrow tropes from the fiction they produce and consume: romantic idealization, passivity in the face of passion, a feeling of fatedness.
Not the epic, not the romance, and not the Proustian novel, which labors to create a single self out of the fragments of existence. All seem content in their bourgeois happiness—until the day Giovanna, then 12, overhears a conversation between her mother and father.
Like femininity itself, it comes to be both ornament and manacle.
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