Errors in the new novel by Elena Ferrante, are like precious family jewels, handed down from generation to generation. Both tend to reveal the cause of struggles and weaknesses, but they are also very hard to let go. Lie adult life, the last work by the author Italian to be translated into English, Ferrante builds on the coming-of-age themes of their revered Neapolitan series: the savage inner life of young women, and how the things we inherit – that is whether it’s beauty, brains-or bracelets are a blessing and a curse. The first of the Neapolitan quartet, my brilliant friend, came to prominence Ferrante 28 years of their career. A feeling unlikely even before the book was reached in 2012, a rare appetite for translated fiction published in English. E ‘was created by three sequels-all on the background of Italian post-war and quickly followed in 2018, a series of HBO. Netflix plans recently announced a series on the couch adult life is based. With all their success Ferrante has hidden his true identity to speak with the media in English language translator Ann Goldstein has often left on the books. Various theories to provide that behind the pseudonym may be, including that it is actually a man, but not (which have denounced as sexist) have so far been confirmed by the author. Anonymity at a time when almost all-you carry a camera at all times, is so unusual that the decision not to remain unidentified is part of the charm of the old world did their job. At the same time, the choice feels hyper-modern: it is security present a very unpleasant than they write to explore the less civilized belly of the human psyche and undo especially the darker areas of the female heart. Precisely because of their concealment Ferrante can tell the truth without fear. Stories are told how to hide or highlight certain details Ferrante ability has certainly picked up in his life is in the heart of Liege adult life. Joan, whose youth prosecuted in three or so years of the arc book, telegraph, what kind of narrator will be on top. “Two years before returning home,” the story opens “my father said to my mother that I was very bad.” Sure that soon shows that this was not exactly what he said, and he apologized profusely afterwards and that even if he is a flawed man, who is not a parent so terrible. But a 13 year old girl who is throwing less important details like the thrill of her father to her. Like all young people are inevitably discovered Giovanna reaching parents of teachers is not as flawless as its first twelve years of experience have suggested, nor are their true stories. Perhaps the marriage of his parents is not entirely idyllic, the father could stranger’s family was not so bad, maybe not everyone, even those higher up the father formed the reason can be rotated by the force. Maybe sex is not just a physical act. Maybe there is a God out there. Joan first inkling that their parents could not be more reliable sources arrives, if it meets the object of the deepest disgust of his father, his sister Victoria. A single woman living in apartment beaten down, where the brothers grew, Victoria has not torn, like Joan’s father, neither the lower ranks social or physical in Naples. To get down to the home of his aunt, our narrator literally. Giovanna father charged Vittoria face when he insulted his daughter, a comparison that ignites so scary to the girl of his own self-esteem. But when he finally meets his aunt, she is fascinated. “Victory seemed so unbearable to have a beauty,” he says, “that must be considered, it has become ugly.” Emerging from childhood through rationality detached father ruled the teen Vittoria passionate opening lights. He follows her long lost member of the family in a fascinating world where feelings are what matter most. divisions feel to a US readers that Joan can divide the elders of the growing gap remember that divides the United States, with a side accuses the other of being lowlifes who do not know the truth and the other wrong that at least are not elitists who hide . Surfing the circuit’s own policy changes Giovanna its -allegiance of what they serve at this time. It shows neither a true daughter for her parents is still a fully obedient spy to her aunt that she learns as an adult to lie. Swarms of brutality that lives under the surface outwardly civil people, is familiar territory for fans of Ferrante. The Neapolitan series follows the lives of two friends, Lina and lenu and his sometimes ruthless destructive relationships and interactions. When the Neapolitans novels represent the arc of the end of 20th century femininity, relaxed adult life takes a magnifying glass for tough stains reasons, negotiate that girls when they move, like the movies they want to put the old sex education, girls’ woman. Ferrante sugar coats bit ‘of this rite of passage. Even such romantic interludes infused as first love and sexual discovery are dark experiences. Giovanna subjected to a period of self hatred so deep that they are “a very heavy demand for reduction”, learns he says, “a degradation without fear, the desire to feel heroic coward.” His first sexual experience disgusted her, but she’s looking for more; pursues younger men who will not be attracted, and describes love as a case of “acute pain in the chest.” Puberty stinks, and it stinks worse in a disintegrating family. Although in the early 1990s, the novel is not contemporary feel. Young people lack of political awareness and digital devices characters reminiscent of nostalgia for an extinct species of children less mediated. But it has a timeless quality that transforms the face of the girls, as his body and his mind begins to explore independent thinking is eternal agitation decisions, judgment and confused. It is a coming-of-age novel, yes, but not for those that come with age. Ferrante throws a periscope toward young spirit and soul of the wild interior as they discover that the human body “moves through life that curves in and consumed, do the stupid things you should not do.” If there is a moral to the kind of educated readers is represented by Giovanna parents perhaps, it is this: the adults can not model how their children grow up, no matter how diligently they work. You can watch their only concern about them and to be careful how they talk about their sisters around them. copyright Image of Elizaveta Porodina for TIME
learn to love and Lie in Elena Ferrante is Lying adult life
