Europa 2012
331 Pages Literary Fiction
My Brilliant Friend was a Christmas gift from my brilliant childhood
friend, and I have been obsessed with it for several days. Elena Ferrante is a
pseudonym for an Italian author, and there are four books in her Neapolitan Series about the lifelong friendship
between two girls. Lila and Elena. The fourth book in the series, The Story of The Lost Child, was named
one of the 10 best books of 2015 by the New
York Times.
My Brilliant Friend is told by Elena, and most of it focuses on
her relationship with Lila, beginning when they become friends in first grade
until they are about 17. Lila is the daughter of a shoemaker; Elena's father is
a porter at city hall. These are the years immediately following World War II,
and times are tough. The girls live in a poor neighborhood of Naples, where
work is valued and education is not. Elena is enamored with Lila, who is
scrappy and independent, while she, on the other hand, is obedient and studious.
Both girls are very bright and competitive at school. Both love learning. Both
are the products of their environments.
Slowly the economy of Naples picks up and the lives of the
families improves. We begin to understand that Elena will become educated and
Lila will be stuck in the neighborhood, working as a cobbler in her father's
shop. As Lila matures she becomes very beautiful and loved by the neighborhood
boys, while Elena remains dumpy and studious. Lila is the litmus test for all of
Elena's aspirations; she must bounce all the events of her life off Lila. Lila,
on the other hand, wants to learn so badly that she becomes Elena's tutor by
getting books out of the library to learn the same things Elena is learning. The
elementary school teacher encourages both girls, but it is only Elena who
remains in school.
Nothing much out of the ordinary happens, but the book is so
brilliantly written that the reader hangs on every word. As I was reading My
Brilliant Friend, I kept asking myself the question—"What is so
compelling about this book?" The New Yorker calls Ferrante's books "remarkable,
lucid, austerely honest." Another word often used in reviews of this book
is bildungsroman. I had to look that one up—it means a novel
dealing with one person's formative years or spiritual education. And indeed,
that comprises the majority of the book, but we are only privvy to Elena's
inner thoughts, and not Lila's. We only see Lila through Elena's eyes, and we witness the enormous changes happening to the lives of the girls as they reach
adulthood. There are so many characters in the book that there is a index of
characters at the beginning of the book, and believe me, I had to look at it
frequently.
There is so much that women can relate to in this novel—best
friends, dolls, puberty, the arrival of boys in a girl's life, and finally
separation as the young women follow their separate destinies. In some ways, the
book reminded me of West Side Story—the
gritty neighborhood, the posturing boys trying to be men, the dialect of the
street, the loss of opportunity. What Elena has that everyone else lacks is the
chance for an education, which will in later volumes, take her away from the
neighborhood.
As I was reading, I remembered acutely my 13-year-old
daughter being told by her best friend of 6 years that they couldn't be friends
anymore because they had "nothing in common." My daughter was
crushed. I told her that she and her friend had everything in common and her
friend would come back to her. That is what happened, and they remain friends
to this day. This is the type of friendship that Elena and Lila would
understand.
I highly recommend My Brilliant Friend. I will soon begin book two, The Story of a New Name. In an interview with the New York Times, Ferrante said that she considers herself a storyteller first. I am eager to continue the story.
The New
Yorker review of Ferante's books.
The interview in the New York Times.
1 comment:
Why is My Brilliant Friend translated so poorly from Italian to English.
It is written in a broken English - translated directly from the Italian.
Was it done deliberately to make it sound authentic? The indirect object placements are laughable in many places and makes the reading very convoluted and had to comprehend.
Curious why Ferrante chose an American over a native Italian writer?
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