Category Archives: Post 5

Parasitism

With the date of the midterm presentation approaching I want to center my thinking and analyses on Lila and Lenù’s relationship. I want to narrow my presentation specifically on how Lila is a sort of parasite or disease in Lenù’s life.

An episode in this reading where Lila is seen as a parasite in Lenù’s life occurs through the events following the party at Professor Galiani’s house. At the party, Lenù feels confident, praised and accepted amongst people like her who are educated and strive to be brilliant. Lenù comes to realize after the party at Professor Galiani’s house that she does not want a real relationship with Lila anymore (Ferrante, 169). Lila viciously mocks the manner of the people Lenù strives to be like and this deeply upsets Lenù. All of Lila’s hateful remarks of the night turns Lenù’s joy sour. This immense influence Lila has over Lenù’s emotions is shown through this passage:

“She was so spiteful, all the way home along Corso Vittorio Emanuele, that I was silent, and felt the poison that was transforming what had seemed to me an important moment of my life into a false step that has made me ridiculous. I struggled not to believe her. I felt she was truly hostile and capable of anything. She knew how to set the nerves of good people alight, in their breasts she kindled the fire of destruction” (Ferrante, 163).

Lila has the power to ruin the joys of Lenù’s life. This party is one of the few moments so far that Lenù feels confident being herself; someone who continues to pursue her studies because they matter and will lead to a brilliant future. This party gives her hope and in a single car ride home Lila is able to dismantle that hope and leave Lenù feeling inadequate once again. Lila sucks the hope and joy out of Lenù like a parasite sucks the life out of its host.  

Our Heroine Is Breathless Only on the Inside

Jean Seberg and Jean-Paul Belmondo in Jean-Luc Godard’s Breathless (1960). Rialto Pictures/StudioCanal.

The Prologue closes as Elena begins to type in the middle of the night, is she typing out all four books at one go? We don’t know, but we know it’s impossible. But when I sit to type out a remembered conversation or encounter, of necessity I type quickly, perhaps writing run-on sentences as I go. As Christopher Warley writes, “Ferrante deploys the run-on to create a momentum that is headlong and occasionally breathless but still intimate—here you are, inside the operation of Elena’s head, everything she thinks coming out in the order it occurs to her….” But let’s be clear: Ferrante’s run-ons are clearly stylistic choices or, to be more precise, a style employed to build a cumulative effect with language, with structure, on a sentence level. This is something you can only do by writing purposely, by planning, by rereading and editing your own writing. The prologue, the impulse to sit down to write it all out, is a conceit that I was acutely aware of the first time I read the novel(s). No one can write even a tenth of that at one sitting.

Not only does Ferrante use the comma splice to create her run-ons, she uses semi-colons. Also, in lists, she does not use “and” before the last thing in the list: “…[I]t had become clear to her that her life would forever be Stefano, the grocery stores, the marriage of her brother and Pinuccia, the conversations with Pasquale and Carmen, the petty war with the Solaras” (161).

Here’s an example of Warley’s claim: “[Lila] admitted she had been sure she would be attractive to the males, she always was. Instead she immediately felt voiceless, graceless, deprived of movement, of beauty. She listed details: even when we were next to each other, people chose to speak only to me; they had brought me pastries, a drink, no one had done anything for her; Armando had shown me a family portrait, something from the seventeenth century, he had talked to me about it for a quarter of an hour; she had been treated as if she weren’t capable of understanding” (161).

Lenù is using information she gained from the notebooks (and, I wonder, is she here mimicking Lila’s style of notebook writing, its structure?). But, in the moment, she only knows that after the party Lila spitefully ridicules the evening, the people and the conversation, and even Lenù herself. Thus, from that night, begins Lenù’s “first break and a long separation from Lila” (163). And so Ferrante uses run-ons to signal a transition to a new period in Lenù’s life.

When I tutor I tell beginning writers who use run-ons that they shouldn’t use them because the professor will expect them not to; because they do not know they are writing them; because they have to learn how to structure sentences. But I almost always also say that we speak in run-on sentences, and in fiction and poetry you can do anything you want. The point is to use any construction, device, or strategy consciously as part of your style. Same with fragments, for example.

I use run-on sentences in my creative writing, but not only in my draft. I use them with purpose. I like that they plunge the reader forward and are, as Warley says, “breathless.” They’re good for interiority, which is one (of the many) frame(s) for the whole book. Run-ons don’t give the character time to pause and reflect; as Warley points out, Elena remains caught in the action, in the scene, by means of those sentences. Maybe I started using them from reading Ferrante years ago.

Elena’s Thoughts

In his piece Ferrante’s Run-Ons, Christopher Warley writes of a scene in the first book where Elena becomes aware of her lower social status, that “the speed of the narrative prevents this observation from turning into unfurled Marxist theory”. This is true throughout the novels. Elena the narrator avoids any heavy analysis about political or social situations in the books. Throughout, Lenù is exposed to talk of communists, facists, student protests etc, and her friends and other characters speak of these topics, yet the narrator never discloses her opinion or analyses these topics.

The reason for this can be seen in how the novel is written. As Christopher Warley writes, Ferrante’s writing shows “inside the operation of Elena’s head.. She thinks coming out in the order it occurs to her”. Ferrante is writing the way Elena Greco thinks, unstructured and unplanned. Ferrante’s run on sentences are “the narrator recreating the rush of the moment” (Warley). When these things are happening to Lenù, she is not thinking of the broad social or political meaning, she is thinking of what is happening to her. The writing is Elena’s life, rather than an explanation of it.

Partying with Education

Lila from the T.V. series My Brilliant Friend: The moment she witnesses Stefano’s betrayal on Marcello’s feet.

The narration of the story is tricky when one considers that for the most part, the reader is placed inside the mind of Elena and is not often allowed a genuine glimpse into Lila’s complicated thoughts. However, when Elena is invited to a party by one of her professors and Lila decides to tag along, the reader is given a painful insight into the humiliation in Lila’s heart that Elena later reads from her private notebooks. Elena marks the significance of this event for her friend by noting, “That evening for the first time it had become clear to her that her life would forever be Stefano, the grocery stores, the marriage of her brother and Pinuccia, the conversations with Pasquale and Carmen, the petty war with the Solaras…There, for the entire evening, she had felt irrefutably lost.” (Ferrante 161) Up to this point, Lila feels a sense of regret regarding her marriage to Stefano and everything related to it. She is a force to be reckoned with and cannot nor will not allow herself to be controlled and limited by anyone in any respect. Upon hearing of this party, her hopeful excitement that she would be able to escape her repetitive, demanding and sorrowful marriage life is put off balance by Elena’s hesitancy to bring her there. Evidently, Lila believes that her mysterious and dangerous aura would be a source of attraction to everyone she meets at the party. When she realizes the festivities are fulfilling the opposite of her expectations, the humiliation becomes too much to bear and she feigns boredom. Although her intelligence is boundless and her capacity to learn is admirable, her insecurities and the disrespectful treatment she receives are a reflection of her lack of schooling and awareness of everyday international events. Her pride and ego are damaged heavily at this event and she begins to realize where she is destined to belong.

Even upon realizing this, her attempt to humiliate Elena to conceal her own shame is evidence of denial on Lila’s part. Perhaps, the same stubbornness that does not allow Stefano, her in-laws nor the Solaras to control her every move, is the same sentiment that prevents her from understanding that the marriage trap she has placed herself in is more permanent than she believes. Whatever the extent of her knowledge, according to Elena, Lila is beginning to accept that she belongs to a certain group of people: those who are content with wealth, luxuries, marriage and children. In other words, in Lila’s eyes, a comfortable life that limits a woman’s freedom and persistent efforts of business deceptions that help to increase those lifelong comforts. The vulgarity with which Stefano and everyone around Lila are constantly attempting to pursue the utmost wealthy success, including her own brother, is so far from the world of education and academics of Elena’s world, that it seems as though Lila feels intimidated and unable to catch up with the mental marathon that Lila, herself, has pushed Elena to pursue. She does not wish to be left behind yet does not seem to realize that she, herself, is ahead of Elena in many other aspects of life. It is a matter of comprehending that, in reality, there is a balance to Elena and Lila’s friendship that reveals that intelligence and education take many forms.

The novelty of such an episode stems from the weakness that Lila expresses. From the beginning, the reader becomes intimate with a Lila that is ferocious and indestructible both physically and mentally. However, the humiliating reality of her situation and the decision of placing herself under the hand of Stefano has revealed her human side. The constant mental and physical pressure at home, whether it’s working at the grocery, her husband’s beatings or her miscarriage and the mental pressure of the party has thrown her off balance. She is finally beginning to realize that she cannot control everything. This time, instead of being able to step on the brake to place herself where she deems suitable, she is swerving out of control, unable to understand that she is being led down a dangerous route.

Nino Sarratore: Problematic and Symbolic

Throughout “The Story of a New Name”, Nino’s personality becomes more and more prevalent. He is elusive, charming, intelligent, witty, handsome, and most importantly he seems different than all of the other men in the neighborhood, especially his father. He does not concern himself with the neighborhood drama. Nino is able to use his intellectual charm to physically and emotionally attract many women. He has always been Elena’s only love interest and the one person she obsessively desires. Then, Lila spends more time with him and her attraction to him thickens.

Nino is sexually and intellectually intriguing to both girls. He is an equal who possesses access to a wordly knowledge foreign to Lenu and Lila. He is symbolic and vital to the rivalry between the girls. The girls both crave attention from Nino who represents something else that Lila is able to acquire over Lenu. Nino is symbolic in the sense that he is just another controlling factor in the enduring competition between the girls. The fact that Nino chooses Lila is an unbearable betrayal for Lenu. Present-day Elena writes, “Today I feel some uneasiness in recalling how much I suffered, I have no sympathy for myself of that time” (236). In retrospect, it seems that Elena is critical on her younger self and deems her time and effort was wasted on trivial affairs.

What I find most compelling while reading Ferrante’s second volume is that there is always mutual jealousy between Lenu and Lila. The symbiotic envy between the girls continues from the first novel. Lenu is bitter when Lila gets Nino, while Lila remains envious of Lenu’s academic life that grants her an independence Lila can never attain.

“Lord of the Rings”

At some point, when Elena is invited to a house party by Professor Galiani, Lila accompanies her. Signora Caracci asks her husband, Stefano, to drive them to Galiani’s house, and Lenù sits in the back of the car, staring at the couple’s hands “And for the first time I was struck by the massive wedding rings on their hands, his and hers” (Ferrante 152). Lenù mentions the wedding rings moments before they enter the house- the place where they are going to be examined by Galiani, as well. “Professor Galiani spoke approvingly of long friendships, they’re important, an anchorage, generic phrases uttered as she stared at Lila, who responded self-consciously in monosyllables, and who, when she realized that the professor’s gaze had come to rest on the wedding ring, immediately covered it with her other hand” (Ferrante 155). This sentence, in my opinion, is both a matter of great discussion; but also an example of the famous run-on sentences that Warley mentioned in his article. Warley states that “The denial of logical cohesion, and the denial of historical narrative, often takes the form in Ferrante’s writing of a denunciation of art itself”. He believes that there is so much logic hidden behind all these illogical thoughts and that’s what makes Ferrante’s books hard to resist. In this case, we can see that Elena starts talking about Professor Galiani’s opinion on her long-term friendship with Lila, and immediately changes subject by referring to Galiani’s gaze on Lila’s wedding ring- alla in one, really long sentence. On the other hand, the ring here is really important. As soon as Galiani sees Lila’s ring, she asks her if she’s married and if she’s the same age as Elena. Lila seems embarrassed and ashamed of her marriage at such a young age, that’s why she wants to cover her ring-bearing finger. Elena keeps mentioning that people, including the Professor, did not want to talk to her friend because she was married. It is amazing, however, how a piece of jewelry can change people’s behavior towards somebody, and even making them unwanted. Although what’s interesting, is how Elena starts talking about Stefano’s and Lila’s wedding ring, and they later on become the reason why the guests at the party push Lila away, in a sense. Here, the ring is a symbol of imprisonment for Lila, and Galiani seems to disapprove of her decisions.

Holding on, No Matter What

“But Lila knew how to draw me in. And I was unable to resist: on the one hand I said that’s enough, on the other I was depressed at the thought of not being in her life, of the means by which she invented it for herself. What was that deception but another of her fantastic moves, which were always full of risks? The two of us together, allied with each other, in the struggle against all…, Here was a new adventure, together. Here was how we would take what life didn’t want to give us. Here. Or would I rather that she be deprived of that joy, that Nino would suffer, that both should lose the light of reason and end up not capably managing their desire but being dangerously overwhelmed by it? There was a moment, that night, when, by following her along the thread of her arguments, I came to think that to support her in this undertaking, besides being an important milestone for our long sisterhood, was also the way of manifesting my love–she said friendship, but I desperately thought: love, love, love–for Nino. (Ferrante 274).”

At the very beginning of this passage, Lenu acknowledges that Lila has a way of convincing her to aid her in her “undertaking”. This once again is just another reference to the complex nature and dynamics of their friendship. So often it can be seen that in a way that may be considered unhealthy, a friendship between two people is strained because of the power dynamics that are present in the relationship. Lenu seemingly is reminiscing on how she would feel without Lila in her life and immediately wants to get back to another “adventure” so that she could be reminded of their “partnership” of taking on the struggles of the world together. Supporting Lila in this task is what she considers an important aspect for their relationship. Lenu having the mindset of her and Lila being against the world reveals another layer of their challenging and ever changing sisterhood.

Now you see her, now you don’t.

“‘Smarginatura’ is a concept that is associated with Ferrante’s novels. In the storyline it’s a physical phenomenon that Lila experiences a number of times in her life, where she feels that she is losing her solid outlines, she is in a way, blurring her boundaries and melting into her surroundings—metaphorically losing her identity.” (Grace Russo Bullaro, co-author of “The Works of Elena Ferrante. Reconfiguring the Margins)

At Professor Galiani’s party we see a Lila remaining within her margins (pg 158). Because regardless of her good station within the rione as Mrs. Carracci she can not break the boundaries of her social standing “she feels voiceless, graceless, depraved of movement, of beauty” “They didn’t want to know anything about her”.(pg 161). “They” are the intellectuals, the educated, the well to do. Lila being soundly rejected tries to turns the table on Lenu’ and all the guest at the party, mocking her and her attempt to “speak like those people” (pg 161). Ferrante gives us a clear view of Lenu’ who is thriving with a great desire to expand and grow beyond her rione and Lila who comes to a brutal understanding that she cannot nor is she welcomed outside of it.  

For next class and post 5

Dear All,

Thank you for another great discussion today. For Irini and Christopher: we discussed this article by translator Jenny McPhee in relation to The Story if a New Name. We interpreted the name as monetary status, identity and loss thereof. We discussed the symbolism of the dolls in these novels and in other novels by Ferrante (The Lost Daughter and The Beach at Night). We clarified the structure of the first two volumes and we talked about female protagonists that survive (like Lenù and Olga, in The Days of Abandonment) in contrast to those that perish after abandonment (Dido) or go crazy (Melina and “la poverella”). I suggest that you reach out to somebody who took notes.

We talked about the presentations. You will find a description of what we are going to do under the assignments tab. As I said in class,  my impression is that we need to narrow the scope of those presentations about friendship. What is the specific aspect of friendship you want to discuss? Remember that the presentation is not a summary of the plot, but a critical reading supported by a theoretical lens. Your presentation should state your idea and say why it is important. You have to make references to two points in the volumes read so far and refer to at least one secondary source (either read in class or new).

I realized that some of you might not be familiar with how to conduct a research. Please come to the tutoring session, go and see a librarian with your assignment or go to the writing center. These people are there for you. Make an appointment with me if you would rather work with me at a different time.

Finally, here is the assignment for next week: along with the assigned portion of The Story of a New Name, read the blog post by Christopher Warley (follow the link under course material). For your blog posts consider looking for run-on sentences (as described by Warley) or engaging with the topics of his post (speed of narration). In alternative, you might want to discuss something totally new, that we haven’t analyzed in class. For example: why the shoes?

Look forward to reading all your posts. Please try to post on time and if you are writing the meta-post, try to wait until Tuesday so that you have hopefully all of the posts published.

See you next week.