Tag Archives: 1960s

Political Extremism and Social Fracture

The 1960s-1970s displayed a time of political extremism and social fracture in Naples and the rest of Italy. Ferrante’s inclusion of historical events creates authenticity and intimacy to the novel that affects both Elena and Lila distinctly as women, members of diverse classes and different careers.

Towards the beginning of “Those Who Leave and Those Who Stay,” Elena feels a sense that her novel is dismissed as foolish by Franco and Mariarosa in comparison to the current turmoil and activism. Elena states, “in those circles that were so caught up and sucked in by political passions my book was considered an insignificant little thing” (80). Additionally, Franco tells Elena that this is “not the moment for writing novels” (80).

When Elena is at a Communist meeting with Franco, Silvia, Juan, and Mariarosa she displays a sentiment of irritation towards the men in the room. She writes, “The result was that we found ourselves, we three women, in the situation of drowsy heifers waiting for the two bulls to complete the testing of their powers” (75), which displays the gender inequalities within the movement.

Elena stays with Lila in San Giovanni a Teduccio and Lila informs Elena on her involvement with anti-fascists. Lila also tells Elena about the horrible sausage factory and the sexual harassment of her boss. It is evident that Lila’s working-class circumstances influence her political awakening.

Elena also pays attention to the way the boys of the rione are involved in political extremism. She again alludes to gender inequality regarding the political movements of the time when she is with Pasquale and Enzo. She writes, “Maybe they had other male wars to fight” (151). I found the use of “male” as a compelling distinction that exposes Elena Greco and Elena Ferrante’s view towards the gender disparities.

Lila’s constrained life in 1960s Italy

“The Story of a New Name” depicts Lila and Lenu on distinct life paths. Lila is trapped in the role of a 1960s housewife, which “enclosed her in a sort of glass container” (Ferrante 57). She came to the realization that she is indeed her husband “Carracci’s possession” (Ferrante 39) and she must obey his sexual desires and submit to his will. This subordination is habitual for all of the housewives like Lila, for when she returns from her honeymoon with a black eye and bruises no one views the abuse as abnormal, especially her mother.

Despite her captivity in marriage, Lila is still a complex woman, different than the other women of the neighborhood. Lila is able to buy whatever she wants, whenever she wants, just by simply using her new last name. She is able to continue her friendship with Lenu, the one person who makes her happiest and truly completes her. Through Lenu, Lila is granted a look into life outside of the confines of her existence. Lenu is Lila’s ticket to the escape the two girls always longed for as children, therefore Lila continues to push Lenu to study and excel in her education.

Lila still knows how to manipulate others and despite not holding a physical strength, she holds a different rebellious power over men. Regardless of her role as a 1960s housewife, “Lila was Lila, not an ordinary girl of the neighborhood” (Ferrante, 52). Lila craves a life that only Lenu is able to acquire, while Lenu desperately wants to live her life through Lila, creating a balance and reciprocated need for dependency, which continues to be a staple of their friendship.