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.