Benjamin introduces the notion of Naples’s characteristic grayness, a color that indicates lifelessness, lack of vigor as well as a lack of ferocity that entices and enchants outsiders in a gentle rather than fearful manner. He goes on to point out that, “Fantastic reports by travellers have touched up the city. In reality it is grey: a grey-red or ochre, a grey-white. And entirely grey against sky and sea. It is this, not least, that disheartens the tourist,” (Benjamin 169). He begins this section of the article by making it clear that Naples should not be regarded as an animated city, as false advertising might say. Furthermore, Benjamin views this city as being entirely embraced by this gray color that sets the mood as one cruises through its mazes. The use of the words ‘sky’ and ‘seas’ is an allusion to the organs of a city that reflect the health and happiness of the people and animals who inhabit it as well as the places themselves, with their unique foods and styles. According to him, these elements as a whole create a disappointing and downtrodden image of a forgotten city in the eyes of a curious and eager tourist who may have simply read travel brochures and read about the most wonderfully wealthy and touristy spots, yet did not and will not wish to become exposed to the city’s realities.

This seems to have an element of truth to it, according to Elena’s inside perception. After returning from a month long vacation in the island of Ischia, which had been both refreshing and heartwarming, aside from the traumatic and horrendous assault during the last night, she not only notices physical differences on herself but the ‘grey[ness]’ of the city is highlighted before her eyes. She makes a note, “As long as I had been immersed in the colors of Ischia, amid sunburned faces, my transformation had seemed suitable…The people, the buildings, the dusty, busy stradone had the appearance of a poorly printed photograph, like the ones in the newspapers,” (Ferrante 233). There are two important points here. Primarily, although she is now satisfied with her outward appearance, having rid of her physical insecurities thanks to the sea and sunshine, she still feels out of place. The clean and healing sea air combined with the never-ending sunshine and the healthy appearances of people who enjoy such natural luxuries every day, had made her feel at home. While she now has a renewed sense of health and beauty, the return to her old neighborhood invokes a sense of being an outsider. The familiar neighborhood of her childhood now appears, before her eyes, to be an ancient and ruined ‘photograph’. Such a description indicates that it is both a forgotten and unnecessary city, not only to her new healthy self but to the outside world in general. It is a harsh observation that implies a longing on Elena’s part to return to the peaceful, carefree and clean atmosphere of the Ischia sea. She even uses the word ‘dusty’ which gives an ill demeanor to the city while its business and activities do not signify livelihood but rather repetition and mindlessness: a collective forgetfulness that a happier outside world exists. In summary, Elena’s description is reminiscent of her old desires to escape the neighborhood and supports Benjamin’s perception of a cohesively grey Naples. However unfair it may seem, as an outsider, as well, it is hard to distinguish between whether the city, itself, is grey or the grayness flows within Elena or even Benjamin, creating a river of yearning for an unfamiliar city.