内容简介

In this collection of writings and responses gathered from over 30 years of correspondence, the reclusive Italian author addresses her unwavering decision to remain anonymous, her literary inspirations, Italian politics and culture, and the role of the writer (and the publisher) in modern society. Ferrante’s voice is as direct, penetrating, acute, inspiring, and intimate as it is in her acclaimed novels.

This book invites readers into Elena Ferrante’s workshop. It offers a glimpse into the drawers of her writing desk, those drawers from which emerged her three early standalone novels and the four installments of My Brilliant Friend, known in English as the Neapolitan Quartet. Consisting of letters, essays, reflections, and interviews, it is a unique depiction of an author who embodies a consummate passion for writing.

In these pages Ferrante answers many of her readers’ questions she addresses her choice to stand aside and let her books live autonomous lives. She discusses her thoughts and concerns as her novels are being adapted into films. She talks about the challenge of finding concise answers to interview questions. She explains the joys and the struggles of writing, the anguish of composing a story only to discover that that story isn’t good enough. She contemplates her relationship with psychoanalysis, with the cities she has lived in, with motherhood, with feminism, and with her childhood as a storehouse for memories, impressions, and fantasies. The result is a vibrant and intimate self-portrait of a writer at work.


埃莱娜·费兰特是一个笔名,作者真实身份至今是谜。埃莱娜·费兰特1992年发表第一部长篇小说《烦人的爱》,1995年被意大利导演马里奥·马尔托内改编为同名电影;此后相继出版小说《被遗弃的日子》(2002),与出版社的通信文件集《碎片》(2003),小说《暗处的女儿》(2006)以及儿童小说《夜晚的沙滩》(2007)。

2011年至2014年,费兰特以每年一本的频率出版《我的天才女友》《新名字的故事》《离开的,留下的》和《失踪的孩子》,这四部情节相关的小说被称为“那不勒斯四部曲”。它们以史诗般的体例,描述了两个在那不勒斯穷困社区出生的女孩持续半个世纪的友谊,尖锐又细腻探讨了女性命运的复杂性和深度。

2015年,费兰特被《金融时报》评为“年度女性”。2016年,《时代》周刊将埃莱娜·费兰特选入“具影响力的100位艺术家”。2017年3月,《我的天才女友》被...

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豆瓣评论

  • WJWJ
    “碎片”是痛苦的女性群体经历,是父权重压下时刻会破碎解体的母亲、女性朋友和“我”。正如费兰特所说,年轻的一代女性觉得现在享有的一切都理所当然,但是女性比在任何时候都有可能跌回过去的状态,要警惕蒙上一层欺骗色彩的平等主义。正是有这些不做任何保留和矫饰、力求达到女性文学真实的作家们,我们才能直面女性世界里的暴力、丑陋、不平等。而不是很多男作家想象中的或完美、或母性、或荡妇的第二性。04-01
  • 指上弹冰
    这本书是费兰特和出版商、记者之间关于早期的两本书Troubling Love和The Days of Abandonment以及那不勒斯四部曲的疑问沟通,都是以书信和邮件形式,很多地方都涉及到作者匿名的原因。在书中费兰特对Frantumaglia这个词作了解释: A word to describe how she felt when she was racked by contradictory sensations that were tearing her apart, a jumble of fragments. 最后一部分是回答Nicola Lagioia的问题,作者似乎很享受,但理解起来真消耗脑细胞。07-23
  • 夭夭
    虽然只读过四部曲,但对费兰特的许多观点感到非常亲切,very much attached,大概是因为关于阅读和写作,关于feminism和女性身份,关于所谓frantumaglia 即脑海中那些挥之不去的disturbing fragments,关于一座城市对一个人一生长久的影响…等等主题,我们都有太多的共同经验吧。而对于我并不熟悉的那不勒斯这座城市本身以及意大利历史和社会现状,又总能通过书中人物的口吻管中窥豹。准备再读一遍四部曲,以及找来她之前的三本书看看:)11-23
  • Young_To
    更像是在读一本文学评论 能读出费兰特的诚恳以及对文学真实的坚定 同时也能感受到她对于自己在公共空间以“真正的我”存在的强烈抵触与回避 关于四部曲的阐述有些细节让我对四部曲有一些新的理解和体会 碎片那一章节的叙述诚恳到我仿佛被拽进费兰特心灵的深渊 有些幽暗角落甚至让阅读的我完全喘不过来气 04-01
  • 耐心地听,一遍遍,“作家本身是最不重要的”,诗人可以毫无诗意。02-18

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