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From left: Virginia Woolf, Rachel Cusk (Vianney Le Caer/AP), Maggie Nelson (John D. and Catherine T. MacArthur Foundation – also background), Jane Gleeson-White (Pauline Futeran).

Friday essay: how women writers helped me find my voice after divorce

When Jane Gleeson-White’s marriage ended two years after her mother died, she lost her voice. Books by women writers like Rachel Cusk, Olivia Laing and Maggie Nelson helped her find it again.
Lila, played by Ludovica Nasti (right) in the HBO production of Elena Ferrante’s My Beautiful Friend. Eduardo Castaldo/HBO

My favourite fictional character: I’ll never forget these half-wild, ‘too much’ heroines – Philip Pullman’s Lyra and Elena Ferrante’s Lila

Half-wild Lyra from Northern Lights was the first female character who felt real to Jane Gleeson-White. Then she met Elena Ferrante’s ‘ferocious, filthy, quicksilver’ Lila, a more complex version.
A wax model of Ernest Hemingway at Madame Tussauds in New York. Anton_Ivanov/Shutterstock.com

Friday essay: why literary celebrity is a double-edged sword

Bob Dylan is now a literary celebrity. And next week, the Booker Prize judges will anoint another. The tag is still chiefly attached to men but women authors shouldn’t despair: fame and good writing can be uneasy bedfellows.
One of the questions most discussed on Italian social media is whether the same thing would have happened to a male writer who had made the same choice for privacy. dawolf-/Flickr

‘Uncovering’ Elena Ferrante, and the importance of a woman’s voice

In her novels, in numerous articles and in correspondence, Elena Ferrante has chosen to depict the world from a female point of view. She has always claimed that the woman’s gaze is decisive.
Elena Ferrante’s searing portraits of women have won her international acclaim, though very little is known about the author herself. Text Publishing

Successfully absent: Elena Ferrante’s Italian books

Italian novelist Elena Ferrante has been called “one of the great novelists of our time” and her Neapolitan novel cycle “an unconditional masterpiece”. But the author herself remains an intangible figure.

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