"In the ”Ferrante of Ferrante of” may nagging questions the literary response."
"This is not a scrapbook! The turn up the volume Ferrante of Ferrante – essays, articles and interviews open the floodgates to the napoletanska experiences and the language that flows through her novels. All forgetfulness is washed away, one is solid, from the first to the last page. "
"Elena Ferrantes language is intense and subtle in a way that I and millions of other readers can't defend ourselves against, even when she was answering repetitive interview questions, or provide detailed comments to the different screenplays built on her books. Pure literature is born in the answers, which are often long and lodar childhood memories, or analyze clothing, dialects, or their own writing. "
"Ferrante of Ferrante consists to a large part of the right interviews, from 1991 to 2016. But they have been by letter, as she has consistently since her debut refused to participate in any marketing of their books: ”I'm not going to do anything at all for the ’Painful love’, nothing that means I personally have to engage me in public. I have already done enough for this long story: I have written it.”"
"She is in her novels, of course, but want to have their privacy, their usualness, in peace."
"she refuses to appear with their real name and fläka out his personal life seems to be both a political statement against a blunt mediatization (as in Italy accelerated more than perhaps anyone else since Pasolinis days with a crescendo under Berlusconi) and an extraordinarily strong position for the literature, yes the physical book's intrinsic value. "
"She is in her novels, of course, but want to have their privacy, their usualness, in peace. Time and time again she is forced to answer questions about their anonymity. Is she really a man? A group of writers? Patiently answer Ferrante with amazing formulations: ”to put it in a different way is to and with Tolstoy an insignificant shadow if he takes a walk by the side of Anna Karenina.” "
"What is she a writer? How she writes? "
"We actually get to know a lot about it. She likes to sit in a corner in a large room and write. In the handbag she has always with a book and a notepad. She does not add up to any plans or schedules for their writing, and she has also a regular job to attend to."
"the Starting point for Neapelkvartettens thousand pages was a picture of the two flickkompisar and a dock, and the terminus a missing child – in-between ”fog”. It does not mean that there is some kind of spontaneous writing, she is involved with. In the four novels she published will return to the same themes and motifs constantly: the mother-dotterrelationen, growing up in Naples, attempts at emancipation, and the loss of love, which always entails an expulsive out of Eden. "
"”I am a storyteller”, she notes, and has in recent years stopped feeling ashamed for the masskulturella the serials that captivated her as a child; she wants her books to be as exciting as the stories in the damtidningarna. ”We feel we are actually living only when we have an arrow in the side that we drag with us day and night,” she writes wonderfully melodramatic about love."
"We get to read page after page, which she deleted from his novels and for all of us medelmåttor it is somewhat shocking to find some of these masterful pieces discarded literature."
"In this volume we also get clear to us the enormous literary siktdjupen in her skrivaruniversum. The figures in Virgil Aeniden has been the living for her since their teenage years and a whole life she has had to over was the following devastating reply in Madame Bovary, to be able to detonate in a separate story: ”It is strange what the girl is ugly.”"
"But something else suddenly becomes obvious here: Probably only a small part of a huge production released. All the novels mentioned, which remained unprinted. She lets nothing out, which she doubts. We get to read page after page, which she deleted from his novels and for all of us medelmåttor it is somewhat shocking to find some of these masterful pieces discarded literature."
"Ferrante is an obvious feminist, maybe she can be categorized as something of a slightly old-fashioned särartsfeminist even if she has your eyes ready for all the women in the men and all the male in women. When an older man such as myself so can completely be absorbed in the Lilas or elena's worlds, it means that the literature, the universality of victories."
"in the end I miss something in this volume, or rather in the often quite unimaginative questions she gets from the cultural journals around the world: klasstillhörighetens worrying issues. "
"Ferrante has a sure eye for the working-class självförtryck and desire for freedom. But the literary establishment – whether it is The Guardian, The New York Times or Corriere della Sera's cultural journals that – is zero curiously at it, which is obvious To all: that Neapelkvartetten in so extremely very much concerned with the Naples working class and about the painful class trips from there. Our time, the liberal silence about the social injustice that is related to class, speaking out of the silence."
"Myself have Ferrante no difficulty to reason about such things when she occasionally gets questions about it. What would you become if you don't become an author? A seamstress, she replies, as her mother. And for every one that has a seamstress for a mother, it is the answer a life."
"Ferrante of Ferrante."
"the Essays, articles and interviews"
"Trans. Johanna Hedberg and Barbro Andersson "