Elena Ferrante - The Story of the Lost Child

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Here is the dazzling saga of two women, the brilliant, bookish Elena and the fiery, uncontainable Lila. Both are now adults; life’s great discoveries have been made, its vagaries and losses have been suffered. Through it all, the women’s friendship has remained the gravitational center of their lives.
Both women once fought to escape the neighborhood in which they grew up — a prison of conformity, violence, and inviolable taboos. Elena married, moved to Florence, started a family, and published several well-received books. In this final book, she has returned to Naples. Lila, on the other hand, never succeeded in freeing herself from the city of her birth. She has become a successful entrepreneur, but her success draws her into closer proximity with the nepotism, chauvinism, and criminal violence that infect her neighborhood. Proximity to the world she has always rejected only brings her role as its unacknowledged leader into relief. For Lila is unstoppable, unmanageable, unforgettable!
Against the backdrop of a Naples that is as seductive as it is perilous and a world undergoing epochal change, the story of a lifelong friendship is told with unmatched honesty and brilliance. The four volumes in this series constitute a long remarkable story that readers will return to again and again, and every return will bring with it new revelations.

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In that period she showed less and less interest in the two girls; with explicit sarcasm she called them the young ladies. But my daughters’ attitude toward her changed as well. Dede especially stopped feeling her fascination, as if in her eyes, too, Tina’s disappearance had taken away Lila’s authority. One evening she asked me:

“If Aunt Lina didn’t want another child why did she have one?”

“How do you know she didn’t want one?”

“She told Imma.”

“Imma?”

“Yes, I heard it with my own ears. She talks to her as if she weren’t a child, I think she’s insane.”

“It’s not insanity, Dede, it’s grief.”

“She’s never shed a tear.”

“Tears aren’t grief.”

“Yes, but without tears how can you be sure that the grief is there?”

“It’s there and often it’s an even greater suffering.”

“That’s not her case. You want to know what I think?”

“All right.”

“She lost Tina on purpose. And now she also wants to lose Gennaro. Not to mention Enzo, don’t you see how she treats him? Aunt Lina is just like Elsa, she doesn’t love anyone.”

Dede was like that, she wanted to be someone who is more perceptive than everyone else, and loved to formulate judgments without appeal. I forbade her to repeat those terrible words in Lila’s presence and tried to explain to her that not all human beings react in the same way, Lila and Elsa had emotional strategies different from hers.

“Your sister, for example,” I said, “doesn’t confront emotional issues the way you do; she finds feelings that are too intense ridiculous, and she always stands back a step.”

“By standing back a step she’s lost any sensitivity.”

“Why are you so annoyed with Elsa?”

“Because she’s just like Aunt Lina.”

A vicious circle: Lila was wrong because she was like Elsa, Elsa was wrong because she was like Lila. In reality at the center of this negative judgment was Gennaro. According to Dede, precisely in this crucial situation Elsa and Lila were making the same mistaken assessment and showed the same emotional disorder. Just as for Lila, for Elsa, too, Gennaro was worse than a beast. Her sister — Dede reported to me — often told her, to offend her, that Lila and Enzo were right to beat him as soon as he tried to stick his nose out of the house. Only someone as stupid as you — she taunted her — who doesn’t know anything about men, could be dazzled by a mass of unwashed flesh without a crumb of intelligence. And Dede replied: Only a bitch like you could describe a human being that way.

Since they both read a lot, they quarreled in the language of books, so that, if they didn’t slip suddenly into the most brutal dialect to insult each other, I would have listened to their squabbling almost with admiration. The positive side of the conflict was that Dede’s rancor toward me diminished, but the negative side burdened me greatly: her sister and Lila became the object of all her malice. Dede was constantly reporting to me Elsa’s disgraceful actions: she was hated by her schoolmates because she considered herself the best at everything and was always humiliating them; she boasted of having had relations with adult men; she skipped school and forged my signature on the absence slips. Of Lila she said: She’s a fascist, how can you be her friend? And she took Gennaro’s side with no equivocation. In her view drugs were a rebellion of sensitive people against the forces of repression. She swore that sooner or later she would find a way of getting Rino out — she always called him that, and only that, habituating us to call him that, too — from the prison in which his mother kept him.

I tried whenever I could to throw water on the flames, I reprimanded Elsa, I defended Lila. But sometimes it was hard to take Lila’s part. The peaks of her bitter grief frightened me. On the other hand I was afraid that, as had happened in the past, her body wouldn’t hold up, and so, even though I liked Dede’s lucid and yet passionate aggression, even though I found Elsa’s quirky impudence amusing, I was careful not to let my daughters set off crises with reckless words. (I knew that Dede would have been more than capable of saying: A unt Lina, tell things as they are, you wanted to lose Tina, it didn’t happen by chance.) But every day I feared the worst. The young ladies, as Lila called them, although they were immersed in the reality of the neighborhood, had a strong sense that they were different. Especially when they returned from Florence they felt they were of superior quality and did all they could to demonstrate it. Dede was doing very well in high school and when her professor — a very cultivated man no more than forty, awestruck by the surname Airota — interrogated her he seemed more worried that he would make a mistake in the questions than that she would make a mistake in the answers. Elsa was less brilliant scholastically, and her midyear report cards were generally poor, but what made her intolerable was the ease with which at the end she shuffled the cards and came in among the top. I knew their insecurities and terrors, I felt them to be fearful girls, and so I didn’t put much credence in their domineering attitudes. But others did, and seen from the outside they must surely have seemed odious. Elsa, for example, gleefully bestowed offensive nicknames in class and outside, she had no respect for anyone. She called Enzo the mute bumpkin; she called Lila the poisonous moth; she called Gennaro the laughing crocodile. But she was especially irked by Antonio, who went to Lila’s almost every day, either to the office or to her house, and as soon as he arrived drew her and Enzo into a room to conspire. Antonio, after the episode of Tina, had become cantankerous. If I was present he more or less explicitly took his leave; if it was my daughters, he cut them off by closing the door. Elsa, who knew Poe well, called him the mask of yellow death, because Antonio had a naturally jaundiced complexion. It was obvious, therefore, that I should fear some blunder on their part. Which duly happened.

I was in Milan. Lila rushed into the courtyard, where Dede was reading, Elsa was talking to some friends, Imma was playing. They weren’t children. Dede was sixteen, Elsa almost thirteen; only Imma was little, she was five. But Lila treated all three as if they had no autonomy. She dragged them into the house without explanation (they were used to hearing explanations), crying only that staying outside was dangerous. My oldest daughter found that behavior unbearable, she said:

“Mamma entrusted my sisters to me, it’s up to me to decide whether to go inside or not.”

“When your mother isn’t here I’m your mother.”

“A shit mother,” Dede answered, moving to dialect. “You lost Tina and you haven’t even cried.”

Lila slapped her, crushing her. Elsa defended her sister and was slapped in turn, Imma burst into tears. You don’t go out of the house, my friend repeated, gasping, outside it’s dangerous, outside you’ll die. She kept them inside for days, until I returned.

When I returned, Dede recounted the whole episode, and, honest as she was, on principle, she also reported her own ugly response. I wanted her to understand that what she had said was terrible, and I scolded her harshly: I warned you not to. Elsa sided with her sister, she explained to me that Aunt Lina was out of her mind, she was possessed by the idea that to escape danger you had to live barricaded in the house. It was hard to convince my daughters that it wasn’t Lila’s fault but the Soviet empire’s. In a place called Chernobyl a nuclear power plant had exploded and emitted dangerous radiation that, since the planet was small, could be absorbed by anyone. Aunt Lina was protecting you, I said. But Elsa shouted: It’s not true, she beat us, the only good thing is that she fed us only frozen food. Imma: I cried a lot, I don’t like frozen food. And Dede: She treated us worse than she treats Rino. I said: Aunt Lina would have behaved the same way with Tina, think of what torture it must have been for her to protect you, imagining that her daughter is somewhere and no one’s taking care of her. But it was a mistake to express myself like that in front of Imma. While Dede and Elsa looked skeptical, she was upset, and ran away to play.

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