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Click on below buttons to start Download Frantumaglia: An Author’s Journey Told Through Letters, Interviews and Occasional Writings by Elena Ferrante PDF EPUB without registration. This is free download Frantumaglia: An Author’s Journey Told Through Letters, Interviews and Occasional Writings by Elena Ferrante complete book soft copy. Mar 15, 2021 My Brilliant Friend (PDF Download). About Elena Ferrante Elena Ferrante is the author of The Days of Abandonment (Europa, 2005), which was made into a film directed by Roberto Faenza, Troubling Love (Europa, 2006), adapted by Mario Martone, and The Lost Daughter (Europa, 2008), soon to be a film directed by Maggie Gyllenhaal.

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My Brilliant Friend by Elena Ferrante (free download), Now an HBO series: the first volume in the New York Times-bestselling “enduring masterpiece” about a lifelong friendship between two women from Naples (The Atlantic).

Beginning in the 1950s in a poor but vibrant neighborhood on the outskirts of Naples, Elena Ferrante’s four-volume story spans almost sixty years, as its main characters, the fiery and unforgettable Lila and the bookish narrator, Elena, become women, wives, mothers, and leaders, all the while maintaining a complex and at times conflicted friendship. This first novel in the series follows Lila and Elena from their fateful meeting as ten-year-olds through their school years and adolescence.

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Through the lives of these two women, Ferrante tells the story of a neighborhood, a city, and a country as it is transformed in ways that, in turn, also transform the relationship between two women.

Review quote

Praise for Elena Ferrante and The Neapolitan Novels The United States “Ferrante’s novels are intensely, violently personal, and because of this they seem to dangle bristling key chains of confession before the unsuspecting reader.”–James Wood, The New Yorker “One of the more nuanced portraits of feminine friendship in recent memory.”–Megan O’Grady, Vogue “Amazing! My Brilliant Friend took my breath away. If I were president of the world I would make everyone read this book. It is so honest and right and opens up heart to so much. Reading Ferrante reminded me of that child-like excitement when you can’t look up from the page, when your eyes seem to be popping from your head, when you think: I didn’t know books could do this!”–Elizabeth Strout, author of Olive Kitteridge “I like the Italian writer, Elena Ferrante, a lot. I’ve been reading all her work and all about her.”– John Waters, actor and director “Elena Ferrante may be the best contemporary novelist you’ve never heard of.”–The Economist “Ferrante’s freshness has nothing to do with fashion…it is imbued with the most haunting music of all, the echoes of literary history.””It’s just hypnotic. I could not stop reading it or thinking about it.”–Hillary Clinton

“Ferrante seasons the prose with provocative perceptions not unlike the way Proust did.”–Shelf Awareness

“It would be difficult to find a deeper portrait of women’s friendship than the one in Ferrante’s Neapolitan novels, which unfold from the fifties to the twenty-first century to tell a single story with
the possessive force of an origin myth.”–Megan O’Grady, Vogue

“Ferrante’s writing is so unencumbered, so natural, and yet so lovely, brazen, and flush. The constancy of detail and the pacing that zips and skips then slows to a real-time crawl have an almost psychic effect, bringing you deeply into synchronicity with the discomforts and urgency of the characters’ emotions. Ferrante is unlike other writers–not because she’s innovative, but rather because she’s unselfconscious and brutally, diligently honest.”–Minna Proctor, Bookforum.

“Ferrante’s voice feels necessary. She is the Italian Alice Munro.”–Mona Simpson, author of Casebook and Anywhere But Here

“Elena Ferrante will blow you away.”–Alice Sebold, author of The Lovely Bones

“The Days of Abandonment is a powerful, heartrending novel.”–Jhumpa Lahiri, Pulitzer-prize winning author of The Lowland

“Reading Ferrante reminded me of that child-like excitement when you can’t look up from the page, when your eyes seem to be popping from your head, when you think: I didn’t know books could do this!”–Elizabeth Strout, Pulitzer-prize winning author of The Burgess Boys

“Elena Ferrante: the best angry woman writer ever!”–John Waters, director

“Ferrante tackles girlhood and friendship with amazing force.”–Gwyneth Paltrow, actor

“Elena Ferrante’s The Story of a New Name. Book two in her Naples trilogy. Two words: Read it.”–Ann Hood, writer (from Twitter)

“Ferrante continues to imbue this growing saga with great magic.”–Booklist(starred review)

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“One of Italy’s best contemporary novelists.”?–The Seattle Times “Ferrante’s emotional and carnal candor are so potent.”–Janet Maslin, The New York Times

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“My Brilliant Friend is a sweeping family-centered epic that encompasses issues of loyalty, love, and a transforming Europe. This gorgeous novel should bring a host of new readers to one of Italy’s most acclaimed authors.”–The Barnes and Noble Review

“Ferrante draws an indelible picture of the city’s mean streets and the poverty, violence and sameness of lives lived in the same place forever . . . She is a fierce writer.”–Shelf Awareness

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“Ferrante transforms the love, separation and reunion of two poor urban girls into the general tragedy of their city.”–The New York Times

“Beautifully translated by Ann Goldstein . . . Ferrante writes with a ferocious, intimate urgency that is a celebration of anger. Ferrante is terribly good with anger, a very specific sort of wrath harbored by women, who are so often not allowed to give voice to it. We are angry, a lot of the time, at the position we’re in–whether it’s as wife, daughter, mother, friend–and I can think of no other woman writing who is so swift and gorgeous in this rage, so bracingly fearless in mining fury.”–Susanna Sonnenberg, The San Francisco Chronicle

“Everyone should read anything with Ferrante’s name on it.”–The Boston Globe

“Lila, mercurial, unsparing, and, at the end of this first episode in a planned trilogy from Ferrante, seemingly capable of starting a full-scale neighborhood war, is a memorable character.”–Publishers Weekly

“An engrossing, wildly original contemporary epic about the demonic power of human (and particularly female) creativity checked by the forces of history and society.” –The Los Angeles Review of Books

“Ferrante’s own writing has no limits, is willing to take every thought forward to its most radical conclusion and backwards to its most radical birthing.”—The New Yorker The United Kingdom “The Story of a New Name, like its predecessor, is fiction of the very highest order.”–Independent on Sunday

“My Brilliant Friend, translated by Ann Goldstein, is stunning: an intense, forensic exploration of the friendship between Lila and the story’s narrator, Elena. Ferrante’s evocation of the working-class district of Naples where Elena and Lila first meet as two wiry eight-year-olds is cinematic in the density of its detail.”–The Times Literary Supplement

“This is a story about friendship as a mass of roiling currents–love, envy, pity, spite, dependency and Schadenfreude coiling around one another, tricky to untangle.”–Intelligent Life

“Elena Ferrante may be the best contemporary novelist you have never heard of. The Italian author has written six lavishly praised novels. But she writes under a pseudonym and will not offer herself for public consumption. Her characters likewise defy convention . . . Her prose is crystal, and her storytelling both visceral and compelling.”–The Economist

Ferrante is an expert above all at the rhythm of plotting: certain feuds and oppositions are kept simmering and in abeyance for years, so that a particular confrontation – a particular scene – can be many hundreds of pages in coming, but when it arrives seems at once shocking and inevitable.”–The Independent Italy.

My Brilliant Friend (PDF Download).

About Elena Ferrante

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Elena Ferrante is the author of The Days of Abandonment (Europa, 2005), which was made into a film directed by Roberto Faenza, Troubling Love (Europa, 2006), adapted by Mario Martone, and The Lost Daughter (Europa, 2008), soon to be a film directed by Maggie Gyllenhaal. She is also the author of a Frantumaglia: A Writer’s Journey (Europa, 2016) in which she recounts her experience as a novelist, and a children’s picture book illustrated by Mara Cerri, The Beach at Night (Europa, 2016). The four volumes known as the “Neapolitan quartet” (My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay, and The Story of the Lost Child) were published in America by Europa between 2012 and 2015. The first season of the HBO series My Brilliant Friend, directed by Severio Costanzo premiered in 2018.
Ann Goldstein is an editor at The New Yorker. Her translations for Europa Editions include novels by Amara Lakhous, Alessandro Piperno, and Elena Ferrante’s bestselling My Brilliant Friend. She lives in New York.

My Brilliant Friend details

  • Paperback 336 pages
  • 135 x 210 x 27.94mm 362g
  • 27 May 2015
  • Europa Editions
  • New York, United States
  • English
  • Original
  • 1609450787
  • 9781609450786
Frantumaglia PDF Free Download

I found Frantumaglia in the “memoirs” section of a bookshop, ready to believe that it fitted the genre. “Frantumaglia”, Ferrante tells us, was a word that her mother had used often which refers to a “jumble of fragments” in the Neapolitan dialect. Frantumaglia also comes to be the repository from which the author of the Neapolitan Quartet and one of the strongest literary voices in our age, culls her stories.

Frantumaglia is the only “non-fiction” work by the Italian writer who has so far published four novels and a children’s book. Over a span of twenty-five years, the book covers letters between Ferrante and her editor, a filmmaker who adapts her first book Troubling Love into a movie and written interviews she gave to various media outlets, including one with Yasemin Çongar, Turkish writer and journalist. Her texts offer a comprehensive meditation on the art of storytelling, writing in the feminine (in the sense of Hélène Cixous’s term écriture feminine), and an equally, if not more, powerful reflection of the public persona of the Writer.

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For anyone vaguely familiar with the name Elena Ferrante, she is that mystery novelist whose face has so far escaped book jackets, newspapers, magazines, television and Instagram. A quick enquiry on Google about her identity takes you to an article published on October 2, 2016 by an Italian journalist who claims to have “unmasked” the person hiding behind the pseudonym. As a great admirer of Ferrante’s writing, reading Frantumaglia with the fear that the journalist might have indeed revealed her, was an unsettling experience.

In semiotic terms, Elena Ferrante is a signifier made up of thirteen letters. The signified, the conceptual image the signifier prompts in our minds, is an Italian female novelist. We are devoid of a referent, the concrete entity that the name refers to, a person made up of flesh and blood available to our perception. In that absence the strongest theme of Frantumaglia reveals itself: Without a public identity, the writer allows herself utmost creative freedom while enhancing the reader’s experience.

Ferrante chooses to not become a public personage from “a somewhat neurotic desire for intangibility.” (Disappearances and losses are a running thread in her work.) With the media frenzy following the movie adaptation of her first novel, she experiences “tremendous anxiety” and doesn’t publish anything for a decade. What began as gut-driven attitude later becomes a permanent choice that shapes her writing career: “In the games with newspapers, one always ends up lying and at the root of the lie is the need to offer oneself to the public in the best form, with thoughts suitable to the role, with the make-up we imagine is suitable.' Her sometimes curt and dismissive responses to commentators over the years could at first come across as arrogant. Whether arrogance can ever manifest itself without an encounter with a fellow human being is another question.

Ferrante’s attitude rejects the inflated and unjustified value attributed to the writer by way of renown. She exists only in her books; she doesn’t allow her person to be revered or to interfere with the reception of her novels. She frees herself of all the bridles of social pressure, acceptance, antagonism and even failure. She says in Frantumaglia that the media “pays scant attention to the books themselves and tends to assign importance to a work especially if the author already has a solid reputation.” In Turkey, Elif Shafak and Orhan Pamuk have a sizeable number of readers who have lost interest in many of their recent books, judging their early works far more profound than those published after they rose to international stardom. Does having a number of quality novels under one’s belt as well as one’s polished and calculated public persona shield oneself from clear-sighted, negative criticism for future works? Does Shafak’s latest novel, Three Daughters of Eve, flawed and superficial in literary standards, deserve the praise it receives from left and right arguably due to the celebrity of the author? Is it likely that a writer, under the dictate of the ego and market demands, compromise their voice or literary concerns? Ferrante does not lose time with such distractions. She also disagrees that the mystique surrounding her identity was counterproductive, arguing that her books were successful in their own right before the international media spotlighted her absence from public view.

Of her choice for pseudonym, we know a few things: Elena Greco is the protagonist of the Neapolitan Quartet. “Elena”, Ferrante indicates, is the name she always felt closest to. Behind the gauze of that name she allows herself to write without restrain, moving in and out of her stories, drawing from her own experiences but giving them necessary disguises. “My Naples”, she begins a sentence in one interview. The pronoun bounces back at the reader only to take shape and flourish in the many characters about whose Naples we read in Ferrante’s novels.

In a seventy-page response to five questions by a magazine editor, she reflects on her own childhood in words highly evocative of certain aspects of Lila in My Brilliant Friend. In Frantumaglia, Ferrante calls her sister Gina, says she bears her great-grandmother’s name, talks at length about her mother, a seamstress just like Amalia in Troubling Love. Thus what separates “fiction” and “non-fiction” becomes less noticeable, echoing the “dissolving margins” of Lila, and one is left to wonder whether a strict demarcation between the two is significant or even relevant. As the reader is not provided with any means to winnow fact from fiction, her paparazzi urges left unfulfilled, she establishes a closer relationship with the substance of the book. The validity of Frantumaglia doesn’t lie in its pact with the reader as a fact-driven memoir, but in the credibility of its ideas, themes and observations. “I am convinced that fiction, when it works, is more charged with truth.” Ferrante asserts. To bring further depth to her conviction, she makes even her characters “come alive” through writing alone. My Brilliant Friend opens with Lila’s disappearance. Only through her friend’s writing can she materialize. How can those who have read the novel doubt Lila’s authenticity even for a split second? With “the narrowed eyes of a bird of prey”, she haunts us day and night.

“Either I remain Ferrante, or I no longer publish.” the writer says and hints at being in the process of writing a new book. If the Italian journalist’s “exposure” has any foundation, does it mean that we will never read another word from her? Could she further twist the game by continuing to publish, using the mutual exclusivity of her statement to her advantage and to the great joy and relief of her readers? Millions of us worldwide are holding our breath.

(I dedicate this article to Lilita who, giving me her dog-eared copy of My Brilliant Friend made my life a richer, fuller place.)

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Merve is a writer, translator and interpreter based in Istanbul. She is also the host and founder of Spoken Word Istanbul and Spoken Word Turkçe, which you can find out more about: @SpokenWordIstanbul

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