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The Story of the Lost Child (2014)

de Elena Ferrante

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Sèrie: Neapolitan Novels (4)

Membres	Ressenyes	Popularitat	Valoració mitjana	Mencions
2,634	104	5,535	(4.26)	151
Fiction. Literature. HTML: The Story of the Lost Child concludes the dazzling saga of two women�??the brilliant, bookish Elena and the fiery, uncontainable Lila�??who first met amid the shambles of postwar Italy. In this book, life's great discoveries have been made; its vagaries and losses have been suffered. Through it all, Elena and Lila's friendship remains the gravitational center of their lives. Both women once fought to escape the neighborhood in which they grew up. Elena married, moved to Florence, started a family, and published several well-received books. But now, she has returned to Naples to be with the man she has always loved. Lila, on the other hand, never succeeded in freeing herself from Naples. 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. Yet, somehow, this proximity to a world she has always rejected only brings her role as unacknowledged leader of that world into relief… (més)

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Anglès (82) Alemany (7) Italià (4) Francès (3) Suec (2) Neerlandès (2) Portuguès (Brasil) (1) Català (1) Noruec (1) Totes les llengües (103)

Últim volum de la tetralogia, teòricament s'acaben resolen les incògnites de la vida de les dues protagonistes i de tots els que les envolten, però el final és una mica pobre, no està a l'alçada del nivell trepidant de la narració. Ens quedem sense saber qui es va endur la filla de la LIla, i on és ara ella. Igualment voldríem saber més coses de la vida del Pasquale, dels motius que provoquen la mort dels Solara... De tota manera és una narració que no pots deixar de llegir. Tot i que està molt vinculat a Nàpols per època trobes moltes similituds amb la nostra propia evolució social . (

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Nuriagarciaturu | Dec 7, 2020 |

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Ferrante evokes this unforgiving and opaque culture with great power. Its malevolence affects almost everyone.

afegit per ScattershotSteph | editaThe New York Review of Books, Roger Cohen (Web de pagament) (May 26, 2016)

Ferrante’s accomplishment in these novels is to extract an enduring masterpiece from dissolving margins, from the commingling of self and other, creator and created, new and old, real and whatever the opposite of real may be.

afegit per ScattershotSteph | editaThe Atlantic Monthly, Judith Shulevitz (Oct 1, 2015)

[Ferrante] has charted, as precisely as possible, the shifts in one person’s feelings and perceptions about another over time, and in so doing has made a life’s inferno recede even as she captures its roar.

afegit per ScattershotSteph | editaLos Angeles Review of Books, Suzanne Berne (Sep 29, 2015)

Elena brings up every objection to the entire endeavour that a reader might have. If it is so-called auto-fiction then why is it not a mess, like life? If it is the story of a friendship then isn’t every word a betrayal to that friend? If it is sincere and authentic, why is the author’s name on the cover a lie? Borders between autobiography and fiction dissolve, just as the edges of Lila (both her sanity and her body) blur, and Elena provides a continual commentary on this process. Rather than this being annoying and meta, the effect is to make the writing feel alive.

afegit per ScattershotSteph | editaThe Independent, Suzanne Joinson (Sep 12, 2015)

Ferrante is no Balzac or Dickens or Trollope; she is not Zola or Tolstoy. Her narrator does not have the storyteller’s wider vision. Unlike War and Peace, Ferrante’s big book has a narrow lens, and her idea of friendship is more about shared experience than affection.

afegit per ScattershotSteph | editaThe Irish Times, Eileen Battersby (Sep 12, 2015)

Ferrante’s writing seems to say something that hasn’t been said before – it isn’t easy to specify what this is – in a way so compelling its readers forget where they are, abandon friends and disdain sleep. It would be enough to have books in which we recognise the truth of women’s lives in all its darkness, but the Neapolitan quartet also has an almost deranging narrative pleasure, delivered in a style that’s more of an admission that the author cares too much about the truth to bother with style.

afegit per ScattershotSteph | editaLondon Review of Books, Joanna Biggs (Sep 10, 2015)

Like the tough mothers in her books who refuse to coddle their babies, Ferrante might not give us the neatly wrapped finale we crave, but the one she delivers manages to satisfy, even while leaving us wanting more: more details, more closure, more of this fascinating, beguiling Story.

afegit per ScattershotSteph | editaEntertainment Weekly, Maya Stanton (Sep 4, 2015)

What words do you save? Here's your chance to bring them out, like the silver for the wedding of the first-born: genius, tour de force, masterpiece. They apply to the work of Elena Ferrante, whose newly translated novel "The Story of the Lost Child" is the fourth and final one of her magnificent Neapolitan quartet, a sequence which now seems to me, at least within all that I've read, to be the greatest achievement in fiction of the post-war era.

afegit per ScattershotSteph | editaChicago Tribune, Charles Finch (Sep 3, 2015)

I am not sure I have read a more frightening account of a friendship, or a more unsentimental view of the uses that human beings have for one another, even in the presence of mutual attachment. “I loved Lila,” as Elena writes. “I wanted her to last. But I wanted it to be I who made her last.”

afegit per ScattershotSteph | editaThe Guardian, Alex Clark (Sep 3, 2015)

With the three earlier installments of the quartet (“My Brilliant Friend,” “The Story of a New Name,” “Those Who Leave and Those Who Stay”) and this stunning final volume, “The Story of the Lost Child,” Ms. Ferrante has turned the stories of Lila and Elena into an extraordinary epic that bridges six decades and unfolds into a portrait of a neighborhood, a city in transition and a country lurching through the second half of the 20th century into the next.

afegit per ScattershotSteph | editaThe New York Times Book Review, Michiko Kakutani (Sep 3, 2015)

This, Ferrante seems to say, is what happens in the world of women, and though much of the book is devoted to women’s more frequently discussed problems—such as how they are supposed to go out to work and raise the kids at the same time, and, if they do have work, work they care about, how come this still seems to them secondary to their relationship with a man?—it is the exploration of the women’s mental underworld that makes the book so singular an achievement in feminist literature; indeed, in all literature.

afegit per ScattershotSteph | editaThe New Yorker, Joan Acocella (Sep 1, 2015)

The series is a unique achievement that marks its pseudonymous author as one of our most audacious, interesting novelists.

afegit per ScattershotSteph | editaThe Sydney Morning Herald, Kristel Thornell (Aug 28, 2015)

Lost Child does not stand independently and despite the summaries in the Index the uninitiated reader will struggle to understand the story, which begins in medias res, as if Elena were beginning a new sentence rather than a book. Elena herself is not an engaging narrator.

afegit per ScattershotSteph | editaThe Independent, Grace McCleen (Aug 27, 2015)

Now, in the final piece, “The Story of the Lost Child,” Ferrante has two mature lives to work with: weddings, divorces, children, affairs, bitter rivalries, successes and failures, regrets, grudges, fears and a few remaining hopes. Learning from the multivolume sagaists who have preceded her, she shows much skill in writing those enormous histories into this narrative about two grown women choosing the paths their adult lives should take.

afegit per ScattershotSteph | editaSFGate, Scott Esposito (Aug 27, 2015)

The breadth of vision makes this final installment feel like the essential volume.

afegit per ScattershotSteph | editaThe Washington Post, John Domini (Aug 26, 2015)

While avid devotees of the Neapolitan series will be gratified by the return of several characters from earlier installments, the need to cover ground in the final volume results in a telescoped delivery of some plot points.

afegit per ScattershotSteph | editaKirkus Reviews, starred review (Jun 3, 2015)

This stunning conclusion further solidifies the Neapolitan novels as Ferrante's masterpiece and guarantees that this reclusive author will remain far from obscure for years to come.

afegit per ScattershotSteph | editaPublishers Weekly (starred review) (Jun 1, 2015)

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▾Altres autors

» Afegeix-hi altres autors (19 possibles)

Nom de l'autor	Càrrec	Tipus d'autor	Obra?	Estat
Ferrante, Elena	—	autor primari	totes les edicions	confirmat
Damien, Elsa	Traductor	autor secundari	algunes edicions	confirmat
Goldstein, Ann	Traductor	autor secundari	algunes edicions	confirmat
Krieger, Karin	Übersetzer	autor secundari	algunes edicions	confirmat
Laake, Marieke van	Traductor	autor secundari	algunes edicions	confirmat

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The Neapolitan Novels de Elena Ferrante

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▾Coneixement comú

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Títol normalitzat

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The Story of the Lost Child

Títol original

Storia della bambina perduta

Títols alternatius

Data original de publicació

2015

Gent/Personatges

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Raffaella Cerullo (Lila)

Elena Greco (Lenuccia)

Rino Cerullo

Elisa Greco

Stefano Carracci

(mostra tots els 18 ítems)

Llocs importants

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Naples, Campania, Italy

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Primeres paraules

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From October 1976 until 1979, when I returned to Naples to live, I avoided resuming a steady relationship with Lila.

Citacions

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There is this presumption, in those who feel destined for art and above all literature: we act as if we had received an investiture, but in fact no one has ever invested us with anything, it is we who have authorized ourselves to be authors and yet we are resentful if others say: This little thing you did doesn't interest me, in fact it bores me, who gave you the right.

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(Clica-hi per mostrar-ho. Compte: pot anticipar-te quin és el desenllaç de l'obra.)

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Llengua original

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Italian

CDD/SMD canònics

853.92

LCC canònic

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Wikipedia en anglès (1)

Ann Goldstein (translator)

▾Descripcions del llibre

Fiction. Literature. HTML:

The Story of the Lost Child concludes the dazzling saga of two women�??the brilliant, bookish Elena and the fiery, uncontainable Lila�??who first met amid the shambles of postwar Italy.

In this book, life's great discoveries have been made; its vagaries and losses have been suffered. Through it all, Elena and Lila's friendship remains the gravitational center of their lives. Both women once fought to escape the neighborhood in which they grew up. Elena married, moved to Florence, started a family, and published several well-received books. But now, she has returned to Naples to be with the man she has always loved.

Lila, on the other hand, never succeeded in freeing herself from Naples. 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. Yet, somehow, this proximity to a world she has always rejected only brings her role as unacknowledged leader of that world into relief

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