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S'està carregant… The Story of the Lost Child: A Novel (Neapolitan Novels, 4) (2014 original; edició 2015)de Elena Ferrante (Autor), Ann Goldstein (Traductor)
Informació de l'obraThe Story of the Lost Child de Elena Ferrante (2014)
   Cap No hi ha cap discussió a Converses sobre aquesta obra. 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 . (  ) Nuriagarciaturu | Dec 7, 2020 | 
 Ferrante evokes this unforgiving and opaque culture with great power. Its malevolence affects almost everyone.  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. [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. 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.  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. Contingut a
The Neopolitan quartet traces the friendship between Elena and Lila, from their childhood in a poor neighbourhood in Naples, to their thirties, when both women are mothers but each has chosen a different path. Their lives are still inextricably linked, for better or worse, especially when it comes to the drama of a lost child. No s'han trobat descripcions de biblioteca. |
Cobertes populars
 Google Books — S'està carregant…GèneresClassificació Decimal de Dewey (DDC)853.92 — Literature Italian Italian fiction 1900- 21st CenturyLCC (Clas. Bibl. Congrés EUA)ValoracióMitjana: (4.19)
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