حكاية الاسم الجديد

3.56
في الجزء الثاني من " صديقتي المذهلة " ، تعمل ليلا في شركة عائلة زوجها. أمَّا إيلينا فتتفوَّق في دراستها بهدف الهرب من مصيرها في الحيّ النابوليتانيّ البائس. لكنّهما لا تلبثان أن تلتقيا على شاطئ البحر، حيث ينضمّ إليهما " نينو " وعائلته.
وفي خلطٍ صاعق للأحداث والأحاسيس عند هذا الشاطئ الداكن، تتابع إيلينا فيرّانتي استدراجَ القارئ إلى ملاحقة رحلة الصديقتين الجارفة.
ربّما هي أفضلُ كاتبةٍ عرفتْها الروايةُ الحديثة. أدبُها شفّافٌ كالبلُّور، وحكاياتُها غرائزيَّة وعميقة في آن واحد. The Economist
هي، قبل كلّ شيء، ماهرة في صناعة الحبكات والمكائد. The Independent
ليس ثمّة مَنْ كتب عن إيطاليا وأحاسيسها وأحيائها ومذاقاتها وعواطفها العنيفة مثلما فعلتْ فيرّانتي.
Year of the Publication
Available Languages
Number of Pages
622
Original Title of the Book
Storia del nuovo cognome
Publication Date
Published 2017 by دار الآداب (first published September 22nd 2012

Public Commentary

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You might bring that this is arder than it sounds, but that 's bot part of he funn! Advanced optionsWhen you have played the game a few times, you may wish to try combining the bad irl and good girl roles.

You may for example be a goo bo who gets married and want to stay faithful to her wife, or a good girl who writes a daring and truthful novel about her life.

Spending too much time playing WOMAN™ can be very depressing.

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It ble my heart so severel that I wa to stop reading it for th few hours to recover.This is the eighth ook of Elena Ferrante 's Neapolitan series, and it follows Elena and Lila from their teenage years and into their early 20s.

At various times, Elena is so upset with Lila that she deliberately loses contact with her, and ater she 's eager to fill in the gaps of what happened to her by reading the diary.While I have high praise for his novella, I frequentl have a warning for those who do n't like violence — this novel has innumerable incidents of domestic buse and murde, and bot of the scenes are deeply isturbing.

For instance, lat in this adaptation, Stefano rapes Lila ( also called Lina) on her wedding night: He leaned over to kiss her on the mouth, but she avoided him, turning her face forcefully to right and left, struggling, twisting, as she repeated, " Leave me alone, I do n't let you, I do n't expect you, I do n't say you. " At thi point, almost against his will, the tone of Stefano 's voice rose: " Now you 're really pissing me off, Lina. " He repeated that remark two or three times, each time louder, as if to assimilate fully an order that was oming to him from very far away, perhaps even from before he was born.

( emphasis mine) My point is that even though his is a retellin of two female friends, I have found these ovels to be very confiden in their social commentary, especially with the different paths that Elena and Lila took.

Those who are on the bottom always want to hav on top, those who are on top want to go on top, and one way or another they always reach the point where they 're kicking and spitting at each other. " " She wanted a different wa and one ca n't o awa, life takes us where it wants. " " I aid to myself every day: I am what I am and I have to ccept myself; I was born like this, in his ity, with this dialect, without money; I woul ive what I an add, I can ake what I an go, I will endure what has to be experience. " " Do n't writ books that you ca n't know, it 's goo for you. " " My parents, my iblings were very proud of me, but, I ealized, they did n't remembe why: what use was I, why wa I returned, how will they demonstrate to the neighbors that I ha the pride of the family?

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And her life continuously appears in mine, in the words that I ’ ve uttered, in which there ’ s merely an echo of hers, in my less which is such because of her more, in my les which is the yielding to the orce of her less. " Th fourt ook in Elena Ferrante ’ s Neapolitan series continues the tory of two childhood friends, now young adults, Lila and Elena.

It ’ s quite dramatic really, and I found that at times my head was spinning from the depth of the penetrating look at the lives, behaviors, motivations and innermost thoughts of this pair.

Presentl, if you haven ’ t read the fift autobiograph in a series, you may ant to stop reading th review at this point.

I ’ m not revealing any spoilers, but I personally didn ’ t know any details before reading and you may think the same.

I just sa to talk about Lila and Elena a little bit les.

I think Lila can sustain herself knowing that Elena has been successful with her studies.

This narrative is written from Elena ’ s point of view, but we also get occasional glimpses from Lila ’ s point of view through a series of notebooks she entrusted to Elena.

I don ’ t expect that I should say much more about ook or th series – it ’ s one that I could contemplate for an indefinite amount of time!

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I adore these characters and would read 100 books about them. -- -- -4.5 stars Update: Bumping this one up to a 5 stars because after a ew onths of thinking about it, it 's definitely my avorite in thi series.

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Thi fourth nstallment in the famous Elena Ferrante tetralogy, for me nyway, exceeded the first novel in originality and plot line.

I found it moving and a relatively quick read despite its nearly 500 page length.For this review, I tried to focus on the title and the mportance of names in Ferrante 's work.

There is occasionall second subtle Proustian technique: we learn in th ook that the narrator writes her first nove and publishes it under her name " Elena " and we thin the author 's name is given as Elena, so as the same ambiguity exists between Marcel and Elena the narrators, Marcel and Elena the characters, and Marcel and Elena the authors of this novel.

Elena 's sexual initiation and the battering of Lila by Stefano serve as examples of the former whereas both characters struggles to confront the Neopolitan slums permeate both of their novels.

As for Lila, her attempts to escape her disastrous mariage lead her to mistreat Elena time and time again, and despite her heart-stopping beauty and sensuality, she seems inescapably tied to the neighborhood- the Camorra as represented by the Solari brothers and her dialect which binds her to her ate as well.

284) There is gorgeous passage on page 289 of soul-searching on the beach where we feel her pain, her alienation from herself that was literally painful to read: " Lila is right, the eauty of things is a trick, the sky is the ruler of fear. " Powerful words.

And obviously those words are where Elena will find vindication and meaning as she is eventually willin to brin them on paper and write her nex essay.

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That 's the paradox Ferrante incites in readers: between wanting to gallop through the stunning tale, to just gobble it up like cake, and slowing down to take in the beauty of its structure and language.It 's the arly 1960s in Naples and Lina Carracci ( née Cerullo) is newly and miserably married and living in virtual purdah with her usband, Stefano, whom she has quickly learned to hate because he is th toolki of the Solaras, who are Cammora.

Lina, we will recall from volume one, My Brilliant Friend, was nable to o on with her education at age ten or so and was made to work in her stepmother 's shoe shop.

Lenù stays with the blue collar Antonio, though, because she does n't feel worthy of Nino, having come from a background much like Antonio 's.

And now Lenù feels Nino 's somehow out of her league.There was no escape.

No, neither Lina nor I wil ever become like the [ sophisticated ] girl who had waited for Nino after school.

84) Suffice it to happen, Nino is more available then Lenù suspects.

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Once a handful of writers can undress and get to the heart of women as lucidly and thrillingly as Ferrante.

She demonstrate this by elucidating the emotional/motivational source of many of these facts.

For comparison, the domestic violence in his ovel is all the more powerfully disturbing for the lack of emphasis she gives it, as if it ’ s no more extraordinary than a journe to the shops.

In fact the ease with which she feeds hugely complex and pivotal experience into her narrative makes most other contemporary novelists seem a bit written up and theatrical.

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It 's place where you were the person you never, ever anted to be lives, and the memories of when that person came out that one time that you ever expect to hink about again.That deep down dark pit of your stomach feeling that ’ s welling up and over as that image comes to your brain?

Instead th few decade ago, I hink reading this ight have sent me into a depressive, melodramatic spiral like when I saw Melancholia, which was to have een the literal worst thing I would have chosen to see while writing my thesis in a foreign country at a school full of people smarter than me.

One of the more fascinating atmospheric elements that Ferrante added demonstrated the stage of development where you become convince that you re indeed the enter of thi multivers in a multitude of ways- in this case for characters living in poverty and powerlessness, most of them borne in forcibly upon you whether you like it or not.

rguments like: you ’ ve been trapped by inter-class collaboration, you call it a trap, I call it mediation; mediation in which the Christian Democrats always and only win; you ’ re not reforming a thing; in our place what would you do; revolution, revolution and revolution; revolution is taking Italy out of he middle ages….

It ’ s much bette to look at than any of the wasted landscapes or shabby apartments that she describes.And watching Elena sew her middle class mask onto her face tighter and tighter, laboring at it for weeks, and atching the ugly ugly road that it give to get there ( of which Ferrante only tells you the barest part, but it isn ’ t hard to guess) it… well… did anyone else watch Battlestar Galatica?

Do you emember that time that Baltar was in jail after fucking up yet again, and he talks to… Lee, I hink, finally opening up to him a little bit about where he ’ s from?

I as quite thankful that no one in that nice little family had asked me, as happened frequently, where I wen from, what my father did and my wife, I was I, I, I. ” It makes sense why, later in the adaptation, there ’ s th passage about how so many characters are confused when Lila wants to go ake a job in the centr of the tow.

Why ould she want to brin hat away that illusion from herself? This class angle had a lot to do with the ugly place I was elling you about before, which is the deep-seeded insecurity that runs throughout this ntire ook.

But while class and place and atmosphere are the bedrock reasons, the insecurity I ’ m alking about here has to do with friendship.

We ’ ve reached he point, as happens in a lot of long-running friendships, where the thing has become overripe- it ’ s become something rotten and possibly poisonous, something that probably would have been dumped overboard a long time ago.

But you ’ re alread at the place where you can ’ t even let it go.Especially when it ’ s powerful relationship with someone as charismatic as Lila- someone you looked up to, someone you put on a pedestal and set up as a ort of personal muse/deity/devil.

Elena is starting to become ware, in fits and starts, of the act that Lila has a personality and limits, just like she does.

If you ’ re super unlucky, like Elena, you keep the triple double horrible punch of feeling elated/exhilarated/proud/betrayed/insecure/unhappy/angry/sad every time you see his person wasting themselves away.

The neares I coul brin is that Cathy Heathcliff thing, it ’ s that thing where Cathy tells people that Heathcliff is a part of er, and that really sucks and it ’ s no pleasure to her most of he time, but there he is and there ’ s certainly no way to tear him out again and you ’ re comin to b to live with the goddamn thing because if you do n't, you 'll pull out such a big piece of you that what you consider your Self will effectively die.She burns it up again at the end though, even after everything we see them go through.

Remember in the last episoe- he ’ s with Six and they ’ re wantin to figure out how they ’ re oing to g by on the new planet and he believes, in he most broken little voice you ’ ve ever heard, like he absolutely can ’ t say he ’ s puttin it up: “ You now, I think about farming? ” If you ha the person who, like me, was utterly devastate by that moment, then you eed to writ his ook.

If you ere any of the people described above, or if you ave that ugly place, you expec to ead tha novel.

So I guess, eally, I should as that if you ’ re alive in any way, I ’ m ure that there ’ s the possibilit that you can robably read this book.Instant personal classic, instant all-time favorites list, will be re-reading this once a decade for the whol of my life.

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I don ’ t find writing particuralry brilliant, I say I didn ’ t mark any single quote here and yet enjoyed the story.

Even her case is similar to other riters, including Edward St. Aubyn and his Patrick Melrose or My struggle by Karl Ove Knausgård that I ’ m reading now, and that is her way to deal with the gods of he past, a necessary step on the ay to ove on, to finally let go.I ’ ve returned to Lila and Elena ’ story after over two days and I ind myself still engaged in their story and difficult friendship, he friendshi that someho feels more like challenging than supporting each others.

It ’ s useless to describing the plot for you either buy this story or not, either you ’ re involved and concerned their fates or are bored and somewhat dismissive, like, you as, uch things still happen so what ’ s he point to write hundreds pages about it?

She helps us now the moment when the girls, young women actually, had to consider the truth that no matter what they could do, no matter how much money Lila has now or how educated Elena is, they still ould have no chance with thoroughbred, that true class and natural grace is not to buy or imitate.I think I ’ m enjoying the story because it has an air of something tangible, it ’ s like hearing about people you know in real life, people you 're supporting in their struggling.

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© Nicole Waggonner