Elena Ferrante

In the Margins

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A MOST ANTICIPATED BOOK OF 2022
Oprah DailyTIME MagazineBustleThe GuardianFinancial TimesA.V. ClubCosmopolitanMarie ClaireFortune

Four new and revelatory essays by the author of My Brilliant Friend and The Lost Daughter.

In 2020, Claire Luchette in O, The Oprah Magazine described the beloved Italian novelist Elena Ferrante as “an oracle among authors.” Here, in these four crisp essays, Ferrante offers a rare look at the origins of her literary powers. She writes about her influences, her struggles, and her formation as both a reader and a writer; she describes the perils of “bad language” and suggests ways in which it has long excluded women’s truth; she proposes a choral fusion of feminine talent as she brilliantly discourses on the work of Emily Dickinson, Gertrude Stein, Ingeborg Bachmann, and many others.

Here is a subtle yet candid book by “one of the great novelists of our time” about adventures in literature, both in and out of the margins.

“Everyone should read everything with Elena Ferrante’s name on it.”—The Boston Globe
This book is currently unavailable
79 printed pages
Translator
Ann Goldstein
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Quotes

  • Zeynebhas quoted16 hours ago
    Witchcraft was hung, in History,

    But History and I

    Find all the Witchcraft that we need

    Around us, every Day—
  • Zeynebhas quoted19 hours ago
    The Autobiography of Alice B. Toklas.
  • Zeynebhas quoted20 hours ago
    The Lost Daughter is, programmatically, more radical. Leda carries out an act—stealing the doll—that she is unable to give meaning to, either at the beginning of her story or at the end. And I myself, Elena Ferrante, conceived my writing and hers in such a way that in both of us the absolute, concentrated isolation of the narrative discourse would reach a point of no return. We are both simply driven to exhaustion, summarized in Leda’s final remark, to her daughters: “I’m dead, but I’m fine.”

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