Elena Ferrante Quotes
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To carry out any project to which you attach your own name you have to love yourself.
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Books are written so their authors can be heard, not so that they remain silent.
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When the baby emerged and I saw her, black-haired, a violet organism that, full of energy, writhed and wailed, I felt a physical pleasure so piercing that I still know no other pleasure that compares to it.
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I understood that I had arrived there full of pride and realized that—in good faith, certainly, with affection—I had made that whole journey mainly to show her what she had lost and what I had won. But she had known from the moment I appeared, and now, risking tensions with her workmates, and fines, she was explaining to me that I had won nothing, that in the world there is nothing to win, that her life was full of varied and foolish adventures as much as mine, and that time simply slipped away without any meaning, and it was good just to see each other every so often to hear the mad sound of the brain of one echo in the mad sound of the brain of the other.
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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 invested us with anything, it is we who have authorized ourselves to be authors.
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We discussed ourselves a lot. But although we were women…we struggled to understand what a woman was. Our every move or thought or conversation or dream, once analyzed in depth, seemed not to belong to us. And this excavation seemed to exasperate those who were weaker, who couldn’t tolerate such an excess of self-reflection and believed that to embark on the road of freedom it was simply enough to cut off men. These were unstable times, arcing in waves. Many of us feared a return to the flat calm and stayed on the crest, holding on to extreme formulations and looking down with fear and rage.
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She went like that saint who, although she still has her head on her shoulders, is carrying it in her hands, as if it had already been cut off.
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We told each other everything, even the little things, and were happy.
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I’ll give you treasure chests full of gold pieces, I know the value of spending time with you.
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And the plane began it's takeoff. How exciting it was to lift off from the ground with a jerk and see the houses that became parallelepipettes and the streets that changed into strips and the countryside that was reduced to a green patch and the sea that inclined like a compact paving stone and the clouds that fell below in a landslide of soft rocks and the anguish, the pain, the very happiness that became a part of a unique luminous motion. It seemed to me that flying subjected everything to a process of simplification and I sighed, I tried to lose myself. Every so often I asked Nino "are you happy?" and he nodded yes, kissed me. At times I had the impression that the floor under my feet, the only surface I could count on, was trembling.
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The next day, at breakfast and during the entire drive to Milan, he talked passionately about what he considered the most exciting period of his life, the years between 1945 and 1948. I heard in his voice a genuine melancholy, which vanished, however, when he went on to describe with an equally genuine enthusiasm the new climate of revolution, the energy—he said—that was infusing young and old. I kept nodding yes, struck by how important it was for him to convince me that my present was in fact the return of his thrilling past.
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I doubt that work ennobles man and I am absolutely certain that it does not ennoble woman.
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It was a good rule not to expect the ideal but to enjoy what is possible.
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I liked to discover connections like that, especially if they concerned Lila. I traced lines between moments and events distant from one another, I established convergences and divergences. In that period it became a daily exercise: the better off I had been in Ischia, the worse off Lila had been in the desolation of the neighborhood; the more I had suffered upon leaving the island, the happier she had become. It was as if, because of an evil spell, the joy or sorrow of one required the sorrow or joy of the other; even our physical aspect, it seemed to me, shared in that swing.
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How can I explain to this woman—I thought—that from the age of six I've been a slave to letters and numbers, that my mood depends on the success of their combinations, that the joy of having done well is rare, unstable, that it lasts an hour, an afternoon, a night?
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When I returned home that night with the children, I felt the close, comfortable warmth of the apartment for the first time since the abandonment.
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I soon discovered that I was getting used to being happy and unhappy at the same time, as if that were the new, inevitable law of my life.
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Why did she talk to me about how soles were ground and not about what she read?
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She spoke with a different sort of determination, calmer, as if it were no longer necessary to fight to the death for every little thing.
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I tend toward an expansive sentence that has a cold surface and, visible underneath it, a magma of unbearable heat. I want readers to know from the first lines what they will have to deal with.
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Nowhere is it written that you can’t do it.
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It was marvelous to cross borders, to let oneself go within other cultures, discover the provisional nature of what I had taken for absolute.
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The daily standard of unlivability isn’t news. So when the exceptional passes, everything is silent and everything continues to rot.
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Next to her, in the place where we were born, I was only a decoration, that is, I bore witness to Lila’s merits. Those who had known us from birth attributed to her, to the force of her attraction, the fact that the neighborhood could have on its streets an esteemed person like me.