Elena Ferrante Quotes
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Why would anyone be interested in my little personal story if we can do without Homer's or Shakespeare's? Someone who truly loves literature is like a person of faith. The believer knows very well that there is nothing at all at the bureau of vital statistics about the Jesus that truly counts for him.
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Beautiful everywhere, outside and in, male fantasies.
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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 abandonmen.
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I said to myself that maturity consisted in accepting the turn that existence had taken without getting too upset, following a path between daily practices and theoretical achievements, learning to see oneself, know oneself, in expectation of great changes.
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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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While Otto ran here and there, carefully choosing places to urinate, I felt over every inch of my body the scratches of sexual abandonment, the danger of drowning in scorn for myself and nostalgia for him. I got up and went back along the path; I whistled again, and waited for Otto to return.
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That he’s no one. And for a person who is no one to become someone is more important than anything else.
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Even if I tried to tell myself that I had given him nothing, that the children were mostly mine, that they had remained within the radius of my body, subject to my care, still I couldn't avoid thinking what aspects of his nature inevitably lay hidden in them. Mario would explode suddenly from inside their bones, now, over the days, over the years, in ways that were more and more visible. How much of him would I be forced to love forever, without even realizing it, simply by virtue of the fact that I loved them? What a complex foamy mixture a couple is. Even if the relationship shatters and ends, it continues to act in secret pathways, it doesn't die, it doesn't want to die.
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I don’t believe, however, that every fiction we orchestrate is good. I cling to those that are painful, those that arise from a profound crisis of all our illusions. I love unreal things when they show signs of firsthand knowledge of the terror, and hence an awareness that they are unreal, that they will not hold up for long against the collisions. Human beings are extremely violent animals, and the violence they are always ready to use in order to impose their own eternal, salvific life vest, while shattering those of others, is frightening.
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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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But the happy ending has to do with the tricks of the narrative, not with life, or even love, which is an uncontrollable, changeable feeling, with nasty surprises that are alien to the happy ending.
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And if my mother should emerge from my stomach just now when I think I’m safe?
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We were, in short, on the side of the violation, but only because it reaffirmed the value of the rule.
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That my cult of study had always seemed to her foolish, that it wasn’t books that made people good but good people who made some good books.
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Had it really been so wonderful? I knew very well that at that time, too, there had been shame. And uneasiness, and humiliation, and disgust: accept, submit, force yourself. Is it possible that even happy moments of pleasure never stand up to a rigorous examination? Possible.
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As a girl - twelve, thirteen years old - I was absolutely certain that a good book had to have a man as its hero, and that depressed me.
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Every one of her movements said that to harm her would be pointless because, whatever happened, she would find a way of doing worse to you.
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My work stops at publication. If the books don't contain in themselves their reasons for being - questions and answers - it means I was wrong to have them published.
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We were twelve years old, but we walked along the hot streets of the neighborhood, amid the dust and flies that the occasional old trucks stirred up as they passed, like two old ladies taking the measure of lives of disappointment, clinging tightly to each other. No one understood us, only we two—I thought—understood one another.
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As I traveled toward Milan, I discovered that, with Lila set aside, I didn’t know how to give myself substance except by modeling myself on Nino. I was incapable of being a model for myself. Without him I no longer had a nucleus from which to expand outside the neighborhood and through the world, I was a pile of debris.
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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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I was stunned. Fernando looked out, still screaming horrible threats at his daughter. He had thrown her like a thing.
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You're my brilliant friend, you have to be the best of all, boys and girls.
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I didn't choose anonymity.Instead, I chose absence.