Elena Ferrante #ReviewWomen2015

Discovering authors whose works I’ve either never heard of, or for some reason passed by, is one of reading’s great joys. Something—a friend’s recommendation, an author interview read or heard, a change of heart—compels me to read one of the unknown or forgotten, and I find myself in the lovely spot of suddenly having an author’s backlist to catch up on. Because the book, the writing, the everything is THAT GOOD. It’s like finding $50 in your pocket, just as the clouds clear on a dreary day and the sun beams through.

 

I’m already in for two new-to-me authors this year, and 2015 isn’t even three months old. The first was Lily King, whose Euphoria I waxed euphoric about last month; I read another of King’s right away, and was enthralled once again: Father of the Rain. The second is Italy’s enigmatic Elena Ferrante.

 

I don’t have time to determine why these writers’ previous works escaped my notice; I have too much reading to do.

The Days of AbandonmentThe Days of Abandonment by Elena Ferrante

One April afternoon, right after lunch, my husband announced that he wanted to leave me.

 

And so begins Olga’s descent into the heart of her own darkness. The Days of Abandonment packs a wallop of tension and cringe-inducing desperation into 188 pages of elegantly-rendered narrative. This isn’t the story of a woman on the verge of a nervous breakdown, this is THE nervous breakdown, in all its raw ugliness. We may tut-tut as we read Olga’s hair-raising mayhem, but really, isn’t this what we fear, in the wee hours, in our most vulnerable moments? As Shakespeare’s Polonius declares in Hamlet, “Though this be madness, yet there is method in’t.”

 

The method is familiar: husband leaves wife for younger woman (in this instance, the very young daughter of a former family friend). Wife, who hasn’t worked outside the home for many years, is left with the children, the house, the bills, and her own aging body. Disbelief, depression, anger, the divvying up of friends, the hope and fear of running into the ex and his paramour ensue. But Olga’s madness? There is nothing expected in the way Elena Ferrante portrays Olga’s domestic drama.

 

Olga’s recounting of her freefall is detached and unsentimental. She tells it some years distant, but I also wonder if there is not some translation styling at work here. Although Ann Goldstein has translated all Ferrante’s Europa Editions-published works, so I have to assume her tone is true to the author’s own.

 

Contrary to that sense of emotional detachment, The Days of Abandonment is an intensely physical story. Olga is both obsessed with and horrified by her body, which at thirty-eight is showing the inevitable signs of age. She ruminates frequently about sex, reducing it to a purely animal act, torturing herself with images of her husband Mario, and his young lover, and then seducing her neighbor in a pathetic cry to recapture her crushed sexual self. Ferrante uses pain-an errant piece of glass in pasta sauce that pierces the roof of Mario’s mouth; the threat of a mother to cut off her daughter’s hands with sewing shears; a child’s forehead smashing into the windshield to the sound of screeching car brakes–to frame Olga’s sanity. It’s almost as though pain is a stand-in for emotion: as long as Olga can envision pain and feel it, she’ll be alright. She had reinforced locks put in the front door and at her lowest point, she struggles to open the locks, finally resorting to using her teeth. At one point, Olga asks her daughter Ilaria to poke her with a paper cutter if her concentration wanders

 

I immediately pulled my mouth away from the key, it seemed to me that my face was hanging to one side like the coiled skin of an orange after the knife has begin to peel it. …For a while I let myself sink into desperation, which would mold me thoroughly, make me metal, door panel, mechanism, like an artist who works directly on his body. Then I noticed on my left thigh, above the knee, a painful gash. A cry escaped me, I realized Ilaria had left a deep wound.

 

Most disturbing is the toll Olga’s depression takes on her children and Otto, the family dog. The upsetting scenes of abuse and neglect may well kill any empathy you develop for Olga as an abandoned woman. But without them, Ferrante’s narrative would simply be a mildly prurient glimpse into the life of the newly forsaken.

 

Olga wrestles with her post-abandonment identity, and her struggle is an alarm bell the author sounds relentlessly as she mocks the absurd circumstance of marriage that calls upon women to set aside their professions and their physical freedom, to attend to home, family, husband.

 

I had carried in my womb his children; I had given him children. Even if I tried to tell myself that I had given him nothing, … 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.

 

What a complex, foamy mixture a couple is… Indeed. Foamy. An interesting choice of word. So sensual, evocative, invoking the fluids of sex, but also foaming at the mouth—a sign of madness, a rabidity of rage.

 

The Days of Abandonment is frank, gutting, oddly funny, and awfully sad. But it is not without hope, and throughout you are reminded that Olga survives her madness. Even swirling in its whirlpool, she has one hand above water, reaching, grasping.

 

Elena Ferrante’s brilliance is withholding her judgment of her characters. She writes their truth and allows readers to create their own morality. Her writing, though not warm, is full of heat. The carapace of narrative rage cracks to reveal tender new skin beneath.

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Not To Live Too Small: Thank You, Kent Haruf

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I can tell you the moment I decided to be a writer when I grew up: I was six and I’d just read Louise Fitzhugh’s Harriet the Spy. I wrote a bunch of stuff for years—stories, mostly—oh where did they all go? But I can’t tell you when I stopped writing. I just sort of drifted away.

 

Junior year of high school, there was Mr. Compton, who turned around the life of a kid determined to fail of her own accord before the world could catch on how worthless she really was. He reminded me how much I loved to write and pushed me to keep at it. There was Professor Martin from English 301 in college, who handed back a paper with a long note at the end that basically said, “You’re an outstanding writer. I wish you hadn’t switched your major.” (Yeah, Doc Martin, me too. Psychology was worthless, but someone convinced me along the way that I’d never get a job as an English major. Not that I got one with Psychology, either. I sure as hell would have learned more had I stuck with English.) Yet somehow by thirty, the only writing I’d done for years was in my journal.

 

I’d never stopped reading, of course, but I hadn’t sought out literature in any meaningful fashion—I read whatever came my way: highbrow, lowbrow, and all sorts of stuff in between.

 

But then, late in the 1990s and early 2000s, as I was zooming up the slope of a career I clung to until we chucked it all and moved to New Zealand in 2006, a handful of contemporary literary fiction nudged me toward a different path. In 2003, it was Wallace Stegner’s classic deconstruction of marriage, Crossing to Safety (1987); 2001 introduced me to Jhumpa Lahiri and her transcendent short story collection, Interpreter of Maladies (1999); a bout with the flu late 2000 put David Guterson’s atmospheric slow burn Snow Falling on Cedars (1995) into my hands.

 

Plainsong by Kent Haruf, which I read the year it was published (1999), was the first of these transformative reads. Its prose is so powerful, its narrative profound; I was astonished that anything so quiet could pack such a solar plexus punch.

 

These works knocked something loose inside of me. They changed the way I read and changed the way I thought about writing. These novels and stories continued the preparation and education of my heart and mind, which had started decades earlier with Harriet the Spy, for the time when I would finally decide that every other ambition had to go.

 

Kent Haruf visited the University of Illinois at Urbana-Champaign—where I worked—to read from and discuss his new novel. He signed my copy of Plainsong. I wish I had a clever anecdote, something that I learned about writing just from being in the presence of so gifted and hard-working a man, but I recall only that the author was gracious, gentle, soft-spoken, and full of quiet dignity, just like his books.

 

From my own review of his novel, Benediction:

‘Kent Haruf is a master of the understatement. He is a sublime observer, less a storyteller than a whispering carney offering glimpses into the circus of life. His narratives are quiet, moving to a gentle rhythm. At first glance, they can seem as dry and simple as the flat, square towns on Colorado’s eastern border where his stories are set. You think you have taken it all in, standing there on the edge by the feed store, looking straight down 6th avenue to the water tower that rises like at sentinel on the other end of town. But you must look beyond what you see to discover what is really there . . . Haruf rarely grants redemption to his characters, just as life itself doles out redemption in meager dribs, offering only enough grace to keep us going until our time is played out.’

 

Last week, Kent Haruf’s time played its last notes. But the quiet strength of his gracious prose will continue. Our Souls at Night, the novel he was editing when he died, will be published in 2015.

 

Earlier this fall, Granta published an essay by Kent Haruf as part of its series The Making of a Writer. Read it, please, it’s lovely. Ironically, I captured the link in an obituary in The Guardian: Kent Haruf, ‘a great writer and a great man,’ dies at age 71 I’m thrilled a British paper memorialized this American treasure; he wasn’t well enough known in the United States, which perhaps suited him just fine.

 

Thank you, Kent Haruf. Rest in peace.

Book Review: 11/22/63 by Stephen King

11/22/6311/22/63 by Stephen King

My rating: 5 of 5 stars

It’s such a funny thing when you tell someone you are reading Stephen King. Eyebrows arch and the voice pitch is tight and high when they respond “Oh, really?” You know what they are thinking.

One of the last King novels I read was “It”. Winter break, freshman year of college, 1987. I had the flu and this terrifying and intoxicating story filled my feverish nights with horrific dreams. I had already worked my way through the King oeuvre during junior high and high school and after “It”, I lost my taste for blood-spattered spills and thrills. In fact, King’s are the only I’ve read of the horror genre. It’s never been my thing.

But Stephen King deserves a category all his own. He always has. He is a freakishly brilliant writer. That he has made a name (and fortune) terrifying generations of readers will probably always keep him apart from the scions of literary fiction, but no one, no one can can deliver the goods – the story, the characters, the pacing, the originality-like SK.

I didn’t know much about what SK had been up to since “It”, until I read “On Writing” last year. I suffer my way through books by writers about the art and craft of writing, but this one – a combination memoir and fiction-writing instructional – I couldn’t put down. King shows us it is the story that matters. He tells us that writing what you know is a rotten old chestnut. Rather, you should write what you want to read, what you love to learn about. So, he succumbed to his intellectual and emotional destiny and set out to write the best horror/speculative/fantasy fiction he could.

11/22/63 brings me back to the writer that I discovered in The Stand. A dense, detailed, thickly-plotted “What if?” There are heaps of reviews if you care to learn more about the plot, the characters, the drama. I won’t do that here. It’s not horror, so don’t let that possibility scare you away. It is a fantastic read with characters who will pull at your heart and suspense that will hold you fast to the page.

First-rate writing from a stand-up guy. “I just want to tell you. I’m your number one fan.”

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