To explain this I have to talk about the nature of the narrators I’ve constructed up to now. Of course, but it’s a vexed, I would say unhappy, translation. Could one say, then, that you, too, at times are doing a work of translation, hearing the voices of these characters in dialect and turning them into Italian? It is seldom manifested explicitly, however, and is, rather, described or expressed through an Italian with dialectal cadences.
Part I Marcello Lino, translator for Intrinseca, Brazil Neapolitan dialect plays an important role in your novels, and for many of the characters is probably the natural expressive means. Click here for Part II, where the author discusses her writing process, the universal appeal of her work, and the effect of the COVID-19 pandemic on women. In Part I, Ferrante reflects on the plot of her new novel, her fascination with Naples, and the story of Elena and Lila. exclusive, is proud to present The Elena Ferrante Interview, 28 questions from 28 of the countries that will publish The Lying Life of Adults on September 1. As Giovanna connects with her aunt and examines her family’s history and mythologies, she faces down the many discomforts inherent to the journey to adulthood. Thus begins Gianna’s descent into the Naples of her father’s past: impoverished, lurid, ruthless, and endlessly fascinating. Giovanna is 13, precocious, well-educated, and beloved by her fashionable parents-although, according to her father, she’s getting ugly like her estranged aunt Vittoria.
Five years after publishing the final installment in the Neapolitan quartet-the global literary sensation chronicling the friendship of two extraordinary women in four volumes (and later, an HBO/RAI series)-Elena Ferrante is back in Naples with The Lying Life of Adults, a brand-new story that probes the mind of a teenager grappling with facades, fictions, and a startling exposure to her roots.
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