Those Who Leave and Those Who Stay, by Elena Ferrante
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Those Who Leave and Those Who Stay, by Elena Ferrante
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The incredible story continues in book 3 of the critically acclaimed Neapolitan novels!
In this third Neapolitan novel, Elena and Lila, the two girls whom were first introduced in My Brilliant Friend, have become women. Lila married at sixteen and has a young son; she has left her husband and the comforts her marriage brought and now works as a common laborer. Elena has left the neighborhood, earned her college degree, and published a successful novel, all of which has opened the doors to a world of learned interlocutors and richly furnished salons. Both women are pushing against the walls of a prison that would have seen them living a life of misery, ignorance, and submission. They are afloat on the great sea of opportunities that opened up during the 1970s. Yet they are still very much bound to each other by a strong, unbreakable bond.
Those Who Leave and Those Who Stay, by Elena Ferrante- Amazon Sales Rank: #943 in Audible
- Published on: 2015-05-15
- Format: Unabridged
- Original language: English
- Running time: 1008 minutes
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Most helpful customer reviews
46 of 48 people found the following review helpful. "[Lila] was like the full moon when it crouches behind the forest. . . " By John Sollami Still held my interest. I felt encircled, entwined, enveloped in the lives of everyone Ferrante has given us in these novels.Yet, there was a bit too much of Elena gazing at herself in this book, too many questions asked, too much insecurity, too much melodrama, too much self-indulgence for this reader. Lila as usual remains tough as nails, on the edge, angry, suffering, brilliant, and mysterious. However, the hyperbolic quality of some of this writing skirts the edge of soap opera melodrama, but Ferrante thankfully doesn't fall into that abyss. There is always still a political edge here, a class consciousness, a feminist outlook that makes her writing far more interesting than only a story about love lost, love gained, love misplaced, love used, and love abused. There's also hatred and rage and sorrow and injustice -- a whole array of emotions and complexities that give this engrossing work its authenticity and honesty and value. And there's a long history to every character, each one carefully developed in a very believable way.Nonetheless, I grew impatient with this volume at times. I skipped around. I wanted to finish it and move on to something else. I'm sure if Ferrante puts out a fourth volume, I will read it. There are way too many loose ends for this work to end after this one. I'm hooked, but at times I have wished I wasn't.
36 of 39 people found the following review helpful. How do such intelligent women make such poor choices in life? By Tony Covatta I did not think Volume Three of this extraordinary soon to be tetralogy was up to the standards of the first two books. Then again, perhaps I am just getting tired, as I have read all three over the last few weeks. As that fact indicates, I did find the work gripping, and Volume Three was no different at least through the middle of the book.As usual, the emotional link between the two women, now in their twenties and early thirties is intense, and vividly rendered. Beyond that, the depiction of the union organizing and fascist and anti-fascist strife was done very well. I have read little like it.Nevertheless, for me this whole series has major flaws. While it is very upscale chick lit and an entertaining read, perhaps the stuff of a major television mini-series, this is not great literature. There is far too much dependence on mindless coincidence. Simlarly, the introduction of Elena's younger sister Elisa as an important character late in the book, without any preparation is a major flaw. As usual, for the most part, the minor characters are only lightly drawn and are virtually indistinguishable.But it is the major characters who gave me most pause. Lila becomes in this volume nearly a character out of science fiction. She has almost superhuman powers. She is prescient, beautiful, and every man falls ineluctably in love with/lusts after her. It is too much. Similarly, after three volumes and 1200 pages, it is clear that Elena is stuck on the womanizer Nino, but I defy anyone to tell me why. There is no basis for it outside of Elena's psyche, and she is not sharing that with us.The action is melodramatic, operatic. The attempts at explanation of the ladies' feelings are sophistical. We never really know what Lila and Elena are thinking. They switch at a moment's notice and there is never any real explanation for the changes. Each of them lacks an observing ego--something characters always exhibit in the best art--getting to the heart of what makes them tick. After all this sturm and drang, Elena still doesn't know herself and is still almost totally dependent on others to get along in life. I won't spoil the end of the book except to say that to me it was morally and psychologically disappointing in the extreme. I would say more except that the last page prompts me to predict that Elena will have yet another reversal of fortune early in Volume 4 (which I will read). Lila does not know herself either, and her turning into a computer wizard after being a journeywoman sausage stuffer strains one's credulity. Finally and unfortunately, like so many other characters in modern fiction and in life, the two are driven by needs for sex, money and social status, not by love. This work is less than the sum of its parts.
42 of 51 people found the following review helpful. Shelve This Series Between Proust And Faulkner By propertius It appears that Elena Ferrante is intent upon surprising her readership constantly not only in the intensity and complexity of her work, but also in the form. It had been anticipated that this book would be the capstone of her Naples trilogy, the other two books being "My Brilliant Friend" and "The Story of a New Name." This is not the case since the ending of this book indulges the reader by indicating that a fourth "Naples volume" is in the making.This book indicates that her ambition is almost Proustian or Faulknerian in scope for this series. There is the continuation of the tortured relationship between the narrator Elena and her childhood friend Lila and the ebb and flow of all the tributaries that haunt these two, whether it be the old neighborhood, the mangled relationships of old lovers, families, regional disputes etc. Where this volume diverges from the other two is that there is more theoretical talk between Elena, Lila, and Elena's lover and her husband. When a writer has a character talk about the art of writing and the creative process, you should pay close attention to those sections.Yet this novel does not yield an inch to its predecessors in dramatic intensity and I feel that it surpasses them substantially.Not only is there an intensity but also an urgency conveyed in this book that accelerates to the last chapter which ends with all the force of old Hollywood cliffhangers. However whereas the other two books in this series could almost be read as stand-alone works, this one does require that the reader to have acquainted himself with the at least the second book in the series.There is a constant sense of wonder in that Ms. Ferrante conveys the "woman's perceptive" or sensibilities throughout the novel without falling into preaching or propagandizing. This is certainly art, after all we do not limit say a Hemingway by saying he writes for men or T S Eliot's "The Love Song of J Alfred Prufrock" is only for shy middle-aged men, we would be doing them and us a disservice. And so it should be for Ferrante. No one can read this book and not come away with a heightened sense of the human condition and one may start thinking of the story of and the relationship of Elena and Lila in the same way with think of Caesar and Cleopatra or Achilles and Hector. It is that great.
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