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It’s clear that criticism in our present time—the best that is known, consensual knowledge—has a vital role. She, irritated by the contact, pulled her arm away, protesting: “And how do you work, the two of you, how do you work? Our second essay on Ferrante simply asserted, over and over, that men (all men)—after one specific man outed Elena Ferrante’s real identity—should shut up, just shut up, about Ferrante “ forever, or at least for this week. This first novel in the series follows Lila and Elena from their meeting as six-year-olds through their school years and adolescence, until Lila's marriage at the age of sixteen.
Those Who Leave and Those Who Stay - Wikipedia
Refusals to engage in the productive, consensus-building arguments of criticism, refusals to consider the big picture, refusals to elevate ourselves beyond our petty complaints. Maybe there’s something mistaken in this desire men have to instruct us; I was young at the time, and I didn’t realize that in his wish to transform me was the proof that he didn’t like me as I was, he wanted me to be different, or, rather, he didn’t want just a woman, he wanted the woman he imagined he himself would be if he were a woman. The critical takes, the arguments about authorship, the interpretive discussions placing the novels in various literary contexts and genealogies: all of it, bizarrely for people who passionately do critical work for a living, seemed mostly useless and entirely missing of the point.
Criticism about these novels felt inadequate to the largeness of our feeling and thinking about these novels. Laurie is misguided, but her effort and loyalty spring from a true heart, and she considers her project mostly successful. Pietro is a distant husband and offers Elena no support once their two children, Dede and Elsa, are born.
Those Who Leave and Those Who Stay - BookQuoters Quotes from Those Who Leave and Those Who Stay - BookQuoters
The novels are the place where she puts her pettiness: they are her secret Facebook group, the corner into which she has been backed and from which she speaks.Because the very fact of having to debate them, carefully, with evidence and expertise, dissipates the deep feelings—of love, of irritation—that the covers cause us to feel and, importantly, what the discussion of the covers lead us to know but to know other than through agreed upon standards of argument. The Rose production, starring Niamh Cusack and Catherine McCormack, transferred to the Royal National Theatre in November 2019. But, we would argue, once elevated and illuminated by criticism, conscripted and sideways power can suddenly look ennobling when, really, it very much is not. The series was praised by its portrayal of an intelligent young woman who finds motherhood stifling, something not often portrayed, as presented by Roxana Robinson for The New York Times: "She (Elena) has joined the intelligentsia and is about to marry into the middle class, yet her life is still rife with limitations. Arnold’s articulation remains a useful standard; even as much modern criticism has moved beyond or against his broader ideas about what’s good or “best,” criticism’s basic structure of evaluative argument still remains central to academic life and exchanges.
Those Who Leave and Those Who Stay - Goodreads Those Who Leave and Those Who Stay - Goodreads
Nino, now married with a young son, unexpectedly reappears in Elena’s life when he begins travelling frequently to Florence on business. In addition, the story of becoming an author is entangled for Lenu with the two previous points: with her friendship with Lila, because it's her goal to compete with the friend, to prove herself worthy, that fuels her writing. Enzo Scanno, Lila and Lenù's childhood friend, who starts a relationship with Lila after he helps her leave her abusive marriage. The novels also portray class struggle, especially in the context of Italian factory strikes of the 1970s. Gaia Girace (Lila) and Margherita Mazzucco (Lenù), who have been remarkable so far, are 18 and 19, and they look it.Central themes in the novels include women's friendship and the shaping of women's lives by their social milieu, sexual and intellectual jealousy and competition within female friendships, and female ambivalence about filial and maternal roles and domestic violence.
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