Top 10 books about cheating – The Guardian

From illicit James Salter to category-defying Jeanette Winterson, here are the best contemporary works about romantic infidelity

Why do we keep coming back to the adultery novel? What is it about infidelity that bears retelling across the centuries, especially now, when the ancient prohibitions against sex outside marriage have all but disappeared? These are questions I asked myself as I was writing Fire Sermon, the story of a married woman’s physical, intellectual and spiritual affair with a married poet.

I’m not sure I have all the answers. However, given the current cultural moment, I believe it’s a crucial time for female artists to write frankly and openly about female sexuality in all its forms: longing, shame, guilt, transgression, ecstasy. The assumption that male writers can have sexually transgressive imaginations while female novelists should be more demure is passé. If we’re going to secure gender equality, we must be allowed the same imaginative expression, on the page, as our male counterparts.

Further, women are bravely speaking out against male abuses of power and sexual coercion in the workplace – but what about sexual coercion and abuse within a marriage? Or within the context of religion, where traditional gender roles and prohibitions against extramarital sex might make it difficult to speak up? Perhaps my protagonist Maggie’s predicament – to stay or not to stay in the marriage – will serve as a platform for discussion.

When I initially drafted this list, I began with the obvious suspects: Anna Karenina, Lady With the Pet Dog, Madame Bovary and The End of the Affair. But these works are always included on lists like this. With these classics taken as read, I’ve listed only contemporary works, all published in my lifetime. I’ve also included a poetry collection and a short story, because I think the compression of these forms is suited to the intensity of the subject matter.

4. The Days of Abandonment by Elena Ferrante (2002)
I read this on vacation one summer, in a single sitting, paralysed with the exquisite literary sickness that comes from the combination of aesthetic appreciation on the one hand, and recognition of oneself on the other. An account of a woman’s mental unravelling after her husband leaves her for a much younger woman, the book’s power is in its fearless, closeup details (I can’t think of a more painful animal death scene) and in the ways the narrative subtly implicates the reader: given a certain set of horrific circumstances, I, too, might be capable of this psychic fury.

 

Full article

School Library Journal

Guest Post: A New Consideration of Elena Ferrante’s The Beach at Night by Dr. Ellen Handler Spitz

You guys know my penchant for children’s books that fall outside the usual norms. And nothing strikes fear in the good American heart faster than picture books from other countries. I’ve seen even the most sophisticated of readers wrinkle their noses at translations they deemed “weird”. And nothing caused such wrinkling better than the 2016 publication of the American edition of Elena Ferrante’s picture book The Beach at Night. Kirkus argued that the book was not, “a true picture book: with many text-only double-page spreads and illustrations that do little to extend the text, this book will try the patience of most young listeners. The Italian edition of this book is marketed to children 10 and up; the advertised audience in the United States of 6 to 10 feels just plain wrong.” The New York Times was hardly any more kind. And yet, it has its defenders.

Today, guest poster Dr. Ellen Handler Spitz, author of such books as The Brightening Glance: Imagination and Childhood and many others, comments on the book and its reception. Take it away, Ellen!


 

BeachAtNight1Mysterious, hugely popular Italian novelist Elena Ferrante wrote a children’s book, The Beach at Night, that has curried scant favor in the American press since its 2016 translation by Ann Goldstein. I would like to advocate, albeit gently, for this book. A doll named Celina, left behind on a beach at the end of one day by five-year-old Mati, tells us how that feels: the story is told in her voice, that of an anthropomorphic toy.

Ferrante’s theme— abandonment —touches children’s deepest fears. It plays out within the intimate, oft blurry bonds between a little girl, her doll, and her mother. With short, direct sentences, Ferrante unfurls a catalogue of woe. Being neglected comes first, as Celina watches Mati go to play with Minù, the new kitten her visiting father has just brought her. Humiliation arrives next. Rejected and cast off on the beach, Celina suffers maltreatment by Mati’s grumpy brother, who dumps burning sand on her. Physical discomfort follows fast, and then terror, as the family leaves the beach without her, and the sky changes color. A “Mean Beach Attendant” with a huge Rake frightens her and flings her onto a pile of trash. Fear morphs into sadness and anger. Anxious about being hurt and broken, Celina remembers Mati’s former love. Envy comes barreling in, as she pictures the kitten Minù who has supplanted her and wants spitefully to spoil him. Vindictively, she conjures him having bouts of diarrhea and imagines vomiting on him so that Mati will be compelled to forsake him: an apt projection on Ferrante’s part, since little girls, when expected by their mothers to be clean, may feel unlovable when not.

Loneliness and boredom ensue. Followed by confusion. The Mean Attendant ignites a fire to burn residual beach trash, including Celina. She uncomprehendingly welcomes its warmth because the sunless beach has grown cold. Gradually, however, she understands that the fire which pleases her can destroy her. When it scalds her dress, she chides (as to a naughty pet): “Bad fire.”

Ferrante is partaking, of course, in a time-honored tradition in which dolls come to life in children’s books. Two long-lived examples might be cited: Rachel Field’s Newbery Award-winning Hitty of 1929, in which a doll carved from magical wood recounts her hundred year journey, and the ever-beloved Raggedy Ann stories of c. 1900, in which a stuffed rag doll with a candy heart from grandma’s attic has nocturnal escapades that author Johnny Gruelle based on observations of his daughter Marcella. Turning to animation, there’s Pixar’s Toy Story of 1995, by John Lasseter. Ferrante mines this vein in several novels, including The Lost Daughter and My Beautiful Friend, where dolls play quasi-human roles. Her pages, however, often portray toy characters in nightmarish settings fraught with anxiety.

The Beach at Night, moreover, employs language unpurged of slang (for which, however, as New York Times reviewer Maria Russo points out, the translator may be held responsible), and, as I have emphasized in Inside Picture Books, a reading adult is always free to substitute one word for another. The term “caca,” translated here with an expletive, might easily be rendered by the childish expression “doo-doo.” Nevertheless, Ferrante’s book has been judged by some to be inappropriate for children. Respectfully, I demur.

BeachAtNight2Many books for young children tend to be protective; only rare ones plumb the intensity of feeling to which small children are prey. Maurice Sendak’s oeuvre, of course, stands as an exception. As does Ferrante’s The Beach at Night. Like Jezibaba or Medea, Ferrante dips into the cauldron without gloves, seizes fears, yanks them out, and thrusts them under the glaring strobe lights of her prose. In so doing, she performs a service not unlike that of Sendak, who, in his masterpiece Where the Wild Things Are, unfastens a door and shoves us in, or, better yet, pushes us in and closes the door fast behind us.

Perhaps you are wondering: But, why explore pain in a children’s book? My best reply would entail a wondrously wise 1959 text called The Magic Years by Selma Fraiberg, distinguished University of Michigan psychologist. This classic exploration of young children’s inner lives unsurpassed for more than a half-century tells a cautionary tale about Frankie, a little boy whose devoted parents are eager to do him right. They consult experts, identify typical childhood fears, then systematically keep those fears at bay. Nursery rhymes are edited; fairy tales purged of witches and ogres. When a pet parakeet dies during Frankie’s nap, it is replaced before he can notice. His baby sister’s birth is planned to minimize feelings of jealousy, rivalry, and displacement. Yet, Frankie suffers all the ordinary fears of early childhood and bad dreams as well. Endemic to human growth, Fraiberg explains, fears emanate largely from within. Since they cannot be expunged, growing children need to learn to invent solutions, as Fraiberg puts it, “to the ogre problem.” Ferrante’s Mean Beach Attendant, for example, replete with lizard-like moustaches and nasty ditties seems merely an update of the ogre or bogeyman, familiar from European folk tales.

Elena Ferrante gets this. Her fierce grasp of its truth informs her slender book. No emotion in The Beach at Night is foreign to young children because, as we have come to recognize, at least since the late 19th century, even the youngest have active inner lives despite their lack of words with which to report on it. Fear, envy, confusion, longing, disappointment, anger, and sadness are all poignantly felt. That said, where better to practice coping than in the pages of a story book? Children who encounter danger in books, especially with adults present to help interpret, can do so safely. If intense emotional exploration serves a boon in art and literature for grown-ups, why should it not be made available for children? The Beach at Night offers vicarious adventures that, for some children, may provide a proving ground for mastery, while for others, undeniably, its scenes will be too scary. Parent-and-child or teacher- or librarian-and-child may collaborate to make that call, and this in itself can constitute valuable learning.

Abandonment tops the list of childhood terrors. A college student of mine surprised me in class when she nailed the most abject horror of Hans Christian Andersen’s The Little Match Girl. Not darkness, she whispered. Not freezing cold. Not starvation. But the fact that the little girl cannot go home. Cast out, she dies on an empty city street.

BeachAtNight3Ferrante plots Celina’s abandonment with exquisite care. Good turns suddenly to evil and then occasionally reverses. Mati’s love for her doll Celina morphs into rejection. The hot beach becomes chilly at night. The comforting fire harms what it warms. A sea wave saves Celina from fire but then engulfs and nearly drowns her. The aptly colored black and white kitten starts as a rival for Mati’s affection but ends up being the creature who improbably saves her, brings her home, and becomes, at the book’s end, her friend. Mati’s father, kindly giver of the kitten, serves as a foil for the other adult male character, the Mean Beach Attendant, who calls Celina “ugly” and nearly annihilates her.

All these turnabouts match young children’s mental lives, where perceptions reverse in a flash. The hand that caresses stiffens into a spank. The angry grimace softens to a twinkle. Lacking analytical ability as yet and information with which to explain these turnabouts, children find their unpredictability both magical and terrifying.

Darkness matters. Night is when mysterious events take place. And Ferrante uses the beach elsewhere in her work, especially in The Lost Daughter, where her protagonist “rescues” a doll forgotten on a beach and then holds on to it, unable to bring herself to return it to the child who longs for it. As in The Beach at Night, which it eerily overlaps, The Lost Daughter blurs boundaries between girl and doll, mother and daughter, boundaries breeched again by Ferrante in the opening pages of another novel My Brilliant Friend, were two girls play in tandem with their dolls, conversing with them and imitating each other like miniature characters in a Pirandello play until the one with the ugly doll throws another’s beautiful toy into a dark cellar.

A paradigmatic moment in The Lost Daughter occurs when the narrator, mother of two faraway grown daughters, anxiously watches a young mother on the beach with her little girl and a doll. Eavesdropping, she hears the names of mother, daughter, and doll all seem to mingle and merge: Nina, Ninù, Niné, Nani, Nena, Nennella, Elena, Leni. Switching back and forth from childish to grown-up voices as they play, this mother and daughter make the mute doll “speak” as if it were both mother and child without separation. Envious of their fluidity and yearning for lost moments in her own life, the narrator finds the scene intolerable. Unhinged, she rises to intervene, willing them to stop.

That Lost Daughter scene illuminates a key moment of recognition in The Beach at Night. The beach has turned dark; no stars or moon appear, and the abandoned doll Celina recalls her little mistress Mati saying to her in her mother’s voice, “If you catch cold, you’ll get a fever.” Suddenly, the doll understands: Mati is repeating her own mother’s words “because Mati and I are also,” as Ferrante writes, “mother and daughter.” The next thought is surely what Aristotle would have called a peripeteia. Celina comprehends that, because of this identification, Mati cannot possibly have forgotten her. She is not abandoned! And children encountering the story understand. On the last page but one, Mati, having Celina back, hugs her with a face wet with tears.

What then is Celina, the doll? The renowned British pediatrician and psychoanalyst Donald W. Winnicott coined the term “transitional object.” He meant by this a blanket, stuffed animal, or dolly that is neither exclusively the child’s “me” (self) or “not-me” (other) but a quirky amalgam that gets created in the context of the closest human relationship and used to play it out. Ferrante shows us this small miracle and never lets up. Right there on the sand, each of us is led through the dread of abandonment. But, as we close the book with our children, we may feel more aware of and grateful for the loved ones who abide with us, both child and adult.

L’Obs

Elena Ferrante, grand entretien exclusif : “L’histoire de Lila et Lena est terminée”

Par 

Publié le 17 janvier 2018 à 17h02

Il aura fallu un seul livre pour qu’une romancière italienne, encore inconnue il y a sept ans, devienne l’une des personnalités les plus en vue de ce début de siècle. Un phénomène d’autant plus inouï s’agissant de l’auteur d’une fresque à l’ambition littéraire indéniable (et non d’un roman pour jeunes adultes comme naguère la série des «Harry Potter»), fresque dont les références nombreuses à l’histoire italienne et à l’ancrage géographique, limité pour partie à un quartier de Naples, semblaient condamner à l’avance tout succès à l’exportation. (…)

Derrière son masque, Elena Ferrante distille ses interventions avec une parcimonie d’apothicaire. Les entretiens qu’elle a donnés se comptent sur les doigts d’une seule main, entretiens qu’elle n’accepte de donner que par mail, son éditeur italien jouant les boîtes aux lettres. Son désir d’anonymat n’est, on l’a compris, pas négociable: pour elle, le livre une fois terminé doit se défendre seul. Brisant le silence qu’elle s’impose presque toujours, elle explique ici comment elle a conçu, dans le plus grand secret, «l’Amie prodigieuse».

Bookpage

THE HOLD LIST: BINGE-READ A NEW SERIES

Posted by Cat, Deputy Editor on January 01, 2018

My Brilliant Friend by Elena Ferrante
There’s a good chance you’ve already received recommendations for Ferrante’s Neapolitan quartet from gushy friends, fervent booksellers and rhapsodic librarians. So no more excuses: Read it now, because chances are, you’ll love every soapy Italian moment. Plus, Ferrante is handling the screenplay for HBO’s forthcoming adaptation, so your Neapolitan infatuation may continue indefinitely.

Iris Lilian

The Vacation Book List You Never Knew You Needed

4. Days of Abandonment by Elena Ferrante

As you might know, Elena Ferrante is a pseudonym and there has been widespread speculation over who Ferrante really is, although she is widely believed to have been unmasked by the New York Review of Books in 2016, a move which was heavily criticised by Ferrante’s readers as unnecessary and an invasion of her privacy.

Days of Abandonment, published in Italian in 2002, predates her more famous books, the Neapolitan Novels. However, for me, it was the book that woke me up to her writing and led me to notice Italian writing.

In Days of Abandonment, Mario tells his wife Olga that he is leaving her. She soon finds out that he is living with his new girlfriend, a much younger woman. The book describes the days that follow Mario’s departure. It starts with Olga’s inability to comprehend that her husband, the father of her children, has ceased to love her.

Through the course of the book, Ferrante brilliantly portrays the frantic churning of an ‘abandoned’ woman’s mind. In fact, I found her writing so furious and unsettling that 50 pages or so in, I had to put the book away for a few days to see if I still wanted to read it. I did pick it up again.

This is not a long book, so it is a good one for a flight or to read in a day or two. (188 pp. Europa Editions)

World Literature Today

World Literature Today’s 75 Notable Translations of 2017

December 12, 2017
by Michelle Johnson

Elena Ferrante, Frantumaglia, trans. Ann Goldstein (Europa Editions)

Looking back on 2017, it’s easy to declare the year a success for literary translation, which continued to thrive and move in exciting new directions. Of note, Emily Wilson translated The Odyssey into English. The first woman to do so, she gave the “epic a radically contemporary voice.” Following up last year’s The Seamstress and the Wind, And Other Stories brought out three new English translations of César Aira’s work—no doubt pleasing Patti Smith and many other eager readers. And three new books about translation enriched the conversation: Kate Briggs’s This Little Art, Mireille Gansel’s Translation as Transhumance, and Into English: Poems, Translations, Commentaries, edited by Martha Collins and Kevin Prufer.

Resisting again the temptation to expand our list, we offer an admittedly incomplete collection of the year’s English translations and invite you to add your favorites in the comments. You can also share those you’re most eagerly anticipating in 2018 by using the hashtag #2018Reads on Twitter and Facebook. Are you looking forward to Aslı Erdoğan’s The Stone Building and Other Places? Or Julián Herbert’s Tomb Song? Dubravka Ugrešić’s Fox? Let us know.

Thank you for being in conversation with us this past year. We look forward to continuing to serve as your passport to great global reading in 2018.

Núvol

La maternitat maligna d’Elena Ferrante

10.12.2017

La filla fosca és una novel·la torbadora sobre la maternitat, no apte per a dones embarassades però de prescripció facultativa per a qualsevol home o dona, sobretot si té la intenció de ser mare.

Publicada a Navona per Pere Sureda (que ara s’acaba de destapar amb una nova traducció castellana d’El conde de Montecristo) aquesta és la tercera entrega de la trilogia Cròniques del mal d’amor d’Elena Ferrante, enigmàtica autora italiana més coneguda a casa nostra per la tetralogia que va arrencar amb L’amiga genial, publicada a La Campana. Navona també ha publicat separadament les tres novel·les que componen la trilogia, L’amor que molesta i Els dies de l’abandonament, totes esplèndidament traduïdes per Anna Carreras.

La filla fosca és una novel·la sobre la malignitat que pot arribar a niar en la maternitat. Escrita en primera persona, la protagonista, Leda, és una professora divorciada que decideix passar les vacances en un poblet de la costa del mar Jònic, on lloga un apartament minúscul tota sola després que les seves dues filles, ja adultes, hagin optat per abandonar-la i traslladar-se a viure amb el seu pare a Canadà. Leda és una persona amb una capacitat d’introspecció vertiginosa, i una necessitat d’autocontrol extrema, unes virtuts que no impedeixen que sovint prengui decisions dràstiques i irreparables.

Durant les seves vacances, Leda passa el dia a la platja, sense relacionar-se pràcticament amb ningú. Un bon dia entaula una relació amb una família sorollosa del sud. Segueix amb atenció els moviments de Nina, una dona atractiva, i la seva filla Elena, que tot el dia juga amb una nina. Leda mantindrà amb aquestes persones una relació en principi superficial, amb una complexa alternança de simpatia i antipatia. El contacte, intermitent, esdevindrà absorbent a partir del moment que, en un rampell inexplicable, Leda decideix robar la nina de la petita Elena.

No es tracta d’una nina qualsevol, sinó de la nina de la nina d’una família. Estem parlant d’aquell element que el psicoanalista Donald Winnicott va definir com a ‘objecte transicional’, que permet a l’infant confrontar l’angoixa que li comporta separar-se gradualment de la mare.

La filla fosca és també la història d’aquesta nina, una nina que es convertirà en un ostatge custodiat per Leda i que acabarà sent el detonant d’un conflicte que es manté latent al llarg de tota la novel·la. El segrest de la nina és l’expressió d’una maternitat robada, la que la mateixa Leda va robar a les seves pròpies filles i a ella mateixa el dia que va decidir abandonar-les.

Aquest rampell furtiu de robar una nina, que ella mateixa no s’acaba d’explicar, es converteix en el gest fundacional de la novel·la, el que destapa en el seu interior una llarga confessió que acaba imantant totes les èpoques de la seva vida. Ferrante fa un estudi psicològic d’una profunditat que ens devora. En una imatge torbadora, Leda descriu el seu segon part com una expulsió que és també una autoexpulsió. Ferrante explica de manera convicent com la maternitat pot fer sortir el pitjor de l’interior d’una dona. La descripció de l’experiència de la maternitat, lluny de tota idealització, és expremuda amb tota la complexitat per extreure’n el suc de la malignitat. Imprescindible.