The second chapter in the Neapolitan Quartet
Translated by Ann Goldstein
2013, pp. 480, Paperback
$ 18.00 / £ 10.99
Elena Ferrante‘s The Story of a New Name is the second chapter in the series, following 2012’s acclaimed My Brilliant Friend, featuring the two friends Lila and Elena. The two protagonists are now in their twenties. Marriage appears to have imprisoned Lila. Meanwhile, Elena continues her journey of self-discovery. The two young women share a complex and evolving bond that brings them close at times, and drives them apart at others. Each vacillates between hurtful disregard and profound love for the other. With this complicated and meticulously portrayed friendship at the center of their emotional lives, the two girls mature into women, paying the sometimes cruel price that this passage exacts.
“[Ferrante’s Neapolitan Novels] don’t merely offer a teeming vision of working-class Naples, with its cobblers and professors, communists and mobbed-up businessmen, womanizing poets and downtrodden wives; they present one of modern fiction’s richest portraits of a friendship.”
—John Powers, Fresh Air, NPR
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The Godfather Award for Best Sequel: The Story Of a New Name – Elena Ferrante
I really liked My Brilliant Friend but I loved The St0ry of a New Name. I felt as though MBF did all of the grunt work of establishing place and characters (so, so many characters), so that TSOANN could really get going with telling a focused, atmospheric story. Lena and Lila are some of the most complex and fully realised female characters I’ve ever come across, and I felt myself copying Ferrante in everything I wrote, for a good while after reading this. Whoever the real Ferrante is, she gets female psychology. And she gets that it’s not always men we’re mooning over.
I love the first novel in Elena Ferrante’s Neapolitan series My Brilliant Friend (you can read my review of it here), so I was very excited to read the second novel in the series – The Story Of A New Name.
Though I loved My Brilliant Friend, I was hoping to see Elena move out of her friend Lila’s suffocating sphere of emotional and psychological influence in Book 2, and I was not disappointed. Though Elena and Lila will always be connected, I thought that Elena really came into her own and established an identity separate from Lila in this second novel, which made me really interested to see how much further they develop separately in the third and fourth books as well.
The end of the book provided a pretty good cliffhanger in which one of the two protagonists is at the start of a great success and the other one has sunk into abject conditions. It really made me want to pick up Book 3 asap, even though I’m not reviewing it until early February. Meanwhile, read my review of The Story Of A New Name below.
This is the second book, following last year’s My Brilliant Friend, featuring the two friends Lila and Elena. The two protagonists are now in their twenties. Marriage appears to have imprisoned Lila. Meanwhile, Elena continues her journey of self-discovery. The two young women share a complex and evolving bond that brings them close at times, and drives them apart at others. Each vacillates between hurtful disregard and profound love for the other. With this complicated and meticulously portrayed friendship at the center of their emotional lives, the two girls mature into women, paying the cruel price that this passage exacts.
What I Liked
Seeing Elena come into her own. In the first half of the novel, Elena is still living in her childhood neighborhood with Lila, though she does see less of Lila due to Lila’s marriage. At first, Elena continues to seem to be mentally and emotionally subjected to Lila’s influence even when Lila is acting in a way with which Elena does not agree or that hurts Elena’s feelings. By the end of the novel, however, Elena has spent several years away from their childhood neighborhood, forming a new though faltering adult identity for herself as a person distinct from her parents, siblings, childhood friends and former acquaintances. Elena still has moments in which she does not believe in the solidity of her new hard-won success and independence. However, I could tell by the end of this installment in the series that in the next books she would be able to depart from the impoverished social reality she grew up and experience more opportunity in her personal and professional life.
The fluid and complex portrayal of romantic relationships. For the first time in this novel we see the protagonists, Elena and Lila, grappling with the often unsavory realities of actual grown up romantic relationships, whether in first person or through the entanglements experienced by their friends. Across engagements, marriages, affairs, casual sexual encounters and every nuance of romantic involvement in between, Ferrante explores complex themes like the ephemeral nature of love, the blight of domestic violence, contradictory jealousies, traditional and atypical gender relations and the convoluted ties that exist between love, money and happiness. There are so many different kinds of involvements between the characters as they turn from teenagers to adults, and I really appreciated that Ferrante did not produce idealized and unrealistic romances that would have felt inaccurate due to the difficult reality in which her characters grew up.
The importance given to language in the form of dialect versus ‘proper’ Italian. Italy has a plethora of dialects and accents through which you can identify someone as coming from a particular region or even city. In this second novel in the series, we see both Lila and Elena struggling to speak ‘proper’ Italian in an effort to elevate themselves above their origins and the other people of their neighborhood. In particular, Elena experiences living in another city in Italy, among mostly middle class people who naturally speak the ‘proper’ Italian she has to consciously fake. She even struggles to hide her Neapolitan accent so as not to be ridiculed for it. Ferrante doesn’t only identify the use or avoidance of dialect with social class and education, but also with morality, in a way that I found riveting. Some of the most violent and raw scenes in the novel occur with the characters yelling at each other in dialect, as if there was violence intrinsic in the local language itself. The dialect becomes part of the desperation and lack of opportunity experienced by the characters – something they can’t hide that brands them as excluded from the changed and advancements of an Italy that is modernising around them and without them.
What I Didn’t Like
The length. I love Ferrante’s style of writing and I’ve grown attached to her characters, so I thoroughly enjoyed the second book in this series and am looking forward to the next two. However, I think that the portions of Elena and Lila’s life that Ferrante covers in this installment could have been addressed with equal depth and complexity even if the book had been say 100 pages or so shorter. Certain segments dragged or seemed relatively unnecessary both to further character development or to move the plot forward.
In the series’ second book, Ferrante poignantly explores Elena and Lila’s late teens and early twenties, as their destinies diverge and they struggle to create a meaningful adult life for themselves out of their bleak origins.
The programme will be broadcast Sunday 15th on January and Sun 22nd January.
From one of Italy’s most acclaimed authors, Elena Ferrante, the continuing story of Lila and Lena, two bright young girls who have grown up in the tough, rough streets of post war Naples.
Striving to make a better life for themselves, they work hard at school but Lila is stopped in her tracks when forced to give up her education and work for the family shoe making business. It’s not long before their worlds are pushed apart and Lila ends up marrying a local businessman and son of the murdered local loan shark Don Achille.
Written by Elena Ferrante
Dramatised by Timberlake Wertenbaker
Producer: Celia de Wolff
A Pier production for BBC Radio 4.
For anyone who hasn’t already delved into Ferrante’s series, I won’t spoil the plot; but the tale of friendship between two smart girls, trapped in the economics and misogyny of a poor neighborhood of Naples, is some of the best character-building I’ve ever read. I preferred this volume to the first (more sex, more violence, and the women are becoming real adults), but its definitely part of an ongoing tale and requires starting at the beginning.
Last year, I finally joined the Elena Ferrante fan club. I thought ‘My Brilliant Friend’ completely lived up to its name, and I knew its sequel would have to be included in my 2016 reading. Then, as tends to happen, I started to doubt myself. Would I enjoy ‘The Story of a New Name’ as much as its predecessor? Would my reading pleasure be diminished by the fact that, as the months moved on, I was forgetting the numerous character names that took me so long to get to grips with in the first volume?
I needn’t have worried; as always, Ferrante was one step ahead of me. Not only was the writing so compelling that fears of being let down were immediately forgotten, but ‘The Story of a New Name’ politely assumes you have left a gap since finishing ‘My Brilliant Friend.’ At the start of this second book, Lenù, our narrator, receives a pile of notebooks from the infinitely attractive and enigmatic Lila. Through summarising their contents, Lenù reminds us of all of the key events in the friendship so far. Also, because these things are always complex, we get hints that Lila’s version is somehow better, more engaging, more powerful, more brilliant than Lenù’s telling. The lives, the relationships and the central web of competition and companionship that made ‘Our Brilliant Friend’ so wonderful were all back and I felt as if I had never left the enthralling world of Ferrante’s Neapolitan novels.
For the rest of the story, it’s business as usual. The endemic abuse within the friends’ tight-knit community touches them more closely than ever as they grow up from childish observers to women and wives. Once again, it is Lila who appears to suffer the most, and yet who remains an aspirational figure, effortlessly talented and captivating. Meanwhile, under the surface we’re given a contrasting narrative, one which deals with Lenù’s own attempts to forge a life for herself and escape into the middle-class milieu forever barred to her uneducated childhood friends.
In some ways, ‘The Story of a New Name’ was a comforting read; it gave me everything I was hoping for from an Elena Ferrante novel. A part of this is that the novel contained reassuringly surprising twists and revelations. Consistently powerful and unexpected, I’m so pleased to be only half way through Ferrante’s Neapolitan trilogy – with ‘Those Who Leave and Those Who Stay’ to look forward to in 2017!
In Elena Ferrante’s second Neapolitan novel “The Story of a New Name,” Torregaveta makes an appearance when one of the characters tells her husband she wants to go to the beach with her small son, and her husband, who no longer loves her, tells her to take a bus to Torregaveta.
The bus ride starts from a Naples train station one stop removed from the main train station; the dead end last stop with rows of worn graffitied regional trains parked side by side almost in the dark. The seats in these regional trains are metal and miniature like cable car seats making them hood on the outside but dainty and refined on the inside. Once you leave Naples, the Naples-Torregaveta bus ride is almost entirely along the coast, like the Almalfi Coast route but less winding and less steep. This bus ride requires almost no attention from the bus driver, who frequently had his eyes off the road.
While I was stranded there for 20 minutes, I saw three different wedding groups having their photos taken and as the novel relates, it was not a Capri crowd. From a distance, I saw a little girl in a white dress constantly fluffing a bride’s gown. It was the best image I took in Naples, during my last few hours there. At the time, the only reference I had was to the book cover of the first novel, which I had not yet read, and so I had no idea the location would also signify something in the novel. What’s even more weird is that I had entertained the idea of being a mother with a child on this bus and wondered what it would be like.
The Story of a New Name is a whirlwind of a novel, which may seem unusual, in that nothing particularly revolutionary happens in its pages. Two poor girls grow up in a crime-ridden, violent neighborhood of Naples in the 1905s, using their intelligence, street skills and friendship with each other to fight their way through a rough childhood and adolescence. And yet, the writing is so fierce, the plot lines weave in and out so tightly, the characters are so life-like yet mysterious that you cannot help but return often to this bleak and often unforgiving working class world that Ferrante describes so well.
The two main characters of the novels, Elena and Lila (Lina), forge a friendship that is unlikely and at times unlucky.
-Lina is a capricious figure, endowed with artistic intelligence and psychological insight that is too much for her to handle at her young age, especially when coupled with her fiery temper and seemingly contradictory emotions. Crippled in her hostile environment by skills that in another context would be gifts, she careens through her life seemingly blithely oblivious to her destructive, compelling force, intent on accomplishing goals that only she knows about. This force is what brings her environment -and indeed her friend Elena, the narrator – to oscillate between heedless devotion and uncomprehending animosity towards her. The reader too is pulled into this seesaw of emotions, as frustrated as her environment yet compelled to try to understand her, unable to leave her and return to peace.
Elena, the porter’s daughter, her best friend since childhood, seems to have her stars better aligned, with more support to her studies and ambition to better herself, to educate herself, to pull herself up and out of their neighborhood and its poverty. And yet, one feels as Elena self-deprecatingly puts it herself, that she is but a mere shadow of Lina’s personality, an incomplete reflection of the rollercoaster of her passionate friend.
The world the books describe is ugly, mostly chaotic, often violent. It is a world where nobody is surprised if a woman is beaten by her husband; he is only continuing the corrective work her brother and father have started. A mistress cast-away by an aspiring poet and father of many goes mad and is only fit to wash stairs. Children are not protected from violence or deprivation, teenage girls marry for the status it will convey, and the local mafia, sure of their impermeable status, walks the streets harassing young women. And yet the world of those Neapolitan streets is also vivacious, alive, smelly, ugly, and real. The naturalistic bent of Ferrante’s writing does not come across as preachy or vindictive – the language, at times vulgar, does not aim to shock. It simply seems to be an absorbing, fascinating account of two intertwined female lives. It will exhaust you and annoy you, but you will sail through until the last page and then heave a sigh of relief. And get yourself back to the library to check out volume three.
I enjoyed this novel much more than its predecessor, My Brilliant Friend. After finishing MBF, I was unsure if I wanted to continue to read the series (there are four). After finishing SNN, however, I cannot wait to continue reading.
The Story of a New Name picks up right where My Brilliant Friend leaves off: at Elena’s best friend, Lila’s wedding. Lila, at sixteen, has decided that the only way for her to escape the poverty of her neighborhood and family is to marry the local grocer, who has pulled himself out of poverty via hard work and determination. Elena and Lila have grown up together, constantly competing to be the brightest in their class.
With her marriage to Stefano, Lila quits school and completely devotes herself to Stefano’s business enterprises, as well as Lila’s brother, Rino’s, shoe factory. Elena is thus left alone to navigate high school and eventually college.
While grounded in everyday concerns such as clingy boyfriends, nagging mothers, and homework, the real action in The Story of a New Name takes place in Elena’s mind. The most poignant passages describe Elena’s feelings about growing up, the importance of education, and her relationship with Lila.
The Story of a New Name’s author, Elena Ferrante, made headlines recently when a scholar claimed that he had discovered her true identity (Elena Ferrante is a pen name). The author has always expressed her wish to remain anonymous, and Claudio Gatti’s apparent disregard for her wishes caused quite an uproar.
The Story of a New Name is the second book of the Neapolitan Novels. It’s raw and brilliant, with a light that shines unblinking on its characters
Naples has always hung its washing to catch the air – it’s a city that knows its secrets … and so does Elena Ferrante. In her novels she packs the unhidden into private lives and passes it on to us.
The novel follows Lila, Elena and their peers through courtship, abuse, marriage, summers and work, and we see them now from two angles … from the thick of their lives in Naples, and from the refined distance of academia and college in Pisa.
On the one hand Elena brings her Naples, her life, directly to the table whilst in the other she elevates herself to where we might like to think we sit … apart, better. Through her we circle the story as she shows us those forced to live with the unbearable while she strives through learning to achieve a purer life.
This might suggest a clear cut support for one side over the other but Elena Ferrante never goes this way. Instead she gives us empathy and a sense of loss with writing so strong that it’s impossible to choose sides or to know what’s next. We’re taken deep into friendships, shown brutal truths and left with questions about ourselves.
The two characters that attract the spotlight are Elena and Lila, but there is another that never leaves the pages: Naples.
There are no long physical descriptions of the city instead we are taken straight to its heart, to its crowded core, and shown why it beats like it does. We see courage, pain, brilliance, ignorance, love and corruption as they entwine in the struggle for the heights of Vomero or the wealthy life of Chiaia.
This is how Naples today still feels – restless, watchful, intense and alive.
Perhaps you are undecided as to whether or not to read these Neapolitan novels … if so, here are three reasons that I hope will persuade you: first – there is the pleasure of the writing and the power of the tale; second – there is the chance to be led right inside the heart of Naples; and third – there is provocation, the kind that makes you think, such as this for instance from near the end of the novel (page 466):
“…she was explaining to me that I had won nothing, that in the world there is nothing to win, that her life was full of varied and foolish adventures as much as mine, and that time simply slipped away without any meaning, and it was good just to see each other every so often to hear the mad sound of the brain of one echo in the mad sound of the brain of the other.”
Book four in the series, The Story of the Lost Child, has just been published.
The Story of a New Name by Elena Ferrante – This is Book #2 in the Neapolitan Series, continuing the story and the friendship of Lila and Elena. Lila is newly married and finds herself essentially a prisoner of her husband. He doesn’t like her going out or working or interacting with any men. Elena remains in school, furthering her education. The girls vacation together on the coast for the summer, where Lila falls into a relationship with Elena’s crush, cheating on her husband. Elena herself loses her virginity that summer, in an unlikely way. As in the first novel, we see the strength of female friendship, the blatant misogyny that all the women in the story must suffer, and the hope that education gives them. Excited for Book #3!