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its rather universal. In fact, everyone in the office received a copy thats how much our boss wanted us to read. Rejoice, people, because in the age when it is possible to get a degree in novel writing (without having to write anything of significance comes a book which just doesnt give a shit and still manages to steal the hearts of thousands. Before you start wondering what sort of wonderful place I worked at, let me clarify it was a literary agency, so such things were totally commonplace. What we are left with, though, is so vivid and authentic that no carefully polished novel could compete with. This is great news. Additionally, Knausgaard has happily joined the marketing circus, which is why I find Ferrantes presumed exhibitionism a lot more palatable. And the moral, if My Brilliant Friend has a moral at all, is that you can take a girl out of the Naples slums, but you cant take the Naples slums out of the girl. Personally, I find this whole mystery of little interest as I share her view that all that the author wants to say she should say in the book and there is no need for the entire marketing circus. No review of Ferrantes book is complete without a mention of how no one knows who Ferrante is or even if she exists as an individual woman at all. But in short its about the intense friendship and rivalry between two girls growing up in the impoverished outskirts of Naples. Neither do they have time for stylistic flourishes.
I received this book as a Christmas present from my boss over a year ago. This is a story of childhood that simply doesnt know its underprivileged.more). No review of Ferrantes book is complete without a mention of how no one knows who Ferran I received this book as a Christmas present from my boss over a year ago. That constant anger, violence, the lets get them before they get us feel permeates the novel. This is by no means an emotionally manipulative misery memoir.
So despite the terrible cover, and a rather idiotic blurb I knew it would be a fine book. Anyway, to me this book was more about class than gender. The autobiographical component is official in case of Knausgaard and alleged in Ferrantes. Ferrantes prose is bare; the language takes a back seat and is nothing more than a tool to the narrative that is pushed forward by its own urgency. These books defiantly ignore all creative writing advice and cheerfully tell and not show, abandon all sensible plot structure and introduce as many characters as they feel like, not really caring whether that whole cast is in any way necessary.
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