Nicola Lagioia in The New Yorker:
Elena Ferrante: Where do I start? In my childhood, my adolescence. Some of the poor Neapolitan neighborhoods were crowded, yes, and rowdy. To gather oneself, so to speak, was physically impossible. One learned very early to have the greatest concentration amid the greatest disruption. The idea that every “I” is largely made up of others and by the others wasn’t theoretical; it was a reality. To be alive meant to collide continually with the existence of others and to be collided with, the results being at times good-natured, at others aggressive, then again good-natured. The dead were brought into quarrels; people weren’t content to attack and insult the living—they naturally abused aunts, cousins, grandparents, and great-grandparents who were no longer in the world. Of course, today I have small quiet places where I can gather myself—but I still feel that the idea is slightly ridiculous. I’ve described women at moments when they are absolutely alone. But in their heads there is never silence or even focus. The most absolute solitude, at least in my experience, and not just narrative experience, is always, to paraphrase the title of a very good book by Hrabal, too loud. To the writer, no person is ever definitively relegated to silence, even if we long ago broke off relations with that person—out of anger, by chance, or because the person died. I can’t even think without the voices of others, much less write. And I’m not talking only about relatives, female friends, enemies. I’m talking about others, men and women who today exist only in images: in television or newspaper images, sometimes heartrending, sometimes offensive in their opulence. And I’m talking about the past, about what we generally call tradition; I’m talking about all those others who were once in the world and who have acted or who now act through us. Our entire body, like it or not, enacts a stunning resurrection of the dead just as we advance toward our own death. We are, as you say, interconnected. And we should teach ourselves to look deeply at this interconnection—I call it a tangle, or, rather, frantumaglia—to give ourselves adequate tools to describe it. In the most absolute tranquility or in the midst of tumultuous events, in safety or danger, in innocence or corruption, we are a crowd of others. And this crowd is certainly a blessing for literature.
More here.
