Sunday, 5 March 2017

Elena Ferrante and Mephisto

Ferrante's Neapolitan novels are terrific – I especially liked the first volume, but also read the others voraciously. 

Just a small note: The epigraph in the first volume is from Faust and deals with Mephisto. During the reading I realized that it must have been chosen with Lila in mind. Throughout the novels, the narrator (Elena Greco) uses her brilliant friend Lila as an anti-ideology device. As soon as Elena gets puffed up with success, Lila says something mean, brutal or harrowing that disorients her and makes her lose self-confidence. At the same time, Elena is painfully honest about the fact that she owes all her successes to Lila. Above all, Lila is the one who makes her write, and write well. 

So her friend is Mephisto: the Geist der stets verneint, but who in so doing brings forth the good. Like in Hegel, Lila is the terrible force of the Negative that always gets aufgehoben into a positive, synthesizing totality. Between the two friends a tension is generated that holds the reader in suspense. Who will carry off the victory? The positive or the negative? Who will have the last word? Hegel or Adorno?

Ferrante comes closest to openly disclosing this logic in the final, fourth volume (all references below are to The Story of the Lost Child, Europa editions, 2015). 

For instance, Elena tells her friend that as a writer she has a duty to make everything seem coherent. “But if the coherence isn’t there, why pretend?”, Lila asks. “To create order”, Elena replies (p. 262).

Later Elena reflects: “I said to myself that to be adult was to recognize that I needed her impulses. If once I had hidden, even from myself, that spark she induced in me, now I was proud of it... I was I and for that reason I could make space for her in me and give her an enduring form. She instead didn’t want to be her, so she couldn’t do the same” (p. 371).

Anticipating her own disappearance (which sets off the novel in the first volume), Lila tells Elena: “To write, you have to want something to survive you. I don’t even have the desire to life, I’ve never had it strongly the way you have. If I could eliminate myself now, while we’re speaking. I’d be more than happy” (p. 454).

And finally, there’s Elena’s admission near the end: “Unlike stories, real life, when it has passed, inclines toward obscurity, not clarity” (p. 473).

But extracts cannot substitute for what should be read in its entirety. They're like pebbles in the sea. When you pick them up and let them dry in the sun, they lose their lustre.

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