Giovanna’s pretty face has changed: it’s turning into the face of an ugly, spiteful adolescent. But is she seeing things as they really are? Into which mirror must she look to find herself and save herself?
She is searching for a new face in two kindred cities that fear and detest one another: the Naples of the heights, which assumes a mask of refinement, and the Naples of the depths, which professes to be a place of excess and vulgarity. She moves between these two cities, disoriented by the fact that, whether high or low, the city seems to offer no answer and no escape.
“Two years before leaving home my father said to my mother that I was very ugly. The sentence was uttered under his breath, in the apartment that my parents, newly married, had bought in Rione Alto, at the top of Via San Giacomo dei Capri. Everything—the spaces of Naples, the blue light of a very cold February, those words—remained fixed. But I slipped away, and am still slipping away, within these lines that are intended to give me a story, while in fact I am nothing, nothing of my own, nothing that has really begun or really been brought to completion: only a tangled knot, and nobody, not even the one who at this moment is writing, knows if it contains the right thread for a story or is merely a snarled confusion of suffering, without redemption.”
‘As you read, a vast panorama of characters slowly unfolds . . . a diverse and dynamic tableau of humanity. Once again, Elena Ferrante has not created a mere story but an entire world.’
‘[The Lying Life of Adults] has the expansiveness of great literature—from Balzac to Stendhal to the always beloved Proust [. . .] It is a necessary book, which shows women that today they have the capacity to be ‘truthful, fierce, compassionate,’ where Lila and Lenù—narrowly confined within the 20th century—could not, or could only to an extent.’
‘[The Lying Life of Adults] is highly addictive.’