Ferrante photographer video

When the Paris Review interviewed Elena ferrante on 20 15, she said this:

Ferrante connected these pieces together to form the Napoli Tetralogy, and the music filled the air.

Because the special issue of Paris Review-interviews with women writers, after Dinesen, Beauvoir, Bishop and Juettner, the fifth interviewee is ferrante, who has never appeared and is almost mysterious, so I read four thick stories in Naples intermittently in the next two months, 1600 pages, spanning more than 60 years. It can be said that it is a rather tenacious memory and an unforgettable life, which cannot be repeated.

I didn't choose to watch the movie of the same name, but chose to watch it, because ferrante's writing style is stubborn, his psychological description is abundant, and his delicate anatomy can be seen everywhere, which is in contrast with the coarse-grained urban background.

I am willing to be a narrative listener.

I once met a young man on a train in Europe, with blue eyes like sea water and a slightly yellow beard under his chin. He said shyly that he was Italian. I asked him what he did, and he smiled and replied, "I make pizza, and now I'm going back to my hometown." ? I'm glad that he is a pizza maker. I casually asked him where his hometown was in Italy. He said a place name, but I didn't catch it clearly, so he pointed it out to me on Google Maps. "It's very hot in summer there, and there is no air conditioning. We go swimming in the sea every day. The sea is cold and the sky is high. " ? I saw the Italian place name he ordered on the map-Naples. Later I learned that the English name of this place is Naples.

That was the first time I met a Neapolitan. He makes pizza. Very good.

I know people in Naples usually say they are not Italian-because Naples is so different.

Many people will quote Goethe's famous words praising Naples: "If you meet Naples, you will die at dusk!" ? (Siehe Neapel und stirb！ ) I had a hunch that this should not be Goethe's accent, so I went to check this passage in the original text of Goethe's Italienschereise. It turned out that Goethe quoted an Italian poet as saying, "Vedi Napoli e poi muori!"

The freedom and indulgence of Naples was seen by Goethe in 1786. I don't know if he agrees with this sentence, but I'm sure Goethe must have made a speech in Italian when he shouted at people and clinked glasses in a pub on the coast of Naples.

And the Neapolitan guy I once met, his description of summer by the sea is exactly in line with our imagination of Naples: long sunshine time and lasting sunshine. The ubiquitous church constructs magical light and shadow, and the image of Jesus or St. Mary everywhere provides guidance for people. Or, if we read Camus's sentence describing the seaside scene, it will be even more exciting:

Although Goethe lived a drunken life in Naples, he still did not forget to look at all beings from the perspective of God after waking up. It is no wonder that in the title page of the Napoli tetralogy, ferrante moved out of Goethe's Faust to curb the works of the four ministers as follows:

Elena ferrante is also a singer in Naples.

But I can almost imagine that she will point to a photo in a travel magazine, look up at you and say, "No, honey, is this what you want to see?" Unfortunately, no. "

With four thick books and dozens of characters, she dragged tourists and poets into her city. The streets were filled with sweetness, sin, love, hatred, tolerance, jealousy, delicacy and roughness, and the corners were filled with all human emotions.

If you want to describe Naples in ferrante in words and tell us what the Tetralogy tells us, you will find yourself lacking in expression or resistance.

You'd rather have them scattered in the streets of Naples. They are not songs yet. You can still pick them up one by one and watch them change from light to dark. Although you can also tell it in a way that goes beyond the plot, predictable repetition or rambling after chewing obviously won't make the listener happy.

Ferrante should be the only narrator, and no one else is, including readers.

If I'm really looking for expressions, I'd rather borrow a London photographer? Bruce Gierden? A set of photos to interpret Naples.

When I first saw these photos, I felt that almost all the characters in the Napoli tetralogy came out. Yes, there is nothing more shocking than these. These photos are incomparable.

Of all the photos of Bruce Gierden, I can't choose one that matches Anabel. Anabel is too complicated, and her complexity has entangled the whole novel, or more than half a century of time and space. Everything is changing rapidly, and everything is in an emergency cycle. It's hard for me to picture Anabel in my mind. Although Elena, the narrator, has been describing Anabel, it is a continuous and endless struggle exploration.

Like all novels involving two protagonists, I can't help thinking that Anabel and Elena are two sides of the same person. In my limited reading experience, I once believed that Narcissus and Goldmont were two doppelgangers of the same person (Narcissus and Goldmont in Hesse's works), Demian and Sinclair (Demian in Hesse's works), and even Harry Potter and Voldemort. Now, I feel the same way about Anabel and Elena. Elena lives in Anabel's body, and Anabel lives in Elena's body.

It was not until I read the Paris Review that I saw that ferrante accurately told everyone how they felt:

I don't want to sketch the image of Anabel, and I don't want to look for an image similar to her. Too many things have happened, and the years are cruel as a knife. I just want to go back to the beginning of the novel and stay in the beautiful scene in the text:

I have to say that ferrante tries to keep the narrative tone in the whole novel and seldom talks about it. If you can patiently watch the last movie, the fourth missing child, you can read what she wants to tell you.

Naples is not just a city, but a universe, and everything in the universe is in a cycle. Naples used history to show the process from glory to sink, from sink to glory, and then prepare for the next sink. Mapping to the world, we can see that good people will become villains and then become good people. Good becomes evil, and evil returns to good. There is no perfect good and there is no perfect evil. It can be seen that ferrante avoids expressing this view of the universe in a straightforward way, but in the end, in a place in the fourth part, through a passage that Anabel told Ima, it reveals:

No one should forget that in the bay of Naples, the sleeping Vesuvius always reminds people that the greatest career and the most exquisite works of mankind, such as fires, earthquakes, volcanic ashes and the sea, will all go up in smoke in a few seconds.

Under such pessimism, we can understand Anabel's idea of "erasing" all his traces, and finally put it into action. Anabel wanted to disappear, but Elena stopped it. She stubbornly recorded Lena to prevent the memory from disappearing.

I prefer to believe that what ferrante is trying to stop is the disappearance of Neapolitan historical memory and the disappearance of human space-time memory. Although everything will go up in smoke in a few seconds (we're sure it will in the future), it's meaningful to leave words. Even if the final words are meaningless, the process of the writer's firm expression in words is still of great significance.

The boundary between the past and the present can disappear, and so can the future, but love refuses to disappear.

This is what I read in this book. Ferrante may or may not have said it, but I want to interpret it this way.

Mount Vesuvius erupted many times after it destroyed Pompeii in 79 AD. Everything is being destroyed, and everything is starting over. Thousands of years later, countless lives changed, appeared and died. "And the child died, eyes deep, what all don't understand, grew up and died. And everyone goes their own way. " (Hofmannsthal)

Vesuvius has always been there, and Naples has always been there.

Ferrante is still stubbornly telling and recording her native land. Like her ancestors, they are Horace, Virgil and Ovid. Memory is a struggle against time, and all writers are doing it with words-writing the instant light of life between eternal darkness and keeping it.

I think that if one day, ferrante gets tired of long speeches, she may smile and say, "Well, now, Naples, speak for yourself."