He was going through one of those moments that you read about in books, when a character reacts in an unexpectedly extreme way to the normal discontents of living.
ELENA FERRANTEA calendar, you have to calculate how much time has passed between you and the facts, the emotions to be narrated.
More Elena Ferrante Quotes
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Competition between women is good only if it does not prevail; that is to say if it coexists with affinity, affection, with a real sense of being mutually indispensable, with sudden peaks of solidarity in spite of envy, jealousy and the whole inevitable cohort of bad feelings.
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I didn’t choose anonymity.Instead, I chose absence.
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In order not to cut out a large part of one’s private life, the creative work should not swallow up every other form of self-expression. But that is the most complicated thing.
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I have always paid careful attention to social and economic conflicts, to the dialectic – if we can call it that – between high and low. Maybe it’s because I was not born or brought up in affluence.
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Writers, because they write, are condemned never to be readers of their own stories…The memory of first putting a story into words will always prevent writers from reading their work as an ordinary reader would.
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Women, in all fields – whether mothers or not – still encounter an extraordinary number of obstacles. They have to hold too many things together and often sacrifice their aspirations in the name of affections.
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I don’t have any special passion for politics, it being a never-ending merry-go-round of bosses big and small, all generally mediocre. I actually find it boring.
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I think our sexuality is all yet to be recounted and that the rich male literary tradition constitutes a huge obstacle.
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I had to discover very quickly that class origins cannot be erased, regardless of whether we climb up or down the sociocultural ladder.
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There was something unbearable in the things, in the people, in the buildings, in the streets that, only if you reinvented it all, as in a game, became acceptable.
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The fictional treatment of biographical material – a treatment that for me is essential – is full of traps.
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The circle of an empty day is brutal and at night it tightens around your neck like a noose
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A calendar, you have to calculate how much time has passed between you and the facts, the emotions to be narrated.
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Certainly something had happened to me during the night. Or after months of tension I had arrived at the edge of some precipice and now I was falling, as in a dream slowly, even as I continued to hold the thermometer in my hand, een as I stood with the soles of my slippers on the floor.
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Anonymity lets me concentrate exclusively on writing.
ELENA FERRANTE