Ferrante’s lucid rendering of Lila’s and Elena’s entwined yet discrete lives illustrates both that the personal is political...

THOSE WHO LEAVE AND THOSE WHO STAY

From the Neapolitan Novels series , Vol. 3

This third volume of the Neopolitan trilogy continues to chronicle the turbulent lives of longtime friends Lila and Elena, as begun in the enigmatic Ferrante’s My Brilliant Friend (2012) and The Story of a New Name (2013).

With Naples and the looming specter of Vesuvius once again forming the ominous background to the girls’ lives, Elena travels from the city of her childhood, first to the university in Pisa, and then beyond upon her marriage to Pietro, the intellectual heir to an influential Milanese family. Lila’s existence in Naples follows a more brutal and mundane course, but both young women are confronted with the social and political upheavals that echoed across Italy (and the world) during the late 1960s and early '70s. Always rivals as well as friends, Lila and Elena struggle to assert themselves in a landscape of shifting alliances and growing corruption in Naples as well as in a culture where women’s desires almost never direct the course of family life. The domestic balancing acts performed by both women—one leading a life of privilege, one burdened by poverty and limited choice—illuminate the personal and political costs of self-determination. The pseudonymous Ferrante—whose actual identity invites speculation in the literary world—approaches her characters' divergent paths with an unblinking objectivity that prevents the saga from sinking into melodrama. Elena is an exceptional narrator; her voice is marked by clarity in recounting both external events and her own internal dialogues (though we are often left to imagine Lila’s thought process, the plight of the non-narrative protagonist). Goldstein's elegant translation carries the novel forward toward an ending that will leave Ferrante’s growing cadre of followers wondering if this reported trilogy is destined to become a longer series.

Ferrante’s lucid rendering of Lila’s and Elena’s entwined yet discrete lives illustrates both that the personal is political and that novels of ideas can compel as much as their lighter-weight counterparts.

Pub Date: Sept. 2, 2014

ISBN: 978-1-60945-233-9

Page Count: 416

Publisher: Europa Editions

Review Posted Online: July 24, 2014

Kirkus Reviews Issue: Sept. 1, 2014

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THE COLDEST WINTER EVER

Debut novel by hip-hop rap artist Sister Souljah, whose No Disrespect (1994), which mixes sexual history with political diatribe, is popular in schools country-wide. In its way, this is a tour de force of black English and underworld slang, as finely tuned to its heroine’s voice as Alice Walker’s The Color Purple. The subject matter, though, has a certain flashiness, like a black Godfather family saga, and the heroine’s eventual fall develops only glancingly from her character. Born to a 14-year-old mother during one of New York’s worst snowstorms, Winter Santiaga is the teenaged daughter of Ricky Santiaga, Brooklyn’s top drug dealer, who lives like an Arab prince and treats his wife and four daughters like a queen and her princesses. Winter lost her virginity at 12 and now focuses unwaveringly on varieties of adolescent self-indulgence: sex and sugar-daddies, clothes, and getting her own way. She uses school only as a stepping-stone for getting out of the house—after all, nobody’s paying her to go there. But if there’s no money in it, why go? Meanwhile, Daddy decides it’s time to move out of Brooklyn to truly fancy digs on Long Island, though this places him in the discomfiting position of not being absolutely hands-on with his dealers; and sure enough the rise of some young Turks leads to his arrest. Then he does something really stupid: he murders his wife’s two weak brothers in jail with him on Riker’s Island and gets two consecutive life sentences. Winter’s then on her own, especially with Bullet, who may have replaced her dad as top hood, though when she selfishly fails to help her pregnant buddy Simone, there’s worse—much worse—to come. Thinness aside: riveting stuff, with language so frank it curls your hair. (Author tour)

Pub Date: April 1, 1999

ISBN: 0-671-02578-3

Page Count: 320

Publisher: Pocket

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 1, 1999

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Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the...

FLY AWAY

Hannah’s sequel to Firefly Lane (2008) demonstrates that those who ignore family history are often condemned to repeat it.

When we last left Kate and Tully, the best friends portrayed in Firefly Lane, the friendship was on rocky ground. Now Kate has died of cancer, and Tully, whose once-stellar TV talk show career is in free fall, is wracked with guilt over her failure to be there for Kate until her very last days. Kate’s death has cemented the distrust between her husband, Johnny, and daughter Marah, who expresses her grief by cutting herself and dropping out of college to hang out with goth poet Paxton. Told mostly in flashbacks by Tully, Johnny, Marah and Tully’s long-estranged mother, Dorothy, aka Cloud, the story piles up disasters like the derailment of a high-speed train. Increasingly addicted to prescription sedatives and alcohol, Tully crashes her car and now hovers near death, attended by Kate’s spirit, as the other characters gather to see what their shortsightedness has wrought. We learn that Tully had tried to parent Marah after her father no longer could. Her hard-drinking decline was triggered by Johnny’s anger at her for keeping Marah and Paxton’s liaison secret. Johnny realizes that he only exacerbated Marah’s depression by uprooting the family from their Seattle home. Unexpectedly, Cloud, who rebuffed Tully’s every attempt to reconcile, also appears at her daughter’s bedside. Sixty-nine years old and finally sober, Cloud details for the first time the abusive childhood, complete with commitments to mental hospitals and electroshock treatments, that led to her life as a junkie lowlife and punching bag for trailer-trash men. Although powerful, Cloud’s largely peripheral story deflects focus away from the main conflict, as if Hannah was loath to tackle the intractable thicket in which she mired her main characters.

Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the pages turning even as readers begin to resent being drawn into this masochistic morass.

Pub Date: April 23, 2013

ISBN: 978-0-312-57721-6

Page Count: 416

Publisher: St. Martin's

Review Posted Online: Feb. 18, 2013

Kirkus Reviews Issue: March 1, 2013

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