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Det förlorade barnet : medelålder och åldrande (2014)

av Elena Ferrante

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Serier: Neapelkvartetten (4)

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Fiction. Literature. HTML: The Story of the Lost Child concludes the dazzling saga of two women�??the brilliant, bookish Elena and the fiery, uncontainable Lila�??who first met amid the shambles of postwar Italy. In this book, life's great discoveries have been made; its vagaries and losses have been suffered. Through it all, Elena and Lila's friendship remains the gravitational center of their lives. Both women once fought to escape the neighborhood in which they grew up. Elena married, moved to Florence, started a family, and published several well-received books. But now, she has returned to Naples to be with the man she has always loved. Lila, on the other hand, never succeeded in freeing herself from Naples. She has become a successful entrepreneur, but her success draws her into closer proximity with the nepotism, chauvinism, and criminal violence that infect her neighborhood. Yet, somehow, this proximity to a world she has always rejected only brings her role as unacknowledged leader of that world into relief… (mer)

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engelska (82) tyska (7) italienska (4) franska (3) svenska (2) nederländska (2) portugisiska (Brasilien) (1) katalanska (1) norska (1) Alla språk (103)

datum ▼ | röster

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En enastående berättelse om Italien och framförallt Neapel. Hela serien har varit ett nöje att läsa. Tidsandan och stämningen. Kärlek, svek och sorg och inte minst vänskapen mellan väninnorna. Det har varit en fröjd att läsa Neapel kvartetten. Sorgligt att det är över. (

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Mats_Sigfridsson | May 15, 2020 |

Kronan på verket! Elenas och Linas vänskap samt medelålders och åldrande liv skildras här på ett moget, insiktsfullt och spännande vis. (

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Humila | Sep 13, 2017 |

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Ferrante evokes this unforgiving and opaque culture with great power. Its malevolence affects almost everyone.

tillagd av ScattershotSteph | ändraThe New York Review of Books, Roger Cohen (betalvägg) (May 26, 2016)

Ferrante’s accomplishment in these novels is to extract an enduring masterpiece from dissolving margins, from the commingling of self and other, creator and created, new and old, real and whatever the opposite of real may be.

tillagd av ScattershotSteph | ändraThe Atlantic Monthly, Judith Shulevitz (Oct 1, 2015)

[Ferrante] has charted, as precisely as possible, the shifts in one person’s feelings and perceptions about another over time, and in so doing has made a life’s inferno recede even as she captures its roar.

tillagd av ScattershotSteph | ändraLos Angeles Review of Books, Suzanne Berne (Sep 29, 2015)

Elena brings up every objection to the entire endeavour that a reader might have. If it is so-called auto-fiction then why is it not a mess, like life? If it is the story of a friendship then isn’t every word a betrayal to that friend? If it is sincere and authentic, why is the author’s name on the cover a lie? Borders between autobiography and fiction dissolve, just as the edges of Lila (both her sanity and her body) blur, and Elena provides a continual commentary on this process. Rather than this being annoying and meta, the effect is to make the writing feel alive.

tillagd av ScattershotSteph | ändraThe Independent, Suzanne Joinson (Sep 12, 2015)

Ferrante is no Balzac or Dickens or Trollope; she is not Zola or Tolstoy. Her narrator does not have the storyteller’s wider vision. Unlike War and Peace, Ferrante’s big book has a narrow lens, and her idea of friendship is more about shared experience than affection.

tillagd av ScattershotSteph | ändraThe Irish Times, Eileen Battersby (Sep 12, 2015)

Ferrante’s writing seems to say something that hasn’t been said before – it isn’t easy to specify what this is – in a way so compelling its readers forget where they are, abandon friends and disdain sleep. It would be enough to have books in which we recognise the truth of women’s lives in all its darkness, but the Neapolitan quartet also has an almost deranging narrative pleasure, delivered in a style that’s more of an admission that the author cares too much about the truth to bother with style.

tillagd av ScattershotSteph | ändraLondon Review of Books, Joanna Biggs (Sep 10, 2015)

Like the tough mothers in her books who refuse to coddle their babies, Ferrante might not give us the neatly wrapped finale we crave, but the one she delivers manages to satisfy, even while leaving us wanting more: more details, more closure, more of this fascinating, beguiling Story.

tillagd av ScattershotSteph | ändraEntertainment Weekly, Maya Stanton (Sep 4, 2015)

What words do you save? Here's your chance to bring them out, like the silver for the wedding of the first-born: genius, tour de force, masterpiece. They apply to the work of Elena Ferrante, whose newly translated novel "The Story of the Lost Child" is the fourth and final one of her magnificent Neapolitan quartet, a sequence which now seems to me, at least within all that I've read, to be the greatest achievement in fiction of the post-war era.

tillagd av ScattershotSteph | ändraChicago Tribune, Charles Finch (Sep 3, 2015)

I am not sure I have read a more frightening account of a friendship, or a more unsentimental view of the uses that human beings have for one another, even in the presence of mutual attachment. “I loved Lila,” as Elena writes. “I wanted her to last. But I wanted it to be I who made her last.”

tillagd av ScattershotSteph | ändraThe Guardian, Alex Clark (Sep 3, 2015)

With the three earlier installments of the quartet (“My Brilliant Friend,” “The Story of a New Name,” “Those Who Leave and Those Who Stay”) and this stunning final volume, “The Story of the Lost Child,” Ms. Ferrante has turned the stories of Lila and Elena into an extraordinary epic that bridges six decades and unfolds into a portrait of a neighborhood, a city in transition and a country lurching through the second half of the 20th century into the next.

tillagd av ScattershotSteph | ändraThe New York Times Book Review, Michiko Kakutani (Sep 3, 2015)

This, Ferrante seems to say, is what happens in the world of women, and though much of the book is devoted to women’s more frequently discussed problems—such as how they are supposed to go out to work and raise the kids at the same time, and, if they do have work, work they care about, how come this still seems to them secondary to their relationship with a man?—it is the exploration of the women’s mental underworld that makes the book so singular an achievement in feminist literature; indeed, in all literature.

tillagd av ScattershotSteph | ändraThe New Yorker, Joan Acocella (Sep 1, 2015)

The series is a unique achievement that marks its pseudonymous author as one of our most audacious, interesting novelists.

tillagd av ScattershotSteph | ändraThe Sydney Morning Herald, Kristel Thornell (Aug 28, 2015)

Lost Child does not stand independently and despite the summaries in the Index the uninitiated reader will struggle to understand the story, which begins in medias res, as if Elena were beginning a new sentence rather than a book. Elena herself is not an engaging narrator.

tillagd av ScattershotSteph | ändraThe Independent, Grace McCleen (Aug 27, 2015)

Now, in the final piece, “The Story of the Lost Child,” Ferrante has two mature lives to work with: weddings, divorces, children, affairs, bitter rivalries, successes and failures, regrets, grudges, fears and a few remaining hopes. Learning from the multivolume sagaists who have preceded her, she shows much skill in writing those enormous histories into this narrative about two grown women choosing the paths their adult lives should take.

tillagd av ScattershotSteph | ändraSFGate, Scott Esposito (Aug 27, 2015)

The breadth of vision makes this final installment feel like the essential volume.

tillagd av ScattershotSteph | ändraThe Washington Post, John Domini (Aug 26, 2015)

While avid devotees of the Neapolitan series will be gratified by the return of several characters from earlier installments, the need to cover ground in the final volume results in a telescoped delivery of some plot points.

tillagd av ScattershotSteph | ändraKirkus Reviews, starred review (Jun 3, 2015)

This stunning conclusion further solidifies the Neapolitan novels as Ferrante's masterpiece and guarantees that this reclusive author will remain far from obscure for years to come.

tillagd av ScattershotSteph | ändraPublishers Weekly (starred review) (Jun 1, 2015)

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» Lägg till fler författare (19 möjliga)

Författarens namn	Roll	Typ av författare	Verk?	Status
Ferrante, Elena	—	primär författare	alla utgåvor	bekräftat
Damien, Elsa	Översättare	medförfattare	vissa utgåvor	bekräftat
Goldstein, Ann	Översättare	medförfattare	vissa utgåvor	bekräftat
Krieger, Karin	Übersetzer	medförfattare	vissa utgåvor	bekräftat
Laake, Marieke van	Översättare	medförfattare	vissa utgåvor	bekräftat

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Vedertagen titel

Det förlorade barnet : medelålder och åldrande

Originaltitel

Storia della bambina perduta

Alternativa titlar

Första utgivningsdatum

2015

Personer/gestalter

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Raffaella Cerullo (Lila)

Elena Greco (Lenuccia)

Viktiga platser

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Naples, Campania, Italy

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Inledande ord

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From October 1976 until 1979, when I returned to Naples to live, I avoided resuming a steady relationship with Lila.

Citat

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There is this presumption, in those who feel destined for art and above all literature: we act as if we had received an investiture, but in fact no one has ever invested us with anything, it is we who have authorized ourselves to be authors and yet we are resentful if others say: This little thing you did doesn't interest me, in fact it bores me, who gave you the right.

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(Klicka för att visa. Varning: Kan innehålla spoilers.)

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Ursprungsspråk

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Italian

Kanonisk DDC/MDS

853.92

Kanonisk LCC

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Wikipedia på engelska (1)

Ann Goldstein (translator)

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Fiction. Literature. HTML:

The Story of the Lost Child concludes the dazzling saga of two women�??the brilliant, bookish Elena and the fiery, uncontainable Lila�??who first met amid the shambles of postwar Italy.

In this book, life's great discoveries have been made; its vagaries and losses have been suffered. Through it all, Elena and Lila's friendship remains the gravitational center of their lives. Both women once fought to escape the neighborhood in which they grew up. Elena married, moved to Florence, started a family, and published several well-received books. But now, she has returned to Naples to be with the man she has always loved.

Lila, on the other hand, never succeeded in freeing herself from Naples. She has become a successful entrepreneur, but her success draws her into closer proximity with the nepotism, chauvinism, and criminal violence that infect her neighborhood. Yet, somehow, this proximity to a world she has always rejected only brings her role as unacknowledged leader of that world into relief

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