The closest Ferrante has come to an articulation of why and how she writes
for this newspaper, covering such topics as house plants and children who lie for no reason. And now she has published
So if realism was not for Ferrante, what was? She tried variations on gothic and fantasy, with little satisfaction. She simply couldn’t shed her need to work with the things that had really happened to herself and others. Eventually, through reading, she came to understand that “Telling the real … you have to deal with the fact that the teller is always a distorting mirror.
The portrait of the artist Ferrante offers here is at once earnest and devious. She is both less aggressive and less elusive than she appears in her interviews, laying out her ideas in a straightforward manner, defining her terms and identifying her sources, both personal and literary. In her apparently uncoded words, and in the traditional form that they take, we feel a writer chasing authenticity.
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