The International Bestseller now in paperback. The story of Elena and Lila begins in the 1950s in a poor neighbourhood on the outskirts of Naples. Growing up on these tough streets the two girls learn to rely on each other ahead of anyone else, as their friendship, becomes a not always perfect shelter from hardship. Through the lives of Elena and Lila, we see a country undergoing momentous change.

The International Bestseller now in paperback. Lila has recently married and entered into the family business; while Elena, continues her studies and her exploration of the world beyond the neighbourhood that she finds stifling. Love, jealousy, family, freedom, commitment, and above all friendship - the two women share a complex bond that is a source of strength in the face of life's challenges.

Set in the late 1960s and the 1970s, Those Who Leave and Those Who Stay continues the story of the feisty and rebellious Lina and her lifelong friend, the brilliant and bookish Elena. Lina, after separating from her husband, is living with her young son in a new neighborhood of Naples and working at a local factory. Elena has left Naples, earned a degree from an elite college, and published a novel, all of which has opened the doors to a world of learned and fascinating interlocutors. The era, with its dramatic changes in sexual politics and social costumes, with its seemingly limitless number of new possibilities, is rendered with breathtaking vigor. This third Neapolitan Novel is not only a moving story of friendship but also a searing portrait of a rapidly changing World.

《新名字的故事》是埃莱娜·费兰特的“那不勒斯四部曲”的第二部，描述了埃莱娜和莉拉的青年时代。在她们的人生以最快的速度急遽分化的那些年里，她们共同体验了爱、失去、困惑、挣扎、嫉妒和隐蔽的破坏。
莉拉在结婚当天就发现婚姻根本不是她想象的那样，她的初夜几乎是一场强奸。她带着一种强大的破坏欲介入了斯特凡诺的家族生意，似乎成为了她和埃莱娜小时候都想成为的那种女人。久未有身孕的莉拉，和埃莱娜去海边度假休养。而在伊斯基亚岛的那个夏天，改变了所有人的一生……
出于对莉拉所拥有的爱情的愤怒，“我”（埃莱娜）奋力摆脱这个破败、暴力、充满宿仇的街区。“我”成了街区的第一个大学生，并和一个高级知识分子家庭的男孩订婚，甚至出版了第一本小说。“我”以胜利者的形象回到那不勒斯，却发现告别了丑陋婚姻的莉拉，在一家肉食加工厂备受屈辱地打工。
当“我”发现自己的小说，其实完全窃取了莉拉交托给“我”的秘密笔记本里那些独特的力量和灵感，“我”被迫面临一个极度痛苦的问题：“我”和莉拉，到底谁离开了，又是谁留下了？

两个女人 50年的友谊和战争
那不勒斯四部曲NO.3
全球畅销近千万册 被翻译成40多种语言
“我希望她在场，这是我写作的目的。”
《我的天才女友》《新名字的故事》 后续，
意大利最神秘的作家费兰特（Elena Ferrante）
探索中年的虚无、困惑、野心和近乎残暴的爱
《离开的，留下的》 是埃莱娜·费兰特的“那不勒斯四部曲”的第三部，聚焦“我”（埃莱娜）和莉拉躁动、紧密相依的中年。
“我”在未婚夫彼得罗一家人的帮助下，出版了第一本小说，享受着成功的喜悦，而留在那不勒斯的莉拉却身陷贫困而卑贱的工厂生活。“我”像个骑士一样，再度介入莉拉的生活，并动用丈夫一家人的关系，让莉拉和恩佐的生活有了转机——他们成了那不勒斯地区最早学习、掌握计算机技术的人，他们顽强、坚韧的学习能力让他们开始积累了巨大的财富。
我和莉拉之间再次胜负难辨。婚后的“我”开始面临自己的创作危机，而平静的、中产阶级式的婚姻也令“我”疲惫不堪。对社会变革颇为冷淡的彼得罗希望“我”放弃作家的身份，而“我”在扮演“母亲”、“妻子”这些角色时，总是避免不了内心的分裂、紧张。
莉拉对“我”的新作品的指责更是让我产生彻底的自我怀疑：我接受的教育和拥有的知识是否只是让我的作品徒有其表，没有真正的思想，也永远无法拥有莉拉近乎粗野的表达中那些令人不安的真相。直到有一天，“我”丈夫突然将尼诺带回了家……

《失踪的孩子》是“那不勒斯四部曲”的第四部，小 说聚焦了莉拉和埃莱娜（“我”）的壮年和晚年，为她们持续了五十多年的友谊划上了一个令人心碎的句号。
“我”为了爱情和写作，离开丈夫带着两个女儿回到了那不勒斯，不可避免地与莉拉，还有我曾想要逃离的城区再度变得亲密。“我”和莉拉甚至在同一年怀孕、生子，并经历了恐怖残暴的那不勒斯大地震，一切都分崩离析，一切又将被重建。
“我”在不自觉中卷入莉拉秘密的企图——她希望利用我的名声和写作技巧来对抗城区陈腐而猖獗的恶势力。但在经历了生命*恐怖的打击之后，莉拉选择以一种怪异夸张的方式在城区彻底将自己流放。
而“我”也将以惊人的韧性和诚实面对写作、爱情、家庭的失败。在经历了多年的自我怀疑之后，“我”决定忤逆（罔顾？）莉拉的告诫，将“我”和她一生的友谊写成一本小说，却招来了深深的背叛……

Una donna ancora giovane, serena e appagata ma certamente tutt'altro che ripiegata nel cerchio sicuro della famiglia (il marito, due figli, un cane) viene gettata in un gorgo scuro e antico dall'improvviso abbandono del marito . Un archetipo del passato la risucchia nel cerchio chiuso di una tragedia in cui i fantasmi dell'infanzia e il ricordo genetico del destino femminile si impossessano del presente, la scuotono e la rinchiudono in una alienata e intermittente percezione di sé, fino a obbligarla a percorrere tutte le tappe di una discesa infernale in se stessa. È un precipizio che sembra non volerla più restituire all'ordine, alla vita, alla serenità di un tempo in apparenza lontanissimo e irrecuperabile. A partire da un bel mattino d'aprile, tra le pareti della casa nella quale ogni gesto è programmato e intonato all'ideale di ordine e compostezza che riflette lo spirito più riconoscibile della città di Torino, dopo il breve colloquio con il marito, appena una scarna comunicazione, Olga comincia il suo lavoro di abbandonata. Nel romanzo di Elena Ferrante, le stazioni della discesa nei vortici più bui di sé si chiamano insonnia, distrazione, furia contro se stessa invelenimento contro tutto e tutti. Una erinni inquieta e abitata che manda lampi bui fino alla superficie del linguaggio che si fa turpiloquio, oscenità. Nella casa si insediano attraverso Olga l'incuria, e più giù ancora la dissociazione, il caos, l'ostilità anche verso i figli e l'impazienza verso il cane di casa, lascito del marito. I giorni dell'abbandono di Elena Ferrante, rimanda alle temperature e ai fumi della tragedia greca anche sotto le spoglie apparenti di una realtà attuale: un fatto sconvolgente ma comune, un quadro cittadino improntato alla compostezza e al decoro. Nella scrittura e si direbbe nella natura stessa di questa autrice emerge ancora una volta il temperamento mediterraneo, una forza che sale direttamente dalle viscere e che fonda la sua capacità espressiva e vitale nella memoria genetica del genere femminile, nella voce imperativa e insopprimibile del sangue. Così la sua scrittura si incide sulla pagina e con tratti che conservano una lucida ferocia scava ugualmente nella percezione del lettore che ne subisce, il potente richiamo. Lo stile e la forza espressiva di Elena Ferrante, ne I giorni dell'abbandono, si riconfermano e si potenziano in una scrittura sapientemente imbrigliata che affascina e cattura il lettore e ancora più saldamente la lettrice. La vicenda narrata, di per sé non avrebbe il segno dell'eccezione, ma grazie al talento dell'autrice si accende di una luce abbagliante che pone cose e persone, ma anche le atmosfere cittadine o il vago confine tra sogno e memoria, sotto la sferza di forti e memorabili contrasti.

Two years before leaving home my father said to my mother that I was very ugly. The sentence was uttered under his breath, in the apartment that my parents, newly married, had bought in Rione Alto, at the top of Via San Giacomo dei Capri. Everythingthe spaces of Naples, the blue light of a very cold February, those wordsremained fixed. But I slipped away, and am still slipping away, within these lines that are intended to give me a story, while in fact I am nothing, nothing of my own, nothing that has really begun or really been brought to completion: only a tangled knot, and nobody, not even the one who at this moment is writing, knows if it contains the right thread for a story or is merely a snarled confusion of suffering, without redemption.

A modern masterpiece from one of Italy's most acclaimed authors, My Brilliant Friend is a rich, intense and generous hearted story about two friends, Elena and Lila. Ferrante's inimitable style lends itself perfectly to a meticulous portrait of these two women that is also the story of a nation and a touching meditation on the nature of friendship. Through the lives of these two women, Ferrante tells the story of a neighbourhood, a city and a country as it is transformed in ways that, in turn, also transform the relationship between her two protagonists.

Soon to be an HBO series, book one in the
bestselling Neapolitan quartet about two friends growing up in post-war Italy is a rich, intense, and generous-hearted family epic by Italy’s most beloved and acclaimed writer, Elena Ferrante, “one of the great novelists of our time.” (Roxana Robinson,
)

Beginning in the 1950s in a poor but vibrant neighborhood on the outskirts of Naples, Ferrante’s four-volume story spans almost sixty years, as its protagonists, the fiery and unforgettable Lila, and the bookish narrator, Elena, become women, wives, mothers, and leaders, all the while maintaining a complex and at times conflictual friendship. Book one in the series follows Lila and Elena from their first fateful meeting as ten-year-olds through their school years and adolescence.
Through the lives of these two women, Ferrante tells the story of a neighborhood, a city, and a country as it is transformed in ways that, in turn, also transform the relationship between her protagonists.
“An intoxicatingly furious portrait of enmeshed friends,” writes
. “Spectacular,” says Maureen Corrigan on
’s Fresh Air. “A large, captivating, amiably peopled bildungsroman,” writes James Wood in
Ferrante is one of the world’s great storytellers. With
she has given her readers an abundant, generous, and masterfully plotted page-turner that is also a stylish work of literary fiction destined to delight readers for many generations to come.

Soon to be an HBO series, the follow-up to
in the
bestselling Neapolitan quartet about two friends growing up in post-war Italy is a rich, intense, and generous-hearted family epic by Italy’s most beloved and acclaimed writer, Elena Ferrante, “one of the great novelists of our time.” (Roxana Robinson,
)
In
, Lila has recently married and made her enterée into the family business; Elena, meanwhile, continues her studies and her exploration of the world beyond the neighborhood that she so often finds stifling. Love, jealousy, family, freedom, commitment, and above all friendship: these are signs under which both women live out this phase in their stories. Marriage appears to have imprisoned Lila, and the pressure to excel is at times too much for Elena. Yet the two young women share a complex and evolving bond that is central to their emotional lives and is a source of strength in the face of life's challenges. In these Neapolitan Novels, Elena Ferrante, the acclaimed author of
, gives readers a poignant and universal story about friendship and belonging.
Ferrante is one of the world’s great storytellers. With the Neapolitan quartet she has given her readers an abundant, generous, and masterfully plotted page-turner that is also a stylish work of literary fiction destined to delight readers for many generations to come.

The Story of a New Name follows Elena Ferrante’s critically acclaimed My Brilliant Friend, featuring Lila and Elena. The two protagonists are now in their twenties, and marriage appears to have imprisoned Lila. Meanwhile, Elena continues her journey of self-discovery. These young women share a complex and evolving bond that brings them close at times while driving them apart at others. Each vacillates between hurtful disregard and profound love for the other. With this complicated and meticulously portrayed friendship at the center of their emotional lives, the two girls mature into women, paying the sometimes cruel price that this passage exacts.

The incredible story continues in book three of the critically acclaimed Neapolitan novels!
In this third Neapolitan novel, Elena and Lila, the two girls whom readers first met in My Brilliant Friend, have become women. Lila married at sixteen and has a young son; she has left her husband and the comforts her marriage brought and now works as a common laborer. Elena has left the neighborhood, earned her college degree, and published a successful novel, all of which has opened the doors to a world of learned interlocutors and richly furnished salons. Both women are pushing against the walls of a prison that would have seen them living a life of misery, ignorance, and submission. They are afloat on the great sea of opportunities that opened up during the 1970s. Yet they are still very much bound to each other by a strong, unbreakable bond.

Four new and revelatory essays by the author of My Brilliant Friend and The Lost Daughter.
In 2020, Claire Luchette in O, The Oprah Magazine described the beloved Italian novelist Elena Ferrante as “an oracle among authors.” Here, in these four crisp essays, Ferrante offers a rare look at the origins of her literary powers. She writes about her influences, her struggles, and her formation as both a reader and a writer; she describes the perils of “bad language” and suggests ways in which it has long excluded women’s truth; she proposes a choral fusion of feminine talent as she brilliantly discourses on the work of Emily Dickinson, Gertrude Stein, Ingeborg Bachmann, and many others.
Here is a subtle yet candid book by “one of the great novelists of our time” about adventures in literature, both in and out of the margins.
“Everyone should read everything with Elena Ferrante’s name on it.”—The Boston Globe

《我的天才女友》是埃莱娜·费兰特“那不勒斯四部曲”的第一部，讲述了两个女主人公莉拉和埃莱娜的少女时代。故事一开始，已经功成名就的埃莱娜接到莉拉儿子里诺的电话，说他母亲彻底消失了。埃莱娜想起莉拉对自己命运的预言，于是她写下她们一生的故事……
莉拉和埃莱娜一起成长于那不勒斯一个破败的社区，从小形影不离，彼此信赖，但又都视对方为自己隐秘的镜子，暗暗角力。
莉拉聪明，漂亮。她可以毫不畏惧地和欺凌自己的男生对质，也可以去找人人惧怕的阿奇勒﹒卡拉奇要回被他夺走的玩具；埃莱娜既羡慕莉拉的学习天赋和超人的决断力，又一直暗暗模仿莉拉。
家人不支持莉拉继续求学，因此她到父亲和兄长苦苦维持的修鞋店帮工，又面临几个纨绔子弟的追求。埃莱娜则怀着对朋友的关爱、嫉妒和理解，独自继续学业，却始终无法面对和莉拉竞争的失落。
最终，十六岁的莉拉决定嫁给肉食店老板，但在婚宴上，她发现了丈夫的背叛。而埃莱娜也站在成人世界的入口，既为前途担忧，也因对思想前卫的尼诺产生朦胧好感而彷徨。

In 2012, Elena Ferrante's
introduced readers to the unforgettable Elena and Lila, whose lifelong friendship provides the backbone for the Neapolitan Novels.
is the second book in this series. With these books, which the
's James Wood described as "large, captivating, amiably peopled ... a beautiful and delicate tale of confluence and reversal," Ferrante proves herself to be one of Italy's most accomplished storytellers. She writes vividly about a specific neighborhood of Naples from the late-1950s through to the current day and about two remarkable young women who are very much the products of that place and time. Yet in doing so she has created a world in which readers will recognize themselves and has drawn a marvelously nuanced portrait of friendship.
In
, Lila has recently married and made her entrée into the family business; Elena, meanwhile, continues her studies and her exploration of the world beyond the neighborhood that she so often finds stifling. Love, jealousy, family, freedom, commitment, and above all friendship: these are signs under which both women live out this phase in their stories. Marriage appears to have imprisoned Lila, and the pressure to excel is at times too much for Elena. Yet the two young women share a complex and evolving bond that is central to their emotional lives and is a source of strength in the face of life's challenges. In these Neapolitan Novels, Elena Ferrante, the acclaimed author of
, gives readers a poignant and universal story about friendship and belonging.

In this third Neapolitan novel, Elena and Lila, the two girls whom readers first met in My Brilliant Friend, have become women. Lila married at sixteen and has a young son; she has left her abusive husband and now works as a common laborer. Elena has left the neighborhood, earned her college degree, and published a successful novel, all of which have opened the doors to a world of learned interlocutors and richly furnished salons. Both women have pushed against the walls of a prison that would have seen them living a life of misery, ignorance, and submission. They are afloat on the great sea of opportunities that opened up during the nineteen-seventies. Yet they are still very much bound to each other by a strong, unbreakable bond.

In this collection of writings and responses gathered from over 30 years of correspondence, the reclusive Italian author addresses her unwavering decision to remain anonymous, her literary inspirations, Italian politics and culture, and the role of the writer (and the publisher) in modern society. Ferrante’s voice is as direct, penetrating, acute, inspiring, and intimate as it is in her acclaimed novels.
This book invites readers into Elena Ferrante’s workshop. It offers a glimpse into the drawers of her writing desk, those drawers from which emerged her three early standalone novels and the four installments of My Brilliant Friend, known in English as the Neapolitan Quartet. Consisting of letters, essays, reflections, and interviews, it is a unique depiction of an author who embodies a consummate passion for writing.
In these pages Ferrante answers many of her readers’ questions she addresses her choice to stand aside and let her books live autonomous lives. She discusses her thoughts and concerns as her novels are being adapted into films. She talks about the challenge of finding concise answers to interview questions. She explains the joys and the struggles of writing, the anguish of composing a story only to discover that that story isn’t good enough. She contemplates her relationship with psychoanalysis, with the cities she has lived in, with motherhood, with feminism, and with her childhood as a storehouse for memories, impressions, and fantasies. The result is a vibrant and intimate self-portrait of a writer at work.