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[...] I was afraid that there was a break between the before—archaic models and myths, precisely—and the after, Olga the new woman, and that Olga would seem to be an expression of the progressive fates of the female gender. I decided instead to deepen the confusion of time, as in Troubling Love, wh…

Berlusconi the statesman is possible only thanks to his tendentious monopoly of the medium that best realizes and imposes that suspension of disbelief.

Ferrante: In my intentions Mario, Olga’s husband, is neither cowardly nor a scoundrel. He’s just a man who has stopped loving the woman he lives with and comes up against the impossibility of breaking that bond without humiliating her, without hurting her. His behavior is that of a human being who …

Jensen: What is the theme that you were interested in investigating through Olga’s story?

Ferrante: I wanted to tell a story of disintegration. Someone who takes love away from us devastates the cultural structure we’ve worked on all our lives, deprives us of that sort of Eden that until that …

Ferrante: There is no story that doesn’t have roots in the feeling that the writer has about life. The more that feeling filters into the story, into the characters, the more distinctly the page gives form to an incisive effect of truth. But what counts, in the end, is what I would call the graphic…