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Gianni approached them almost by instinct, he’s a generous man. I said there’s no room, we have the children, how are we going to fit. The two got in, they were English, he graying, in his forties, she surely less than thirty. At first I was hostile, taciturn, it complicated the trip for me, I woul…

Gianni approached them almost by instinct, he’s a generous man. I said there’s no room, we have the children, how are we going to fit. The two got in, they were English, he graying, in his forties, she surely less than thirty. At first I was hostile, taciturn, it complicated the trip for me, I woul…

What first got me hooked on the Neapolitan novels, almost from the start of My Brilliant Friend, was the way in which the many things Lenu and Lila fervently desire—books, money, power, knowledge, experience, boys, sex, beautiful objects, political change, respect, escape, superiority, each other—r…

Joos: Do you think that writing about female characters from a female perspective requires courage? And, if not, why, in your view, has it been done so rarely and with so little care?

Ferrante: I don’t know if it takes courage. Certainly you have to get beyond the female gender, beyond the ima…

Ferrante: I’m very fond of The Lost Daughter. It cost me a lot to write. A story has to push beyond your very capacity to write it, you have to fear at every line that you won’t make it. The books I’ve published all originated like that, but The Lost Daughter left me feeling the way you do when you…