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" "I believe that they have put a spotlight on what women have always known and have always been more or less silent about. Patriarchal domination, even — despite appearances — in the West, is still very entrenched, and each of us, in the most diverse places, in the most varied forms, suffers the humiliation of being a silent victim or a fearful accomplice or a reluctant rebel or even a diligent accuser of victims rather than of the rapists. Paradoxically, I don’t feel that there are great differences between the women of the Neapolitan neighborhood whose story I told and Hollywood actresses or the educated, refined women who work at the highest levels of our socioeconomic system…
Elena Ferrante (born in 1943) is a pseudonymous Italian novelist.
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I can’t give you a precise answer. It may have had its origin in the death of a friend of mine, or in a crowded wedding celebration, or perhaps in the need to return to themes and images of an earlier book, ‘The Lost Daughter.’ One never knows where a story comes from; it’s the product of a variety of suggestions that, together with others that you are not aware of and never will be, excite your mind.
Certainly, female writing exists, but mainly because even writing is powerfully conditioned by the historical-cultural construction that is gender. That said, gender has an increasingly wide mesh, its rules have been relaxed, and it is more and more difficult to reconstruct what has influenced and formed us as writers…
I can’t say precisely. I don’t think anyone really knows how a story takes shape. When it’s done you try to explain how it happened, but every effort, at least in my case, is insufficient. There is a before, made up of fragments of memory, and an after, when the story begins. But before and after, I have to admit, are useful only in answering your question now in an intelligible way.