If you're a reader of literature in translation (and let's be real - even if you're just a reader of good quality literature), chances are you've heard quite a bit about Elena Ferrante, her mysterious identity, and the wonders of the Neapolitan series. The books - which begin with My Brilliant Friend - are well written, interesting, emotionally engaging and ultimately extremely satisfying. As a series, they ascribe less to the idea that each book should stand on its own, rather each volume flows into the next with only quiet thematic markers to distinguish the books.
I read the three volumes currently available in English fairly one after the other. All three novels - My Brilliant Friend, The Story of a New Name, and Those Who Leave and Those Who Stay (all brilliantly translated by Ann Goldstein, and kindly provided to me courtesy of the publisher) - end with quiet sorts of cliffhangers. Nothing that will leave you screaming at the page, nothing on the level of the awful non-ending that The Subtle Knife had (probably my least favorite ending to a book ever), nothing that will leave you gasping with its audacity... but cliffhangers nonetheless. Ferrante excels at making the reader truly feel for her main characters (Elena the narrator, and her best friend Lila), and in this sense any emotional turmoil that these girls/women go through, the reader goes through as well. My feeling is that Ferrante chooses to cut the story off at these specific emotional peaks which represent the tone-shifts that occur for the next book, as random as they may seem before continuing onwards to the next tome.
There's not a lot I can say about the plot without ruining the story. Since this is a 100% spoiler-free review for the three first books (book 4 is due out in about a year from now), I don't even want to refer to specific characters or large-scale events that within each novel, even if they don't seem particularly revealing within that context. And so I'll give the generic story idea that those who haven't read the book have likely already heard: the Neapolitan books tell of two girls, Elena and Lila, following them from early childhood to later life. Elena and Lila are a cross between best friends, competitors, and enemies: they love each other fiercely, but recognize the occasionally toxic nature their relationship takes on.
And so it's not too far a stretch to point out that the Neapolitan series doesn't actually have much of a plot. There is a story, yes, but it's not the sort of beginning-middle-end plotting that your middle-school teacher taught you to look for. The books are written on an epic scale, tracing the lives of far more people than just Elena and Lila (indeed, the story looks much more broadly at the cultural and social shifts occurring in Italy at the time, with the two girls serving as a very good anchor). It's this sort of writing that makes it difficult to point to a specific single topic or idea that the books deal with. All three books are big and varied and focused and generic.
There are a few points I'd like to touch on specifically that don't relate to the plot. First of all, I found the progression of the political discussion in the books to be fascinating. I was (unsurprisingly) particularly interested to see how and when the issue of feminism began to crop up. This rather gentle thematic growth ultimately gave me a lot to think about in the context of modern feminism (and modern political discourse), and I quite enjoyed it.
There is also the matter of the book titles. As silly as this may seem, I love the titles. I love how they reflect the stories, I love how they don't, I love what they say about how we could (and perhaps should?) be interpreting the stories, and ultimately I love how the fit together. (I'll admit that I do not like how they look on the shelf, but this is because the print on the spine of Those Who Leave and Those Who Stay is bolded while none of the other Europa Editions are and it drives me a little nuts)
There's a lot more to say about Ferrante. You've probably heard much of it. Her writing is clear and draws you in. These are not books easily set aside. The characters feel disturbingly real. Emotions are high without being smothering. This is good writing. I'm not sure if I've enjoyed the Neapolitan series more than the tightly intense The Days of Abandonment, but I've definitely enjoyed the books and I'm definitely eagerly awaiting the fourth title. I have ideas about themes and characters that I would love to discuss in spoiler filled reviews (another time), but for now let me say this to those of you who have not read these books yet: Read them. Ferrante's fame is well-deserved, and I promise that you will not be disappointed.