Friday, January 25, 2019

An open letter to Elena Ferrante | Frantumaglia

Dear Elena Ferrante,

It's a little odd for me to be writing this post in the form of an open letter. I could, after all, just write a real letter, I suppose, but it feels so unlikely that it would ever reach you (and thus, anyone) that I find myself more inclined towards simply writing an open letter, sending it out into the void known as the internet, and hoping that maybe (maybe!) you'll see this letter someday and find it interesting or worthy of your time.

I've finished reading the collection of letters and fragments published in English as Frantumaglia: A Writer's Journey (translated by Ann Goldstein and a few others). It was, I have to admit, a bit of an odd, at times unsettling read for me. The first section was perhaps the least interesting, to a certain degree, because I have yet to read Troubling Love. I know, I know, what sort of fan am I? (I also haven't read The Lost Daughter, and I've had that on my shelf for almost four years! I am soundly ashamed...) I definitely want to read it now, but it complicated my ability to read Frantumaglia, since I tried to skim through the early section and had to skip entire portions. I suddenly feel as though I'm missing a whole lot of necessary context to understand and engage with your writing, but there you have it.

The unsettling part for me, though, wasn't so much in the content. I've thought a lot about narratives over the past year or so, specifically the degree to which modern journalism is built around the idea of building narratives from nothing and then perpetuating them by giving them more and more airtime. So it becomes easy to craft a narrative about, say, a certain politician. Or about a certain demographic. Or even craft a narrative about a complex conflict or disagreement. It's enough to suggest that there is a narrative, and then build a whole story around that suggestion.

And as I read your repeated, almost exhausting (frustrated?) responses to journalists and readers persistently questioning you about your "identity", I grew angry. Truly, I grew angry for your sake. I realize, rationally, that these journalists weren't coming from my perspective of reading your interviews/letters/responses one after the other and could thus see with cold clarity the degree to which you have explained your stance over the course of almost thirty years, but it seems to me honestly shocking how persistent they are in disregarding your obvious wishes. Why every interviewer felt the need to re-ask the same questions that they knew (and cited!) from previous interviews about information they felt they deserved to know... I'm sorry, I truly am.

I was struck by your response and how it ties into this question of narrative that I've been obsessing over for so long. You say it exactly right - the story comes from the fact that the media wants there to be a story. After all, many writers don't engage in much publicity of their works. There's nothing too shocking about wanting to stay out of the limelight or writing under a pen name. Would anyone have even noticed if you'd used a fake jacket photo and written a bland blurb about living in a fake town with your fake children and your fake dog? I'd offer my photo, but seeing as I was barely alive when your first novel was published, I don't think it'll fly.

I wish I could undo the nonsense that others have asked you. I wish I could remove the question from our lexicon. And yet you see, even without me asking the questions (because, frankly, I don't think it's necessary; my curiosity is secondary to my respect for an individual's privacy and I steadfastly refuse to read or acknowledge attempts to dismantle it), I have to address it. It's become a necessary part of the story of your works. How exceedingly disappointing and frustrating. Here's to hoping the narrative will truly die down, and with that I will leave the matter behind.

There are so many interesting points raised within the pages of Frantumaglia that it's a little overwhelming to try to address them all. I honestly don't think I can, and as I write these words it occurs to me that perhaps I also shouldn't. I'm not nearly clever enough to be able to adequately address so much of what you have written about your own works, and I'm the sort of reader who doesn't retain very much in the way of plots or individual lines from a text, rather holds on to the emotions I felt while reading, which means that I can hardly be viewed as an expert on any book I haven't reread at least a dozen times. (And I have only read each of your works once, alas. This will change soon.)

I think the biggest point of contention I have with you is about feminism. While not as ubiquitous as the Big Question That Shall Not Be Named, it's a topic that cropped up again and again in many of your interviews. The evolution of your response to the question was actually fascinating to me, particularly the way you seemed almost cautious to use the label in the 1990s, and then more confidently embrace the term (and adjacent phrases such as "the patriarchy"!) by the early 2000s. I found some of your comments disappointing, though. I'm not going to argue how you view your feminism, particularly when your writing has inspired so many women readers (young and old) from a deeply feminist perspective. Death of the author and all that. But I find your characterization of young feminists to be somewhat concerning.

Are there young feminists today who don't fully appreciate what battles feminism won in the past? I'm sure! I also have no doubt that you have encountered modern feminists who perform a sanitized, stripped down version of feminism that feels as though it is little more than a game. I certainly have! But the vast majority of young women that I know who identify as feminists are nothing like what you write. I am nothing like what you write. And I am not quite "militant" myself (though I think I wouldn't feel as uncomfortable with the term as you seem to be). I feel you have engaged in a rather serious act of oversimplification, viewing the young generation as lazy and substandard simply because you are unfamiliar with what our causes actually are. I'd also argue that the degree to which so many of my feminist friends adore your novels is an indication that we probably speak a much more similar language than you realize.

It's an odd experience, reading a book that feels so intimate while being thoroughly repetitive. I'm not saying that to be cruel, it's obvious to me why themes repeat and recur. When journalists constantly pose the same questions, it seems inevitable. Unfortunately, it does complicate matters from my own critical perspective; I can't quite say that I loved the book when I glossed over so much of it. Some of your conversations are so detailed that they also felt like an infringement upon my own interpretations of the text. As interesting as it is to read, it's not necessarily something I want to adopt. Does that make sense?

I'm glad I read Frantumaglia, and I'm grateful for the opportunity to have spent this time with you. I like your writing and I like what you have to say about it, even if we don't always agree. I feel that you approach the world in an interesting way, which probably explains why I like your novels - they seem to capture a perspective that I connect with, even when I have nothing in common with the characters or the narrative. It was an honor to get a glimpse of some of the thought process behind your writing.

Sincerely yours,
Meytal (aka Biblibio)