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James Wood, in a 2013 article in the New Yorker, called Elena Ferrante “one of Italy’s best-known least-known contemporary writers.” Meghan O’Rourke, in 2014 in The Guardian, similarly referred to her as “the global literary sensation nobody knows.” These comments refer to both the excitement that her works have generated among her reading public and to the reclusiveness she cultivates by hiding her identity behind a pseudonym and assiduously avoiding the public eye. It was Wood’s description of Ferrante’s “remarkable, lucid, austerely honest novels” that led me to read L’amica geniale (2011) and to seek out as well her earlier works. Soon I too was hooked. [...]

Review of L’amica geniale: infanzia, adolescenza (Rome: Edizioni e/o, 2011), by Elena Ferrante