← Fiction

The Story of a New Name

by Elena Ferrante · 2012

The Story of a New Name is the second volume in Elena Ferrante's four-book Neapolitan Novels. Narrated by Elena "Lenu" Greco, it picks up after the marriage of her brilliant, volatile friend Lila Cerullo to the grocer… more

First published 2012 · 480 pages · Neapolitan Novels #2 · English

35 quotes ★ 4.47 (250,194) Fiction

Quotes from the Book

Words: with them you can do and undo as you please.
she was explaining to me that I had won nothing, that in the world there is nothing to win, that her life was full of varied and foolish adventures as much as mine, and that time simply slipped away without any meaning, and it was good just to see each other every so often to hear the mad sound of the brain of one echo in the mad sound of the brain of the other.
Everything in the world was in precarious balance, pure risk, and those who didn’t agree to take the risk wasted away in a corner, without getting to know life.
Things without meaning are the most beautiful ones.
Is it possible that even happy moments of pleasure never stand up to a rigorous examination? Possible.
There are people who leave and people who know how to be left.
Once, she closed the book abruptly and said with annoyance, "That's enough." "Why?" "Because I've had it, it's always the same story: inside something small there's something even smaller that wants to leap out, and outside something large there's always someting larger that wants to keep it a prisoner.
The only woman's body I had studied, with ever-increasing apprehension, was the lame body of my mother, and I had felt pressed, threatened by that image, and still feared that it would suddenly impose itself on mine. That day, instead, I saw clearly the mothers of the old neighborhood. They were nervous, they were acquiescent. They were silent, with tight lips and stooping shoulders, or they yelled terrible insults at the children who harassed them. Extremely thin, with hollow eyes and cheeks, they lugged shopping bags and small children who clung to their skirts and wanted to be picked up. And, good God, they were ten, at most twenty years older than me. Yet they appeared to have lost those feminine qualities that were so important to us girls and that we accentuated with clothes, with makeup. They had been consumed by the bodies of husbands, fathers, brothers, whom they ultimately came to resemble, because of their labors or the arrival of old age, of illness. When did that transformation begin? With housework? With pregnancies? With beatings?
I would always be afraid: afraid of saying the wrong thing, of using an exaggerated tone, of dressing unsuitably, of revealing petty feelings, of not having interesting thoughts.
There are moments when we resort to senseless formulations and advance absurd claims to hide straightforward feelings.
If nothing could save us, not money, not a male body, and not even studying, we might as well destroy everything immediately.
I understood that I had arrived there full of pride and realized that—in good faith, certainly, with affection—I had made that whole journey mainly to show her what she had lost and what I had won. But she had known from the moment I appeared, and now, risking tensions with her workmates, and fines, she was explaining to me that I had won nothing, that in the world there is nothing to win, that her life was full of varied and foolish adventures as much as mine, and that time simply slipped away without any meaning, and it was good just to see each other every so often to hear the mad sound of the brain of one echo in the mad sound of the brain of the other.
How quickly people changed, with their interests, their feelings. Well-made phrases replaced by well-made phrases, time is a flow of words coherent only in appearance, the one who piles up the most is the one who wins.
Maybe we really are made of the same clay, maybe we really are condemned, blameless, to the same, identical mediocrity.
I am what I am and I have to accept myself; I was born like this, in this city, with this dialect, without money; I will give what I can give, I will take what I can take, I will endure what has to be endured.
That day, instead, I saw clearly the mothers of the old neighbourhood. They were nervous, they were acquiescent. They were silent, with tight lips and stooping shoulders, or they yelled terrible insults at the children who harassed them. Extremely thin, with hollow eyes and cheeks, or with broad behinds, swallen ankles, heavy chests, they lugged shopping bags and small children who clung to their skirts (...) they appeared to have lost those feminine qualities that were so important to us girls (...) They had been consumed by the bodies of husbands, fathers, brothers, whom they ultimately came to resemble, because of their labors or the arrival of old age, of illness. When did that transformation begin? With housework? With pregnancies? With beatings?
I gave in continuously, with painful pleasure, to waves of unhappiness.
Today I feel some uneasiness in recalling how much I suffered, I have no sympathy for myself of that time.
Why, then, even when I advanced, was I so quick to retreat? Why did I always have ready a gracious smile, a happy laugh, when things went badly? Why, sooner or later, did I always find plausible excuses for those who made me suffer?
I became disenchanted. My first impression, that of finding myself part of a fearless battle, passed. The trepidation at every exam and the joy of passing it with the highest marks had faded. Gone was the pleasure of re-educating my voice, my gestures, my way of dressing and walking, as if I were competing for the prize of best disguise, the mask worn so well that it was almost a face.
Everything is interesting if you know how to work on it.
Finally he had decided that he had to free Lila, even if at that moment, perhaps, she had no desire to be freed. But—he had said to himself—it takes time for people to understand what’s good and what’s bad, and helping them means doing for them what in a particular moment of their life they aren’t capable of doing.
The title is Ulysses' 'Is it about the Odyssey?' 'No, it’s about how prosaic life is today.' 'And so?' 'That’s all. It says that our heads are full of nonsense. That we are flesh, blood, and bone. That one person has the same value as another. That we want only to eat, drink, fuck.
Love in my case is not indispensable to pleasure, nor is respect. Is it possible, therefore, that the disgust, the humiliation begin afterward, when a man subdues you and violates you at his pleasure solely because now you belong to him, love or not, respect or not?
He said we lived in a provincial country, where every occasion was an opportunity for complaining, but meanwhile no one rolled up his sleeves and reorganized things, trying to make them function.
it was good just to see each other every so often to hear the mad sound of the brain of one echo in the mad sound of the brain of the other.
Had it really been so wonderful? I knew very well that at that time, too, there had been shame. And uneasiness, and humiliation, and disgust: accept, submit, force yourself. Is it possible that even happy moments of pleasure never stand up to a rigorous examination? Possible.
Antonio's fixation was always the same: Sarratore's son {Nino}. He was afraid that I would talk to him, even that I would see him {at school}. Naturally, to prevent him from suffering, I concealed the fact that I ran into Nino entering school, coming out, in the corridors. Nothing particularly happened, at most we exchanged a nod of greeting and went on our way: I could have talked to my boyfriend about it without any problems if he had been a reasonable person. But Antonio was not reasonable and in truth I wasn't either. Although Nino gave me no encouragement, a mere glimpse of him left me distracted during class. His presence a few classrooms away—real, alive, better educated than the professors, and courageous, and disobedient—drained meaning from the teachers' lectures, the pages of books, the plans for marriage, the gas pump on the Stradonr.
We had grown up thinking that a stranger must not even touch us, but that our father, our boyfriend, and our husband could hit us when they liked, out of love, to educate us, to reeducate us.
Thus the story of the facts has to reckon with filters, deferments, partial truths, half lies: from it comes an arduous measurement of time passed that is based completely on the unreliable measuring device of words.
I recognized in them what I had never had and, I now knew, would always lack. What was it? I wasn't able to say precisely: the training, perhaps, to feel that the questions of the world were deeply connected to me; the capacity to feel them as crucial and not purely as information to display at an exam; a mental conformation that didn't reduce everything to my own individual battle, to the effort to be successful.
18
I wasn't capable of entrusting myself to true feelings. I didn't know how to be drawn beyond limits. I didn't possess that emotional power that had driven Lila to do all she could to enjoy that day and that night. I stayed behind, waiting. She, on the other hand, seized things, truly wanted them, was passionate about them, played for all or nothing, and wasn't afraid of contempt, mockery, spitting, beatings. She deserved Nino, in other words, because she thought that to love him meant to try to have him, not hope that he would want her.
15
Maybe I should tell her that things without a meaning are the most beautiful ones
15
I said to myself every day: I am what I am and I have to accept myself; I was born like this, in this city, with this dialect, without money; I will give what I can give, I will take what I can take, I will endure what has to be endured.
15
For her whole life she would sacrifice to him every quality of her own, and he wouldn't even be aware of the sacrifice, he would be surrounded by the wealth of feeling, intelligence, imagination that were hers, without knowing what to do with them, he would ruin them.
14

Did you know?

  • It was originally published in Italian in 2012 as Storia del nuovo cognome by Edizioni e/o.
  • The English translation is by Ann Goldstein, who translated all four Neapolitan Novels.
  • It is the second of four volumes in Ferrante's Neapolitan Novels.
  • The author writes under a pseudonym and her real identity has never been publicly confirmed.
  • Events from the novel were adapted as the second season of the television series My Brilliant Friend.

About Elena Ferrante

Elena Ferrante is the pseudonym of an Italian author whose true identity remains undisclosed. She is best known for the Neapolitan Novels, a four-book series that became an international bestseller and was adapted for television.

More about the author →

About the book

The Story of a New Name is the second volume in Elena Ferrante's four-book Neapolitan Novels. Narrated by Elena "Lenu" Greco, it picks up after the marriage of her brilliant, volatile friend Lila Cerullo to the grocer Stefano Carracci, tracing the two young women's diverging paths through late-1950s and 1960s Naples. As Lila's marriage collapses into violence and she becomes entangled with the student Nino Sarratore, Lenu pursues her education, eventually leaving Naples to study at the Scuola Normale in Pisa and publishing her first novel.

At its heart the book is about female friendship as both a sustaining bond and a source of rivalry, and about the ways class, gender, and ambition shape the lives of two women born into a poor neighborhood. Ferrante examines the constraints placed on women in a patriarchal society, the cost of intellectual aspiration, and the tangled mix of love, envy, and dependence that binds Lenu and Lila across decades.

Like the rest of the Neapolitan quartet, the novel was an international critical and commercial success, praised for its psychological intensity and its unflinching portrait of women's inner lives. Translated into English by Ann Goldstein, it contributed to the worldwide phenomenon often called "Ferrante Fever" and helped fuel the HBO/RAI television adaptation of the series.

Key characters

  • Elena Greco (Lenu)Narrator; studious friend who leaves Naples to pursue education
  • Lila CerulloLenu's brilliant, headstrong friend, newly married to Stefano
  • Stefano CarracciGrocer and Lila's husband, whose marriage turns abusive
  • Nino SarratoreIntellectual student with whom Lila becomes involved
  • Enzo ScannoWorking-class friend who helps Lila build a new life

Book details

First published
2012
Length
480 pages
Series
Neapolitan Novels #2
Reading time
29 hours
Genre
Fiction
Goodreads rating
4.47 (250k ratings)

Critical reception

  • The Neapolitan Novels were widely praised by critics and became international bestsellers.
  • Reviewers highlighted the novel's portrayal of female friendship and the fate of women in a patriarchal society.

Series & reading order

  1. 1 My Brilliant Friend
  2. 2 The Story of a New Name
  3. 3 Those Who Leave and Those Who Stay
  4. 4 The Story of the Lost Child

Movie & TV adaptations

  • IMDb
    My Brilliant Friend (Season 2) 2020

    HBO/RAI television series; the second season adapts this novel.

If you liked this, read…

  1. 1
    My Brilliant FriendThe first volume of the same Neapolitan quartet.
  2. 2
    Those Who Leave and Those Who StayThe next book continuing Lenu and Lila's story.

Keep reading