The supposed exposure of the much-feted novelists true identity has caused a lot of outrage this week. From Jane Austen to Banksy, countless artists have tried to stay in the shadows, but it only makes people want to know more
Some all-too-anonymous writers will look at this weeks exposure of the millionaire literary superstar Elena Ferrante and find that sympathy does not come out of them without a fight. Others will see a private artists freedom ruined for ever and weep for her. For writers, thats the trouble with being anonymous. It is difficult to be the right amount.
To bring you up to speed: Elena Ferrante is the nom de plume of an Italian writer (or at least a writer of Italian) whose true identity has been a mystery since her (or his) first novel, Troubling Love, was published in 1991. Until recently the mystery was confined to Italy, where various writers, translators and publishers have been proposed as possible Ferrantes. In the past three years, however, she has become a mythic figure all over the world following the success her Neapolitan novels, about two clever women who grow up poor in postwar Naples.
Then, last Sunday, the Italian investigative journalist Claudio Gatti published a new theory. By studying public real estate records, he found that a couple connected to Ferrantes Italian publisher, Edizione E/O, had bought an expensive apartment in Rome in 2000, then another one this summer. Gatti also has documents from an anonymous source that he says show inexplicably large payments from the publisher to one member of the couple, more or less at the time you would expect Ferrante to be getting her big international royalties, and more or less in the right proportions as her sales increased. No one so far has seriously suggested he is wrong. No one likes him, either.
Claudio Gatti says he has solved one of modern literatures biggest mysteries but fans criticise his report as an intrusion
It is, arguably, the biggest mystery in modern literature: the true identity of novelist Elena Ferrante. But when one of Italys investigative journalists claimed to have unmasked her on Sunday, the response of many in the literary world was to ask why he had felt the need to do so.
Writing for the New York Review of Books and Il Sole 24 Ore, journalist Claudio Gatti said he had been able to identify the author of My Brilliant Friend and the rest of the highly acclaimed Neapolitan series as a Rome-based translator who once helped run a publishing imprint of Italian writers.
But her publisher and high-profile authors asked why Gatti had acted the way he did. Sandro Ferri, Ferrantes publisher and one of the few people who is known to know her identity, said he was appalled by the attempt to unmask a woman who has purposely steered clear of the limelight and has always said that she only wanted to write books.
We just think that this kind of journalism is disgusting, he told the Guardian. Searching in the wallet of a writer who has just decided not to be public.
Readers called the alleged scoop an intrusion into the life of one of the worlds most influential female writers. Some were afraid it would stop Ferrante from ever writing again, saying the story had been driven by the ego of the reporter and the New York Review of Books.
Some said there were far more worthy targets of investigative journalism.
Jojo Moyes, the British author who wrote Me Before You, said the issue boiled down to something very simple: that Ferrante may have had good reason to write under a pseudonym.
Gattis conclusion was based on his review of payments that were allegedly made by Ferrantes publisher, Edizione E/O, which Gatti said showed that the main financial beneficiary of Ferrantes extraordinary success was Anita Raja.
Rajas name will be familiar to those who have long followed the speculation over Ferrantes identity, as it has been raised in ruminative Italian press reports for years never with any solid evidence.
In his piece, Gatti pointed to Italian real estate records that allegedly showed Raja and her husband, Domenico Starnone, buying multimillion euro properties in Rome around the time that Ferrante became an international sensation.
Gatti reported that neither Raja nor Starnone had responded to repeated requests for comment.
In response to the criticism, Gatti said Ferrante was arguably the most well-known Italian figure in the world, and that there was a legitimate right for readers to know … as they have made her such a superstar.
He said Ferrante and her publishers acknowledged as much when they agreed to publish a autobiographical work called Frantumaglia, which Gatti said was full of untruths about Ferrantes personal story.
In it, Ferrante points to a quote from Italo Calvino: Ask me what you want to know, but I wont tell you the truth, of that you can be sure, saying she liked the passage.
I believe that by announcing that she would lie on her own autobiographical essay, Ferrante has in a way relinquished her right to disappear behind her books and let them live and grow while their author remained unknown, Gatti told the Guardian in an email.
Indeed, she and her publisher seemed not only to have fed public interest in her true identity but to have challenged critics and journalists to go behind the lies. She told us that she finds them healthy. As a journalist, I dont. In fact it is my job to expose them.
While dozens of articles have been written over the years speculating about Ferrantes true identity, Ferrante has always zealously guarded her anonymity, saying it gives her the protection she needs to write in the sometimes brutally honest style that millions of people have been drawn to.
From the return of an underground classic to the rebirth of a superhero, here are some of the titles to pick up in late 2016 and early 2017
Exits by Daryl Seitchik (Koyama Press, September) Seitchik follows up her Ignatz award-nominated Missy comics with a debut graphic novel focusing on mirror-store clerk Claire Kim, who hates herself and the world she lives in. Claire spends her days showing customers their reflections while dreaming about erasing her own: a wish that ends up coming true. ZA
In the 1960s, British architectural critic Reyner Banham declared his love for the city that his fellow intellectuals hated. What Banham wrote about Los Angeles redefined how the world perceived it but what would he think of LA today?
Now I know subjective opinions can vary, the journalist Adam Raphael wrote in the Guardian in 1968, but personally I reckon LA as the noisiest, the smelliest, the most uncomfortable and most uncivilised major city in the United States. In short, a stinking sewer …
Three years later, Raphaels words appeared in print again as an epigraph of Reyner Banhams Los Angeles: The Architecture of Four Ecologies the most exuberantly pro-Los Angeles book ever written. Ever since publication, it has shown up on lists of great books about modern cities even those drawn up by people who consider Los Angeles anything but a great American city.
Somehow, this book that drew so much of its initial publicity with shock value (In Praise (!) of Los Angeles, sneered the New York Times reviews headline) has kept its relevance through the decades, such that newly arrived Angelenos still read it to orient themselves. But what can it teach us about the Los Angeles of today?
An architectural historian a decade into his career when he first visited, Banham knew full-well that his fellow intellectuals hated Los Angeles. How and why he himself came so avidly to appreciate it constitutes the core question of his work on the city, which culminated in this slim volume.
The many who were ready to cast doubt on the worth of the enterprise, he reflected in its final chapter, included a distinguished Italian architect and his wife who, on discovering that I was writing this book, doubted that anyone who cared for architecture could lower himself to such a project and walked away without a word further.
The project began when Banham brought his shaggy beard and wonky teeth to Los Angeles and declared that he loved the city with a passion, in the words of novelist and Bradford-born Los Angeles expat Richard Rayner. Teaching at the University of Southern California, who put him up in the Greene brothers architecturally worshipped Gamble House in Pasadena, Banham had a privileged base from which to explore. But what he went looking for, and the way he wrote about what he saw and felt, redefined the way the intellectual world and then the wider world perceived the city.
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