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| Original Title: | I giorni dell'abbandono |
| ISBN: | 1933372001 (ISBN13: 9781933372006) |
| Edition Language: | English URL http://www.europaeditions.com/book.php?Id=2 |

Elena Ferrante
Paperback | Pages: 188 pages Rating: 3.86 | 19109 Users | 2191 Reviews
Present Of Books The Days of Abandonment
| Title | : | The Days of Abandonment |
| Author | : | Elena Ferrante |
| Book Format | : | Paperback |
| Book Edition | : | First Edition |
| Pages | : | Pages: 188 pages |
| Published | : | September 1st 2005 by Europa Editions (first published 2002) |
| Categories | : | Fiction. Cultural. Italy. European Literature. Italian Literature. Contemporary. Novels. Literary Fiction |
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A national bestseller for almost an entire year, The Days of Abandonment shocked and captivated its Italian public when first published. It is the gripping story of a woman's descent into devastating emptiness after being abandoned by her husband with two young children to care for. When she finds herself literally trapped within the four walls of their high-rise apartment, she is forced to confront her ghosts, the potential loss of her own identity, and the possibility that life may never return to normal.Rating Of Books The Days of Abandonment
Ratings: 3.86 From 19109 Users | 2191 ReviewsWeigh Up Of Books The Days of Abandonment
What happens when a persons domestic life with spouse and children, their entire personal existence, cracks like a bottle of wine and spills all over the floor? The Days of Abandonment happens.The atmosphere of this book is far more powerful than the sum of each of its words. The shape of the telling fits the theme perfectly, and the honesty of Olga, the narrator, allows the reader to share in her experience, to look through every line, to gaze downward and feel the vertigo of the depths, theI hated this book for 85% of it, then the last 15% weren't all bad, and I kind of lost all that built-up rage... Anyway, I won't let that soften the blow, because this was torture to listen to. I'm not sure how much of my repulsion stems from the book itself, and how much can be blamed on the gratingly bitchy narrator. There's some cleverness in how Olga turns into what she once thought she never would become, but that does in no way redeem the book.I simply couldn't stand Olga. She's definitely
I first heard about Elena Ferrante about a year ago when everyone seemed to read her Neapolitan saga. So I joined the club too and read My brilliant friend, the first installment of the series. I pretty liked that one though to be honest sometimes I was lost in the plethora of names and constantly confused who was who and with whom. I didnt find the language especially captivating but it was nicely written and I hadnt any problem with reading it. But if I had to indicate any reservation it

There is no technical means of reproduction that, up to now, has managed to surpass the mirror and the dream.this is a perfect book. furious and terrifying, possessed of an unrelenting and unrelentingly nightmarish forward motion the likes of which i've never in a "domestic drama" (and rarely anywhere). just plain startlingly great. i nearly had a psychotic break in the middle, i think... had to take a break and walk around the lake.
Slightly spoilery "Existence is a start of joy, a stab of pain, an intense pleasure, veins that pulse under the skin, there is no other truth to tell." Abandonment. Loneliness. Rejection. How do we survive them? How does Olga survive, when her husband leaves her for a younger woman after fifteen years of marriage? By stepping outside of herself. She lets herself see. But is it only when we find ourselves tired of ourselves that we think to see outside of ourselves? And when we finally make this
"Nothing you read about Elena Ferrante's work prepares you for the ferocity of it."Amy Rowland, The New York Times The book is acerbic, biting, warm, horrifying, searing, endearing, astounding, changing like the weather. The days, weeks and months following an Italian mans announcement that he is leaving his wife and two children. Ferrante jolts the reader little more than a hundred words in, by having Olga, her first person narrator, conclude her description of her abandonment: Then he assumed

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