ELENA FERRANTE UNMASKED

Why I am not upset that Elena Ferrante has come out of the closet, or to be more precise forced out? Is it because I don’t think the smell of mothball is invigorating for a writer, or maybe it’s because any mystery needs a revelation? Ferrante had become so entangled with her literary persona that in my imagination she was just that: a virtual writer who didn’t need to be real. In a world where virtual reality is as real as it gets and personalities become famous by inventing a captivating personas who needs real people?

Ferrante was just that: distant, mysterious, unreal. Adoring fans could mould her into their own image: almost a religious experience. So, are you a stressed out, overworked woman? You could be her walking down the shopping mall with two heavy bags of grocery, and she could be just like you. Are you a desk-ridden translator with literary aspirations who spends all God-given hours of the day and night on a laptop: you could be her; it could be you. Oops! In this case it is you, I mean her.

The big news came out three weeks ago on the American and English press −a proof of how popular Ferrante is in English speaking countries− like a storm in a teacup. Her real name is Anita Raja, she works as a translator and is married to a writer.

But does it really matter who she is and why? I think it does for two reasons:

1)   Ferrante’s fame was partly built on the ‘anonymity’ and the aura of mystery that gave her instant credibility and reverence. Why? I don’t know, but the power of the unknown attracts people in their millions (i.e.: holy books don’t have an author and look how many copies they have been selling!)

2)   As an anonymous writer she was unreachable and untouchable but it left a lot to the imagination. Once the fairy-tale story collapses with all its fantasies will she still have the same following or will fans feel betrayed?

Personally I’m pleased to know that she is not a popolana from Naples, like many believed, not because a popolana couldn’t write good literature but because the romantic idea that someone who is not enmeshed in the literary world could become famous is so unlikely that I am glad a reality check has proved me right.

When we talk about Elena Ferrante we must always bear in mind the writer and the fictional character because she embodied both. And isn’t every writers dream to become a character in your own stories and disappear in your own plots?

Ferrante succeeded in doing that and whatever her motivation to remain anonymous might have been it shouldn’t detract anything to her ability to be a good writer. In becoming real she accepts the responsibilities that come with fame.

The argument is that she should be able to choose visibility and it shouldn’t be forced on her. Maybe, but unfortunately this is no longer the case: the rat is out of the bag and whatever Elena Ferrante decides she will have to face the music and dance.