I remember my advisor telling me about these speculations when I started working on Ferrante in 2015 we both scoffed at the misogyny that that kind of gossip implied, feeling like we were on the trenches of a mini culture war. Before My Brilliant Friend was even published, there were rumors that Ferrante’s work had been authored by a man, and they intensified after the success of the Neapolitan Novels in the United States. If you haven’t experienced firsthand how sexist Italian academics and journalists can be, it might be difficult to imagine how important Ferrante’s gender has been for all of us studying her work over the years. There was one conclusion that mattered in Gatti’s article: the person writing Ferrante’s novels was the translator Anita Raja, a woman. It was unfair, it was irrelevant, we didn’t want to know.ĭidn’t we? Yes and no. He had pried into the author’s privacy, violated her right to remain anonymous.
When Claudio Gatti published an investigation into Elena Ferrante’s identity, a few years ago, he raised an outcry both in Italy and abroad.
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