My Brilliant Friend Recap: All About My Mother

As a reader immersed in this heart-wrenching tale, I find myself deeply moved by Lenù’s resilience and fortitude in the face of adversity. Her life story is a testament to human spirit and the capacity to endure even the most unbearable hardships. The way she navigates through her relationships, both toxic and nurturing, showcases her ability to adapt and grow, learning valuable lessons from each encounter.

In Elena Ferrante’s Neapolitan Quartet, motherhood stands as a significant and complex motif. It’s not always simple, loving, or antagonistic; rather, it often remains unresolved, mirroring the experiences of many women who strive for a life beyond the boundaries of motherhood. As a reader, I see Lenù’s ambivalence towards her children as a testament to her humanity, not as a sign of coldness or neglect. She loves them deeply, but she also questions their place in her life – a sentiment that society may deem inappropriate for mothers. It’s crucial to remember, just like Lenù herself might remind us, that mothers are individuals with all the complexities and imperfections that come with being human. They make mistakes, as we all do.

Even though it’s crucial to acknowledge your own limitations and confront them honestly, it’s a whole different story to face them with your own mother. Lenù’s bond with Immacolata was always strained; and once Immacolata flatly stated that Lenù was no longer her daughter, there was no connection whatsoever. When Lenù returns to the neighborhood with Dede and Elsa at the start of “Compromises,” it’s been since their argument in Florence and over a year since she last spoke to her mother, let alone Lila. The possibility of rebuilding their relationship with her mother is one of the attractions of the neighborhood, while being near Lila is another.

In Lenù’s recollection, her childhood home seems shrouded and ominous upon her return, possibly due to the presence of Dede and Elsa, as it evokes the ominous, antiquated grayness of her past with Lila. Lenù observes a couple of girls playing near where she and Lila had tragically lost a doll in their youth, causing her concern for her daughters’ safety. Simultaneously, Immacolata appears much older, appearing sick, distant, and unresponsive, convinced that Lenù is responsible for the deterioration of her marriage. Reluctantly, Immacolata informs Lenù about events that transpired in her absence: With Enzo’s assistance, Lila has almost overthrown the Solaras as the neighborhood’s dominant family, and though she remains unmarried to Marcello, Elisa is now expecting a child. Lenù ponders whether such a situation is acceptable while questioning the validity of her own divorce, yet she overlooks the striking contrast: Since their childhood, Lenù has strived to avoid resembling her mother, oblivious to the fact that Immacolata desired her daughter to escape the same fate as well.

Concerned about Immacolata’s deteriorating health, Lenù often visits her. During one such visit, Lenù encounters Lila leaving Immacolata’s apartment. Initially, it appears they might have a pleasant interaction, but Lila soon slips into her characteristic mannerisms, pulling out sarcastic remarks from her fashionable bag. She dismisses the view of the ocean from Lenù’s apartment on Via Petrarca as merely “mud, filth, urine, polluted water.” Without fully understanding Lenù’s current situation, Lila labels it a “theater.” She then demands that Lenù buy a house, before descending the stairs. This bossy tone reminds Lenù of their childhood; it seems Lila was trying to use the same assertiveness to persuade Immacolata to seek medical help, but the old woman remains stubborn. Instead, Immacolata compliments Lila’s intelligence and shrewdness, praising her ability to control the powerful Solaras family. This is a painful reminder for Lenù: Immacolata admires Lila more than she does Lenù herself.

It’s comforting to know that even amidst the chaos, Lenù maintains a life of her own, rich and fulfilling – after dinner, she dances with her daughters in front of the TV to a catchy tune. Yet, Nino returns late and shows no appetite, despite Lenù waiting for him to share a meal. In an attempt to make amends, he shares some “exciting news” with everyone: His job requires him to travel to New York City! It’s somewhat heartless that he gathers the girls to announce this because when they naturally ask if the whole family is going, he must disappoint them; only Lenù will be able to accompany him. In front of her children, Lenù firmly states: She cannot go. There’s no one to look after the girls while she’s away.

Nino tucks the girls into bed and jots down their wish lists from America. Meanwhile, Lenù, in a very authentic moment this season, eats pasta directly from the pot in the kitchen and broods. It seems that 70% of her initial reluctance towards Nino was due to his inconsistency, while the remaining 30% might have been hunger. However, when he returns, she tells him that a small house in Boston has published her book, and it would be wonderful to attend the launch events there. But finding someone to look after the girls is tricky: Pietro is too occupied at work, Immacolata is ill, Lenù can’t ask Adele for help, and she hasn’t heard from Mariarosa in a while. Nino proposes Lila as an option. Although it means relying on Lila again, Lenù knows that Lila would take good care of the girls. The idea initially seems impossible, but once it’s suggested, it feels unavoidable.

When Lenù phones Lila at home, she finds Lila fresh from work and Enzo is busy setting the table and cooking dinner in the background. This seemingly ordinary scene carries a deeper meaning, reflecting the contrasting roles in each woman’s domestic life despite their public stances as feminists: Enzo takes on household chores while Nino dines with his wife and leaves his mistress waiting. Lenù tactfully avoids direct confrontation but ultimately asks Lila to look after her daughters while she travels to the United States. Lila responds passionately, stating, “Your girls are more important to me than my own child.” This emotional exchange and the subsequent merging of the two women in a “Summer Nights” fashion hint at a dynamic that mirrors Lenù’s summer with Gennarino, a brief respite before Nino entered her life.

Lenù sports a new haircut for her journey, a clear indication she’s experiencing a significant transformation. Yet, I appreciate how the style softens her features instead of adding severity. Through narration, we discover that Lenù is expecting – another clue pointing to her life broadening. She chooses to conceal her pregnancy during their stay in America, finding solace in the mystery. Upon their return to Naples, Lenù and Nino reappear with renewed teenage vigor. From her apartment window, Lila observes them, exchanging fleeting, nerve-wracking glances with Nino who remains below, unresponsive.

For the first time in ages, Lila and Lenù seem happy to see each other. They fawn over their new hairstyles and clothes, and Lenù has brought back presents for everyone, including rock records for Dede, earrings for Lila, and a sick leather jacket for Gennaroino. The kids go play with their new stuff and Enzo makes lunch, giving Lila and Lenù time to catch up. Enzo casts a knowing look toward Lila, who can’t wait to share her big news: She is pregnant. Without hesitation, Lenù tells Lila that she is pregnant, too, and the two friends hold each other, dumbstruck at the happy coincidence.

Lila doesn’t waste time being straightforward. She believes that Lenù’s pregnancy will serve as a test: If Nino refuses to take responsibility for the child, it will show that he values his “true” family more than he does Lenù. Furthermore, Lenù needs to inform her daughters about the situation. Before she even has a chance to consider how to do it, Lila has already summoned them and announced that she herself is pregnant. “Would you like a little brother or sister?” Lila inquires of Elsa, who would be thrilled to have a younger sibling. She then addresses Dede, who quickly catches on. “Are you expecting a baby?” Dede asks her mother. Lenù confirms the news, and Elsa erupts with joy, hugging her mother’s belly; Dede reacts as usual with quiet acceptance and subtle hints. It’s unclear how she feels about the news until she proposes naming the child if it is a girl. Lenù laughs in relief.

That evening, as Lenù assists her daughters with their bedtime routine, Dede confides in her mother about the lessons she’s gathered from staying with her trendy Aunt Lila. Firstly, they should be referred to as Dede and Elsa Greco instead of Airota, since it was Greco who bore them – a stark contrast to Guido Airota’s flawed views on tradition. Lenù playfully teases Dede about her affection for Lila, yet she cannot help but admire her friend’s wit: In just a few days, Lila had managed to make Dede and Elsa believe not only was their life tolerable, but even intriguing – a description Lenù had always aspired to apply to herself. It appears the same ambition may be showing in Dede now.

In a familiar and effortless manner: Every night, Nino returns home late, often fibbing about his whereabouts, while Lenù reads in bed. Currently engrossed in Pietro’s latest novel, she finds an inscription on the first page: “To Elena, who taught me love through suffering.” Jealous of Lenù’s relatively strong bond with the father of her children, Nino. Lenù suddenly announces that she’s pregnant. It’s hard to tell what this man intends to do next, whether he will keep lying without remorse or even find joy in his deceit. Add another child to the mix and pretend that he doesn’t have a second family? Uncertainly, Lenù ponders these same questions. She wonders if Nino will inform Eleonora about her pregnancy; Nino retorts that it’s none of her concern. Forgotten in the heat of the moment, she doubts his promise to give the child his name. She ponders the conditions of their agreement, which Nino claims is essential. Essential for whom?

After spending some time outside, Lenù encounters Nino with Eleonora and their two children. Initially, they don’t notice Lenù, but she doesn’t stay quiet about it. With a shaky voice, she addresses Nino and hints at needing new clothes by pointing to a store window. Eleonora demands they leave, threatening to harm Lenù, and Nino shakes his head at her. It’s hard to understand how someone can endure such treatment, and neither does Lenù. Later on, Nino appeals to Lenù: Eleonora asked him to take the kids to the pediatrician, what was he supposed to do? I won’t bore you with the specifics of his explanation since by now we’re all familiar with his endless list of self-justifications. As if by magic, he dismisses everything by inviting Lenù to join him for a family meal at his parents’ house.

In a different phrasing, here’s how the text could be rewritten: Nino’s family accepts the falsehood that Lenù is his wife and shows affection towards the child she carries. Nino’s father Donato, who had sexually abused Lenù as a teenager during their vacation on Ischia, acts loving towards her. Despite having violated her body when she was young and leering at her in adulthood while she carried his grandchild, Donato continues to exaggerate the influence he had on Lenù’s intellectual growth. He claims that without his support and encouragement, Lenù wouldn’t be the writer she is today. Even though Lenù keeps a stern expression, she reflects on her journey from being under Donato’s control as an impressionable girl on Ischia. Nino urges Lenù to return home, saying he’s tired of all the people around him. Before they leave, Nino spends some time with his father on the couch, and Lenù ponders the similarities between them. What exactly sets them apart?

Lenú visits Elisa’s home to assist with the newborn. Elisa appears tired and frightened, and Lenù tries her best to guide her younger sister through the challenges of motherhood. However, Marcello shows no help, instead saying, “Elisa should learn to do everything herself.” After lunch at the Sarratores’, Lenù has been holding back from physically confronting such men. Elisa looks awkward in response. While changing the baby, news about an explosion in Bologna is broadcast on TV, catching Lenù’s attention. However, her focus shifts when the phone rings – it’s Peppe; Immacolata needs an ambulance.

Upon returning to their apartment, Lenù finds Immacolata lying on the floor with the family gathered around her. She begs not to go to the hospital, but Lenù insists they go regardless. In the waiting room, Immacolata confides in Lenù that she considers her as her “one genuine daughter,” the only one she’s ever truly concerned about. Lenù vows to make her happy and proud, yet Immacolata is filled with self-reproach: She feels she’s deserted her other children by giving them away willingly to the corrupt Marcello Solara. Only Lila can intervene now: Immacolata asks Lenù to plead with her to rescue Peppe and Gianni from the Solaras’ control. As a nurse calls them, Lenù assists her mother in putting on her shoes, and they share an uncommon hug.

The doctor informs them that Immacolata appears to have cancer, though the details are still unclear and seem grim. Lenù and her mother ride home in silence, with the setting sun casting an orange and brilliant glow in their eyes. Immacolata recalls an instance from her childhood when she was struck by what she calls the angel of death, referring to a near-death experience involving her leg. However, she defied it then, and she intends to do so again: “When you can withstand pain, the angel of death acknowledges your strength. Eventually, he retreats.” Lenù weeps softly. Immacolata’s stubbornness, which is often challenging, now seems touching – in fact, it’s their only hope.

2024-09-24 06:54

My Brilliant Friend Recap: All About My Mother

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