Those Who Leave and Those Who Stay

by Elena Ferrante

  I said:

  “I am not leaving you, you are the most important thing I have, I couldn’t live without you. I only have problems with your father.”

  “What?” he pressed me. “Explain what those problems are.”

  I sighed, I said softly:

  “I love someone else and I wish to live with him.”

  Elsa glanced at Dede to understand how she should react to that news, and since Dede remained impassive, she, too, remained impassive. But my husband lost his composure, he shouted:

  “The name, say what this other person is called. You don’t want to? Are you ashamed? I’ll say it: you know that other person, it’s Nino, you remember him? Your mother wants to go and live with him.”

  Then he began to cry desperately, while Elsa, alarmed, whispered: Will you take me with you, Mamma? But she didn’t wait for my response. When her sister got up and almost ran out of the room, she immediately followed her.

  That night Dede cried out in her sleep, I woke with a jolt, hurried to her. She was sleeping, but she had wet her bed. I had to wake her, change her, change the sheets. When I put her back to bed, she whispered that she wanted to come to mine. I agreed, I held her next to me. Every so often she started in her sleep, and made certain I was there.

  121.

  Now the date of the departure was approaching, but things with Pietro didn’t improve, any agreement, even just for that trip to Montpellier, seemed impossible. If you go, he said, I’ll never let you see the children again. Or: If you take the children I’ll kill myself. Or: I’ll report you for abandonment of the conjugal home. Or: let’s the four of us go on a trip, let’s go to Vienna. Or: Children, your mother prefers Signor Nino Sarratore to you.

  I began to weaken. I recalled the resistance that Antonio had put up when I left him. But Antonio was a boy, he had inherited Melina’s unstable mind, and he had not had an upbringing like Pietro’s: he hadn’t been trained since childhood to distinguish rules in chaos. Maybe, I thought, I’ve given too much weight to the cultivated use of reason, to good reading, to well controlled language, to political affiliation; maybe, in the face of abandonment, we are all the same; maybe not even a very orderly mind can endure the discovery of not being loved. My husband—there was nothing to be done—was convinced that he had to protect me at all costs from the poisonous bite of my desires, and so, to remain my husband, he was ready to resort to any means, even the most abject. He who had wanted a civil marriage, he who had always been in favor of divorce, demanded because of an uncontrolled internal movement that our bond should endure eternally, as if we had been married before God. And since I insisted on wanting to put an end to our relationship, first he tried all the paths of persuasion, then he broke things, he slapped himself, suddenly he began to sing.

  When he overdid it like that he made me angry. I insulted him. And he, as usual, changed suddenly, like a frightened beast, sat beside me, apologized, said he wasn’t upset with me, it was his mind that wasn’t functioning. Adele—he revealed one night amid tears—had always betrayed his father, it was a discovery he had made as a child. At six he had seen her kiss an enormous man, dressed in blue, in the big living room in Genoa that looked out on the sea. He remembered all the details: the man had a large mustache that was like a dark blade; his pants showed a bright stain that seemed like a hundred-lire coin; his mother, against that man, seemed a bow so tensed that it was in danger of breaking. I listened in silence, I tried to console him: Be calm, those are false memories, you know it, I don’t have to tell you. But he insisted: Adele wore a pink sundress, one strap had slid off her tan shoulder; her long nails seemed like glass; she had a black braid that hung down her back like a snake. He said, finally, moving from suffering to anger: Do you understand what you’ve done to me, do you understand the horror you’ve plunged me into? And I thought: Dede, too, will remember, Dede, too, will cry out something similar, as an adult. But then I pulled away, I convinced myself that Pietro was telling me about his mother only now, after so many years, deliberately to lead me to that thought and wound me and hold me back.

  I kept going, exhausted, day and night; I no longer slept. If my husband tormented me, Nino in his way did no less. When he heard me worn out by tension and worries, instead of consoling me he became irritable, he said: You think it’s easier for me, but it’s an inferno here, just as much as for you, I’m afraid for Eleonora, I’m afraid for what she could do, so don’t think that I’m not in as much trouble as you, maybe even worse. And he exclaimed: But you and I together are stronger than anyone else, our union is an inevitable necessity, is that clear, tell me, I want to hear it, is it clear. It was clear to me. But those words weren’t much help. I drew all my strength, rather, from imagining the moment when I would finally see him again and we would fly to France. I had to hold out until then, I said to myself, afterward we’ll see. For now I aspired only to a suspension of the torture, I couldn’t stand it anymore. I said to Pietro, at the end of a violent quarrel in front of Dede and Elsa:

  “That’s enough. I’m leaving for five days, just five days, then I’ll return and we’ll see what to do. All right?”

  He turned to the children:

  “Your mother says she will be absent for five days, but do you believe it?”

  Dede shook her head no, and so did Elsa.

  “They don’t believe you, either,” Pietro said then. “We all know that you will leave us and never return.”

  And meanwhile, as if by an agreed-on signal, both Dede and Elsa hurled themselves at me, throwing their arms around my legs, begging me not to leave, to stay with them. I couldn’t bear it. I knelt down, I held them around the waist, I said: All right, I won’t go, you are my children, I’ll stay with you. Those words calmed them, slowly Pietro, too, calmed down. I went to my room.

  Oh God, how out of order everything was: they, I, the world around us: a truce was possible only by telling lies. It was only a couple of days until the departure. I wrote first a long letter to Pietro, then a short one to Dede with instructions to read it to Elsa. I packed a suitcase, I put it in the guest room, under the bed. I bought all sorts of things, I loaded the refrigerator. I prepared for lunch and dinner the dishes that Pietro loved, and he ate gratefully. The children, relieved, began again to fight about everything.

  122.

  Nino, meanwhile, now that the day of departure was approaching, had stopped calling. I tried to call him, hoping that Eleonora wouldn’t answer. The maid answered and at the moment I felt relieved, I asked for Professor Sarratore. The answer was sharp and hostile: I’ll give you the signora. I hung up, I waited. I hoped that the telephone call would become an occasion for a fight between husband and wife and Nino would find out that I was looking for him. Minutes later the phone rang. I rushed to answer, I was sure it was him. Instead it was Lila.

  We hadn’t talked for a long time and I didn’t feel like talking to her. Her voice annoyed me. In that phase even just her name, as soon as it passed through my mind, serpentlike, confused me, sapped my strength. And then it wasn’t a good moment to talk: if Nino had telephoned he would find the line busy and communication was already very difficult.

  “Can I call you back?” I asked.

  “Are you busy?”

  “A little.”

  She ignored my request. As usual it seemed to her that she could enter and leave my life without any worries, as if we were still a single thing and there was no need to ask how are you, how are things, am I disturbing you. She said in a weary tone that she had just heard some terrible news: the mother of the Solaras had been murdered. She spoke slowly, attentive to every word, and I listened without interrupting. And the words drew behind them, as if in a procession, the loan shark all dressed up, sitting at the newlyweds’ table at Lila and Stefano’s wedding, the haunted woman who had opened the door when I was looking for Michele, the shadow woman of our childhood who had stabbed Don Achille, th
e old woman who had a fake flower in her hair and fanned herself with a blue fan as she said, bewildered: I’m hot, aren’t you, too? But I felt no emotion, even when Lila mentioned the rumors that had reached her and she listed them in her efficient way. They had killed Manuela by slitting her throat with a knife; or she had been shot five times with a pistol, four in the chest and once in the neck; or they had beaten and kicked her, dragging her through the apartment; or the killers—she called them that—hadn’t even entered the house, they had shot her as soon as she opened the door, Manuela had fallen face down on the landing and her husband, who was watching television, hadn’t even realized it. What is certain—Lila said—is that the Solaras have gone crazy, they are competing with the police to find the killer, they’ve called people from Naples and outside, all their activities have stopped, I myself today am not working, and it’s frightening here, you can’t even breathe.

  How intensely she was able to give importance and depth to what was happening to her and around her: the murdered loan shark, the children undone, their henchmen ready to spill more blood, and her watchful person amid the surging tide of events. Finally she came to the real reason for her phone call:

  “Tomorrow I’m sending you Gennaro. I know I’m taking advantage, you have your daughters, your things, but here, now, I can’t and don’t want to keep him. He’ll miss a little school, too bad. He’s attached to you, he’s fine with you, you’re the only person I trust.”

  I thought for a few seconds about that last phrase: You’re the only person I trust. I felt like smiling, she still didn’t know that I had become untrustworthy. So that, faced with her request, which took for granted the immobility of my existence amid the most serene reasonableness, which seemed to assign to me the life of a red berry on the leafy branch of butcher’s broom, I had no hesitation, I said to her:

  “I’m about to go, I’m leaving my husband.”

  “I don’t understand.”

  “My marriage is over, Lila. I saw Nino again and we discovered that we have always loved each other, ever since we were young, without realizing it. So I’m leaving, I’m starting a new life.”

  There was a long silence, then she asked me:

  “Are you kidding?”

  “No.”

  It must have seemed impossible to her that I was inserting disorder into my house, my well-organized mind, and now she was pressing me by mechanically grasping at my husband. Pietro, she said, is an extraordinary man, good, extremely intelligent, you’re crazy to leave him, think of the harm you’re doing to your children. She talked, making no mention of Nino, as if that name had stopped in her eardrum without reaching her brain. It must have been I who uttered it again, saying: No, Lila, I can’t live with Pietro anymore because I can’t do without Nino, whatever happens I’ll go with him; and other phrases like that, displayed as if they were badges of honor. Then she began to shout:

  “You’re throwing away everything you are for Nino? You’re ruining your family for him? You know what will happen to you? He’ll use you, he’ll suck your blood, he’ll take away your will to live and abandon you. Why did you study so much? What fucking use has it been for me to imagine that you would enjoy a wonderful life for me, too? I was wrong, you’re a fool.”

  123.

  I put down the receiver as if it were burning hot. She’s jealous, I said to myself, she’s envious, she hates me. Yes, that was the truth. A long procession of seconds passed; the mother of the Solaras didn’t return to my mind, her body marked by death vanished. Instead I wondered anxiously: Why doesn’t Nino call, is it possible that now that I’ve told everything to Lila, he’ll retreat and make me ridiculous? For an instant I saw myself exposed to her in all my possible pettiness as a person who had ruined herself for nothing. Then the telephone rang again. When I grabbed the receiver, I had words on my tongue ready for Lila: Don’t ever concern yourself with me again, you have no right to Nino, let me make my own mistakes. But it wasn’t her. It was Nino and I overwhelmed him with broken phrases, happy to hear him. I told him how things had been arranged with Pietro and the children, I told him that it was impossible to reach an agreement with calm and reason, I told him that I had packed my suitcase and couldn’t wait to hold him. He told me of furious quarrels with his wife, the last hours had been intolerable. He whispered: Even though I’m very frightened, I can’t think of my life without you.

  The next day, while Pietro was at the university, I asked the neighbor if she would keep Dede and Elsa for a few hours. I put on the kitchen table the letters I had written and I left. I thought: Something great is happening that will dissolve the old way of living entirely and I’m part of that dissolution. I joined Nino in Rome, we met in a hotel near the station. Holding him tight, I said to myself: I’ll never get used to that nervous body, it’s a constant surprise, long bones, skin with an exciting smell, a mass, a force, a mobility completely different from what Pietro is, the habits we had.

  The next morning, for the first time in my life, I boarded an airplane. I didn’t know how to fasten my seat belt, Nino helped me. How thrilling it was to squeeze his hand while the sound of the engines grew louder, louder, and louder, and the plane began its takeoff. How exciting it was to lift off from the ground with a jerk and see the houses that became parallelopipeds and the streets that changed into strips and the countryside that was reduced to a green patch, and the sea that inclined like a compact paving stone, and the clouds that fell below in a landslide of soft rocks, and the anguish, the pain, the very happiness that became part of a unique, luminous motion. It seemed to me that flying subjected everything to a process of simplification, and I sighed, I tried to lose myself. Every so often I asked Nino: Are you happy? And he nodded yes, kissed me. At times I had the impression that the floor under my feet—the only surface I could count on—was trembling.

  ABOUT THE AUTHOR

  Elena Ferrante was born in Naples. She is the author of The Days of Abandonment, Troubling Love, and The Lost Daughter. Her Neapolitan novels include My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay, and the as yet untitled fourth volume in the series, to be published in September 2015.

  PRAISE FOR ELENA FERRANTE’S NEAPOLITAN NOVELS

  FROM THE UNITED STATES

  “[Ferrante’s Neapolitan Novels] don’t merely offer a teeming vision of working-class Naples, with its cobblers and professors, communists and mobbed-up businessmen, womanizing poets and downtrodden wives; they present one of modern fiction’s richest portraits of a friendship.”

  —John Powers, Fresh Air, NPR

  “Ferrante’s writing is so unencumbered, so natural, and yet so lovely, brazen, and flush. The constancy of detail and the pacing that zips and skips then slows to a real-time crawl have an almost psychic effect, bringing you deeply into synchronicity with the discomforts and urgency of the characters’ emotions. Ferrante is unlike other writers—not because she’s innovative, but rather because she’s unselfconscious and brutally, diligently honest.”

  — Minna Proctor, Bookforum

  “Ferrante can do a woman’s interior dialogue like no one else, with a ferocity that is shockingly honest, unnervingly blunt.”

  —Booklist

  “Elena Ferrante’s gutsy and compulsively readable new novel, the first of a quartet, is a terrific entry point for Americans unfamiliar with the famously reclusive writer, whose go-for-broke tales of women’s shadow selves—those ambivalent mothers and seething divorcées too complex or unseemly for polite society (and most literary fiction, for that matter)—shimmer with Balzacian human detail and subtle psychological suspense . . . The Neapolitan novels offer one of the more nuanced portraits of feminine friendship in recent memory—from the make-up and break-up quarrels of young girls to the way in which we carefully define ourselves against each other as teens—Ferrante wisely balances her memoir-like emotional authenticity with a wry sociological understanding of a soc
iety on the verge of dramatic change.”

  —Megan O’Grady, Vogue

  “Elena Ferrante will blow you away.”

  —Alice Sebold, writer

  “The Neapolitan novel cycle is an unconditional masterpiece . . . I read all the books in a state of immersion; I was totally enthralled. There was nothing else I wanted to do except follow the lives of Lila and Lenù to the end.”

  —Jhumpa Lahiri, Pulitzer-prize winning author of The Lowland

  “My Brilliant Friend is a sweeping family-centered epic that encompasses issues of loyalty, love, and a transforming Europe. This gorgeous novel should bring a host of new readers to one of Italy’s most acclaimed authors.”

  —The Barnes and Noble Review

  “[Ferrante’s Neapolitan Novels] don’t merely offer a teeming vision of working-class Naples, with its cobblers and professors, communists and mobbed-up businessmen, womanizing poets and downtrodden wives; they present one of modern fiction’s richest portraits of a friendship.”

  —John Powers, Fresh Air, NPR

  “The feverish speculation about the identity of Elena Ferrante betrays an understandable failure of imagination: it seems impossible that right now somewhere someone sits in a room and draws up these books. Palatial and heartbreaking beyond measure, the Neapolitan novels seem less written than they do revealed. One simply surrenders. When the final volume appears—may that day never come!— they’re bound to be acknowledged as one of the most powerful works of art, in any medium, of our age.”

  —Gideon Lewis-Kraus, author of A Sense of Direction