《Those Who Leave and Those Who Stay》是一本由Elena Ferrante著作，Europa Editions出版的Paperback图书，本书定价：GBP 11.99，页数：400，特精心从网络上整理的一些读者的读后感，希望对大家能有帮助。
《Those Who Leave and Those Who Stay》精选点评：
●nino这个形象怕是翻不了身了（看第四部能不能打脸
●[Neapolitan novels no.3] R4 只有我觉得Lila婊么，见不得Lena好//分不清那些男人都是谁了已经。追肥皂剧一样往下追。
●I was moved by the energy and power of Lina as a female main character struggling in that feudal community. However, the plain language bored me, as if the author was trying so hard to make the story dramatic and intriguing. Or maybe I'm just not interested in this kind of female power related story
●aaammmaaazzziiiiingggg
●2018.12.18-2018.12.28
●怎么第三本这么无聊了……想看Lila呀 不想看Lenu卖书 | 好吧 Lenu的无聊生活原来都是铺垫，丫要干一票大的
●简言之就是在玩坏自己的必然道路上这对那不勒斯姐妹花的无穷偶然性。太好看了，一部接一部完全没泄，一个（不知道经历了什么的）永动机般的可怕作者
●高年级有个优秀的学长→nino，人群中传来一个响亮从容的声音→nino，老婆你猜我带谁来家做客了→nino，(ㅍ_ㅍ) of fucking course.
●shameless, yet candid and powerful. Elena变得越来越复杂痛苦了 以及作者真的太会操纵读者的情感
●事无巨细的心理描写+女性作家的新鲜视角。奇妙的是，它既不是乡村的，也不是城市的，很难对故事环境进行一个归类。“聪明”在书里被上升到了一个几乎绝对的高度，除了中国外，在很多其他国家似乎都会被认为是个nerd。
《Those Who Leave and Those Who Stay》读后感(一)：Those who leave and those who stay
Elena离开了，现在的她拥有高学历的背景、身为大学教授的丈夫、装饰典雅的高级公寓、一本国内外知名的畅销书。Lila在经历过失败婚姻的折磨、逃离、加工厂繁重工作的压榨等等最终又回到了那不勒斯，故事过半，感觉Lila 终究逃不出这里。但人生往往就是这么奇妙，它并不介怀你身处何地、也不在乎你学历如何，它要的是你的心。Elena 看似注定摆脱了原生家庭，但实际上每天面对的就是毫无共同话题的丈夫、完全束手无策的孩子、以及自己渺茫的梦想，不知何去何从，想改变，但改什么、改成什么呢，不知道，所以多洛伦萨如何，那不勒斯又如何，日复一日，终究是自己讨厌的原生家庭生活的重复。至于Lila，这个谜一样的女子，她想干什么，不知道。说要离开stefono的是她，在ste落魄时资助的也是她；说要远离Michelle的是她，回来拿着高薪为她工作的也是她。她的心那不勒斯永远也猜不透，永远也抓不住。或许对Lila 来说，leave or stay根本就不是一个问题，她想去哪就去哪，没人左右得了。
《Those Who Leave and Those Who Stay》读后感(二)：人都是被情感左右的动物
这本书情感描写得太细腻了。
elena对lila的爱与恨交织缠缠绕：一边鄙夷她的粗鲁，一边渴望她的才能，一边嫉妒她受到的万千喜爱，一边竭尽全力照顾她，一边咒她疾病缠身。
elena对pietro的感情也是：她爱他，为他搬去陌生的地方，为他诞下女儿，为他洗手做羹汤，为他停止工作，她仰慕他的能力；她不爱他，厌他木讷愚钝，厌他从不为她退步，厌他做爱让人干涸。
elena爱了nino一辈子：热烈、激情、崇拜、嫉妒、柔软。因nino所感受到的一系列情绪，是包括丈夫在内没有任何人给过她的。这一部最后终究是在一起了，但对此感情不予评价。虽然非常cliché，但得不到终究显得完美无缺，得到之后总会发现泯然众人，他曾经最大的优点就是遥不可及。
书的可读性挺高的，虽然有很多长句子，但是逗号也运用好的非常灵活，通顺得即使有生词也不用查字典。和电视剧比（就前两部来说），原著的情感刻画细腻得多。情感当中的矛盾，电视剧很难呈现。
即将开始第四本，异常期待这个酝酿已久的禁忌之恋的走向。
《Those Who Leave and Those Who Stay》读后感(三)：开始准备做减法了
这部书里我觉得是情节起伏、或者说是事件发生最多的一部：少年时期和青年时期要不比较懵懂、要不比较敏感，所以显得感情更加繁复一点，但是其实情节没有多少大起大落。但是中年以后，两个人都在交叉路口做了选择，各自有了不同的道路和最后的结果。我觉得感情不再那么敏感，而是更加倾向于叙述了。
插播一个段子：在这部里，外国名字更加不是问题了。不光常驻角色都已经明了了，连常驻的配角都明了了，这样各种各样的关系（各个家庭、谁是谁的父母或者子女）不再需要往回翻了。。。
其中最让我惊讶的说Pietro在婚后的改变。他跟Lenu的相识其实正是因为他的“骑士精神”：虽然他是一个nerd、戴着眼镜的一个书呆子，但就是这么一个百无一用的书生，觉得他有责任去defend her honor。然后在见家长的时候，虽然跟Lenu的出身那么不同，但依然努力地、但却是真心地跟Lenu的家人相处。可是婚后怎么就变成Lenu“丧偶式”地抚养孩子了呢？当然Pietro也会时不时地帮着带带孩子，但是更多感受到的是Lenu因为为孩子和家庭的付出而失去自我的挫败感，并且Pietro也不再跟Lenu交流了。自己在大学有了问题就自己忍着不说，Lenu有了问题更不会去倾听或者关心。
这个转变不光让我觉得惊讶，而且让我觉得完全没有来由、跟之前的人设有点儿不符啊。。。还是说，其实这才是真实的生活？？现实中没有始终如一的人设？到最后没有人是单纯的善良和邪恶，大家都是有人性中的闪光点和人性中的懦弱，大家都是同样的可怜又可恨，只是体现在不同的地方而已。也许到最后，大家的人设都是要崩的，然后崩到最后就没有了、归零了、就重新开始了。
《Those Who Leave and Those Who Stay》读后感(四)：the perfect imperfection
正如前两部：我的天才女友、新名字的故事，那不勒斯四部曲的第三部----那些离去与留下的，书名就引起我们足够的好奇：谁离开？离开谁？读完前两部的读者，必然会被第一部“天才女友”莉拉的个性吸引，留下深刻的印象，因为作者用平实又坦诚语言，对莉拉的观察与刻画。不仅如此，作者写关于嫉妒、害怕、自卑的方式，也近乎坦诚，同时留下空白的想象空间。在将“女友”的“天才”成功刻画出来后，“新名字的故事”也依然重点是莉拉的故事：结婚后成为别人妻子后的新名字。而“我”的故事，一直是平淡的，或者在“阴影下”讲述的。因为那时候，在“我”的生命里，莉拉就是光，“我”想要成为、却无法成为的那个人。
“我们手拉着手，并肩向前走，但对我来说，就像莉拉走在我前面十步一样，她清楚地知道该做什么，该去哪里。我已经习惯于跟着她，我确信她比我强，像在其他方面一样。她知道去的路，来回所需要的时间，还有到海边的路程。我觉得她脑子里已经算计好了，周围的世界永远不会打乱她的计划。”第一部一开始不久的这一画面，简单又深远地为以后的故事做下铺垫。也让读者和故事中的“我”难忘。
那么，第三部的重点，回归到“我”自身的故事，两位女性都成长到30岁左右的阶段。“我”离开----离开那些伴随了我们童年和青春的世界：充斥了暴力、肮脏、废墟、咒骂、索拉拉的世界。“我”也进入了人生的一个崭新阶段：畅销书作家、大学毕业、步入知识分子阶层。。。人生似乎朝着另一片光明奔去。如果这一切都似乎太顺利了，那么接下来的人生到底会发生什么？
读者如果等不及中文译本，可以在亚马逊购买英文译本，不亚于故事本身的好读性，译者的语言同样带给你极好的阅读体验。
尤其是前面三分之二的部分。要说这部小说读下来，体验不好的地方。一个普通读者的主观感受是，男主人公尼诺（两位女性都爱的角色）塑造，至少我并没有像书中众多女性一样，爱上这位主要角色。倒是其他几位男性角色，更让人觉得特色鲜明。我想可能的原因是，爱情果然是盲目的。反而旁观地书写其他男性时，也因为没有那份激情，反而足够清明。
不过这不妨碍对这部作品的喜爱，很感激读到这部著作，作者对于女性、女性与女性、男性与女性的观察与书写，是极其迷人的，而且在你阅读过程中，会触动那些你可能遗忘的那些感知。我相信，作为一名女性，你总会在书中找到共鸣。
《Those Who Leave and Those Who Stay》读后感(五)：進入佳境
#書# 2014《Those Who Leave and Those Who Stay》8/10 作者：Elena Ferrante 出版社：Europa Editions 副標題：Neapolitan Novels, Book Three 譯者：Ann Goldstein 出版時間：2014-9 頁數：400
精簡版：單獨讀書筆記 第三部果然不負所望，角色進入中年期，被社會洪水衝的七零八碎……這套書的社會意義開始顯現。 1. 結構 ==== 1. 結構 經過第一部和第二部的洗禮，讀者未打開第三部之前就已經準備好迎接沒頭沒尾高潮的挑戰，沒想到還是徹徹底底的敗下陣來——作者也知道小打小鬧沒勝算，一上來就是Michele前妻Gigliola暴尸街區，短短幾句話引起讀者無窮的好奇心，四兩撥千斤。同時作者賜予讀者瞇成縫的上帝視角，讓人感歎世事但又不告知細節，讀者恨不得狼吞虎嚥馬上了解來龍去脈，真是王炸般的開頭，輸的心服口服，“I thought of that face in profile on the dirt, of how thin the long hair was, of the whitish patches of skull. How many who had been girls with us were no longer alive, had disappeared from the face of the earth because of illness, because their nervous systems had been unable to endure the sandpaper of torments, because their blood had been spilled.” 時間來到2005，兩人都已經步入中老年，人生之路分開如此之久，姐妹情是否還可以維護？Lenu有心無力，Lila有力無心，怎麼會走到這個地步？但怎麼會不走到這個地步？讀者一邊驗證自己的想法，一邊又不願意接受這個現實，百味雜陳。 Lenu成功離開了街區，離開了那不勒斯，但卻發現這是徒勞無功，自己從來都無法逃離街區；Lila主動回到街區，是因為她看透了離開、留下都是一回事，只有自我消除才是真正的自救。 作者通過姐妹倆的對話順其自然地呼應第一部開篇《Prologue 》裡Lenu氣憤地坐下來記錄兩人一生故事，這場一輩子的“姐妹鬥爭”還沒結束——四部曲長而不散，作者前期結構準備一定下了狠功夫。 另外一個極佳的呼應例子就是第三部中Lila回憶起小學逃學，親口確認她沒有勇氣走出街區，要回去生活——環環相扣，角色形象自由穿越時空對話，娛心悅目的閱讀體驗。 同時 作者也藉著角色進入社會洪流，沒有繼續停留在Naples的表面髒亂，而是借它說出整個意大利的沒落敗壞，直接挑明愚民和政客互為表裡的悲哀，“People died of carelessness, of corruption, of abuse, and yet, in every round of voting, gave their enthusiastic approval to the politicians who made their life unbearable.” 如此精彩的開頭，甚至蓋過了第一部的驚艷，解決了長篇小說中部經常出現的閱讀疲勞問題，為作者豎起大拇指。 2020-01-27未完待續
詳細版：讀書筆記+相關摘錄 第三部果然不負所望，角色進入中年期，被社會洪水衝的七零八碎……這套書的社會意義開始顯現。 1. 結構 ==== 1. 結構 經過第一部和第二部的洗禮，讀者未打開第三部之前就已經準備好迎接沒頭沒尾高潮的挑戰，沒想到還是徹徹底底的敗下陣來——作者也知道小打小鬧沒勝算，一上來就是Michele前妻Gigliola暴尸街區，短短幾句話引起讀者無窮的好奇心，四兩撥千斤，“the body of a woman had been found in a flowerbed next to the church. We hurried to the gardens, and Lila dragged me into the knot of curious bystanders, rudely opening a path. The woman was lying on one side; she was extraordinarily fat, and was wearing an unfashionable dark-green raincoat. Lila recognized her immediately, but I did not: it was our childhood friend Gigliola Spagnuolo, the ex-wife of Michele Solara..”同時作者賜予讀者瞇成縫的上帝視角，讓人感歎世事但又不告知細節，讀者恨不得狼吞虎嚥馬上了解來龍去脈，真是王炸般的開頭，輸的心服口服，“I thought of that face in profile on the dirt, of how thin the long hair was, of the whitish patches of skull. How many who had been girls with us were no longer alive, had disappeared from the face of the earth because of illness, because their nervous systems had been unable to endure the sandpaper of torments, because their blood had been spilled.” 時間來到2005，兩人都已經步入中老年，人生之路分開如此之久，姐妹情是否還可以維護？Lenu有心無力，Lila有力無心，怎麼會走到這個地步？但怎麼會不走到這個地步？讀者一邊驗證自己的想法，一邊又不願意接受這個現實，百味雜陳，“I saw Lila for the last time five years ago, in the winter of 2005. We were walking along the stradone, early in the morning and, as had been true for years now, were unable to feel at ease. I was the only one talking, I remember: she was humming, she greeted people who didn’t respond, the rare times she interrupted me she uttered only exclamations, without any evident relation to what I was saying. Too many bad things, and some terrible, had happened over the years, and to regain our old intimacy we would have had to speak our secret thoughts, but I didn’t have the strength to find the words and she, who perhaps had the strength, didn’t have the desire, didn’t see the use.” “She had changed a great deal. Age had had the better of us both by then, but while I fought a tendency to gain weight she was permanently skin and bones. She had short hair that she cut herself; it was completely white, not by choice but from neglect. Her face was deeply lined, and increasingly recalled her father’s. She laughed nervously, almost a shriek, and spoke too loudly. She was constantly gesturing, giving to each gesture such fierce determination that she seemed to want to slice in half the houses, the street, the passersby, me.” Lenu成功離開了街區，離開了那不勒斯，但卻發現這是徒勞無功，自己從來都無法逃離街區；Lila主動回到街區，是因為她看透了離開、留下都是一回事，只有自我消除才是真正的自救。 “Leave, instead. Get away for good, far from the life we’ve lived since birth. Settle in well-organized lands where everything really is possible. I had fled, in fact. Only to discover, in the decades to come, that I had been wrong, that it was a chain with larger and larger links: the neighborhood was connected to the city, the city to Italy, Italy to Europe, Europe to the whole planet. And this is how I see it today: it’s not the neighborhood that’s sick, it’s not Naples, it’s the entire earth, it’s the universe, or universes. And shrewdness means hiding and hiding from oneself the true state of things.” “I wanted to acknowledge openly that she had understood everything since she was a girl, without ever leaving Naples. But I was almost immediately ashamed, I heard in my words the irritable pessimism of someone who is getting old, a tone I knew she detested. In fact, in a nervous grimace of a smile that showed her old teeth, she said: “Are you playing the know-it-all, the moralizer？ What do you intend to do？ You want to write about us？ You want to write about me？” “No.” “Tell the truth.” “It would be too complicated.” “You’ve thought about it, though, you’re thinking about it.” “A little, yes.” “Let me be, Lenù. Let us all be. We ought to disappear, we deserve nothing, neither Gigliola nor me, no one.” 作者通過姐妹倆的對話順其自然地呼應第一部開篇《Prologue》裡Lenu氣憤地坐下來記錄兩人一生故事，這場一輩子的“姐妹鬥爭”還沒結束——四部曲長而不散，作者前期結構準備一定下了狠功夫。 “She had an ugly expression of discontent, and she scrutinized me, her pupils hardly visible, her lips half parted. “All right,” she said, “write, if you want, write about Gigliola, about whoever you want. But about me no, don’t you dare, promise.” “I won’t write about anyone, not even you.” “Careful, I’ve got my eye on you.” “Yes？” “I’ll come look in your computer, I’ll read your files, I’ll erase them.” “Come on.” “You think I’m not capable of it？” “I know you’re capable. But I can protect myself.” She laughed in her old mean way. “Not from me.” “I have never forgotten those three words; it was the last thing she said to me: Not from me. For weeks now I’ve been writing at a good pace, without wasting time rereading. If Lila is still alive—I imagine as I sip my coffee and look out at the Po, bumping against the piers of the Principessa Isabella bridge—she won’t be able to resist, she’ll come and poke around in my computer, she’ll read, and, cantankerous old woman that she is, she’ll get angry at my disobedience, she’ll want to interfere, correct, add, she’ll forget her craving to disappear.” 另外一個極佳的呼應例子就是第三部中Lila回憶起小學逃學，親口確認她沒有勇氣走出街區，要回去生活——環環相扣，角色形象自由穿越時空對話，娛心悅目的閱讀體驗。 “she wanted to go back to the neighborhood. “To the neighborhood？” “Yes.” “You’re crazy.” “As soon as I feel better I’ll do it.” I rebuked her, I told her it was a thought induced by the fever, that the neighborhood would exhaust her, that to set foot there was stupid. “I can’t wait to leave,” I exclaimed. “You’re strong,” she answered, to my astonishment. “I have never been. The better and truer you feel, the farther away you go. If I merely pass through the tunnel of the stradone, I’m scared. Remember when we tried to get to the sea but it started raining？ Which of us wanted to keep going and which of us made an about-face, you or me？” “I don’t remember. But, anyway, don’t go back to the neighborhood.” 同時 作者也藉著角色進入社會洪流，沒有繼續停留在Naples的表面髒亂，而是借它說出整個意大利的沒落敗壞，直接挑明愚民和政客互為表裡的悲哀，“People died of carelessness, of corruption, of abuse, and yet, in every round of voting, gave their enthusiastic approval to the politicians who made their life unbearable.” “At the top, I thought, live the angels, and surely they delight in the whole city. To climb up there, to ascend—how I would have liked that. It was our skyscraper, even if it was outside the neighborhood, a thing that we saw growing day by day. But the work had stopped. When I came back from Pisa, the station skyscraper no longer seemed the symbol of a community that was reviving but, rather, another nest of inefficiency.” “In that season of rains, the city had cracked yet again, an entire building had buckled onto one side, like a person who, sitting in an old chair, leans on the worm-eaten arm and it gives way. Dead, wounded. And shouts, blows, cherry bombs. The city seemed to harbor in its guts a fury that couldn’t get out and therefore eroded it from the inside, or erupted in pustules on the surface, swollen with venom against everyone,” 如此精彩的開頭，甚至蓋過了第一部的驚艷，解決了長篇小說中部經常出現的閱讀疲勞問題，為作者豎起大拇指。 ==== 2020-01-27未完待續
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