Abstract: Elena Ferrante’s The Days of Abandonment tells the story of Olga and her development of psychosis after her husband leaves her after fifteen years of marriage. In classic Ferrante fashion, the story viscerally embodies Olga's experiences and gives readers access to her perspective—while reading Ferrante’s text, we are Olga. The power and connectivity of Olga’s story seem to rely on the nature of the novel; the first-person narration of literature, paragraphs of swirling stream of consciousness, and the quiet and private act of reading make this intimacy possible. But can we capture this rich internal experience and profound intensity in any other medium outside of literature, specifically, in cinema? Is it possible to translate elements of Ferrante’s words onto the screen? A comparison of Ferrante’s The Days of Abandonment and Roberto Faenza’s subsequent film adaptation, with a close analysis of narration and subtitles, seeks to reveal what we can demand from both literature and film and proposes that perhaps a “both/and,” rather an a combative “either/or,” approach to storytelling would best honor the narratives we cherish.

Author Bio: Margaux Trexler is a junior at New York University studying English and American Literature and Peace and Conflict Studies. She is an experienced author, having published two books, one poem, one short story, and two articles. Margaux’s professional and academic interests revolve around her passion for languages and words and how they can foster compassionate connection and communication in our personal, creative, and professional lives.