The Lost Daughter is a novel published by writer Elena Ferrante in 2006, in Italian (original title: La Figlia Oscura) , and translated to English by Ann Goldstein in 2008.
22-525: The Lost Daughter may refer to: Books [ edit ] The Lost Daughter (novel) , a 2006 novel by Elena Ferrante The Lost Daughter , a 1999 novel by Joanna Hines The Lost Daughter , a 2011 novel by Lucretia Grindle The Lost Daughter , a 2017 novel by David Ashton The Lost Daughter and Other Stories of the Heart , an 1857 short story collection by Caroline Lee Hentz The Lost Daughter ,
44-472: A hat to the head, usually by the hair. In Western culture , hatpins are almost solely used by women and are often worn in a pair. They are typically around 6–8 inches (15–20 cm) in length, with the pinhead being the most decorated part. The hatpin was invented to hold wimples and veils in place, and was handmade. In Britain , demand eventually outgrew the number that could be supplied by hand-making, and they began to be imported from France . In 1832
66-561: A 1997 episode of the German TV series Alarm für Cobra 11 – Die Autobahnpolizei "The Lost Daughter", a 2018 episode of the Philippine television drama Onanay Palace 3: The Lost Daughter , a 2014 Chinese television series Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title The Lost Daughter . If an internal link led you here, you may wish to change
88-514: A 2013 memoir by Mary Williams Film and television [ edit ] Film [ edit ] The Lost Daughter (film) , a 2021 film based on Elena Ferrante's novel The Lost Daughter , a 1997 TV film directed by Roger Cardinal TV [ edit ] Into the Fire: The Lost Daughter , a 2024 true crime two-part miniseries directed by Ryan White, about the murder of Aundria Bowman "The Lost Daughter",
110-530: A machine was invented in America which could mass-produce the pins, and they became much more affordable. During the 1880s, bonnets gave way to hats, and the popularity of hatpins soared. They remained a standard women's accessory through the 1910s and were produced in a vast range of materials and types. Hatpin holder boxes were also produced. Hatpins were sometimes used by women to defend themselves against assault. Ordinances were passed from 1910 that limited
132-568: A novelist: she navigates the emotional minefields and unsparingly tallies the cycle of psychological damage among multiple generations of women in Leda's family in straightforward, almost curt language". The doll stolen by Leda gains great dramatic importance, as critics have pointed out: "The doll is an emotional Rosetta stone, unleashing a flood of memories from Leda's own unhappy childhood, including her mother's endless threats to leave and her unhappy adulthood". Several critics have also pointed out
154-473: A sea view, the woman goes to the beach and begins her vacation. Already on the first day she notices a young mother with her little daughter and the two impress Leda not only because they are decidedly more refined than the rest of their rough family, but also because she sees in them echoes of her own past. As the days go by, Leda continues to observe the Neapolitan family, learns its dynamics and discovers
176-413: A secret rendez-vous with Nina, and she instructs him to tell Nina to ask her directly. Nina gets in touch with Leda, who invites her to her house. Leda tries to urge her to go back to studying, to leave her husband and do like her, but for Nina, Leda's behavior is clearly that of an unnatural mother. However, Leda agrees to leave her the keys to the apartment and also returns her toy. Nina reacts violently to
198-483: Is desperately looking for Elena and the teacher recalls a similar episode from her youth, when she had lost her daughter on the beach. Moved with compassion, Leda goes in search of Elena and ends up finding her and bringing her back to her family. She also finds the girl's doll and, without knowing why, hides it in her bag and takes it away with her. Leda is determined to return the doll the next day, but bad weather forces her to postpone her plans and postpone her return to
220-570: The Golden Osella Award for Best Screenplay. It had a limited theatrical release in the United States on December 17, 2021, prior to streaming on Netflix on December 31. The film was acclaimed by critics, and at the 94th Academy Awards received three nominations: Best Actress (Colman), Best Supporting Actress (Buckley), and Best Adapted Screenplay. Hatpin A hatpin is a decorative and functional pin for holding
242-561: The Norwegian newspaper Morgenbladet reported that police in Kristiania advised that passengers with uncovered hatpins be told to leave the trams. No law however had been passed against boarding a tram with uncovered hatpins. The tram staff had also stopped selling hatpin covers on board the trams, as regulations on the subject appeared so confusing that the staff preferred not to interfere. Hatpins are collectible items, and there
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#1732793108352264-541: The adaptation in her column in The Guardian , saying that the story was "now hers [Gyllenhaal's] to tell". The column was later published in her non-fiction book, Incidental Inventions . Gylenhaal wrote and directed the film adaptation, which starred Olivia Colman , Jessie Buckley , Dakota Johnson , Peter Sarsgaard , Ed Harris and Paul Mescal . The Lost Daughter premiered at the 78th Venice International Film Festival on September 3, 2021, where Gyllenhaal won
286-563: The beach. While she walks around the town, the woman goes to a toy store to buy some clothes for the doll; here she meets Nina, Elena and Rosaria (the young mother's sister-in-law), who thank her for having found her baby the day before her and tell her that the little girl has been hysterical since she can no longer find the doll. Leda does not confess that she has her doll and while she talks about motherhood with Nina and Rosaria she admits to her own surprise that she abandoned her daughters for three years in infancy. Rosaria and Nina are disturbed by
308-480: The discovery that Leda has kept the doll all this time despite knowing how much Elena suffered without her, insults her and pricks her with a hatpin that Leda herself had given her. Left alone, Leda packs her bags and decides to go back to Florence, but before leaving the house she receives a phone call from her daughters. The book was well received by the critics. A main theme pointed out is that of what Leda calls "unnatural mothers", meaning on how she breaks "some of
330-584: The film of the same name , in Maggie Gyllenhaal 's directorial debut, starring Olivia Colman , Jessie Buckley and Dakota Johnson . Leda is an English literature professor who decides to spend the summer holidays alone on the Ionian coast. Her twenty-year-old daughters, Bianca and Marta, are in Canada with her ex-husband Gianni, so Leda is free to spend time alone. After renting a small penthouse with
352-472: The length of hatpins in Chicago (9 inches), Milwaukee, Pittsburgh, Baltimore, New Orleans, among other cities, as there was a concern they might be used as weapons. Also by the 1910s, ordinances were passed requiring hatpin tips to be covered so as not to injure people accidentally. Various covers were made, but poorer women often had to make do with ersatz items like potato pieces and cork. In January 1918,
374-419: The link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=The_Lost_Daughter&oldid=1245632636 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages The Lost Daughter (novel) The novel was adapted to cinema in
396-432: The names of the young mother and the child: Nina and Elena. Leda's fascination for the couple pushes her to discover more and more about them, also thanks to the young lifeguard Gino. Over the weekend, the family expands with the arrival of other relatives, including Nina's husband, an older and less refined man for whom Leda feels an instant repulsion. While she rages into the joyful noise of the beach, Leda realizes that Nina
418-425: The news and hastily leave. Determined to return the doll, Leda calls the number on a flyer posted by Elena's family to find the toy and it is Nina who answers, whom the protagonist surprises in an intimate moment with Gino. In the following days, in which she still does not return the doll, Leda ends up understanding that her fascination for Nina arises above all from her recognizing herself in her. Like Nina, Leda too
440-408: The sacred taboos of motherhood by putting her needs and ambitions before those of her daughters". Both the novel and the film adaptation manage to show the relation between a mother and a small child as symbiotic, but suffocating. By showing a talented young woman's despair at being closed at home, the novel allows us to rethink motherhood. According to critics: "This is Ferrante's devastating power as
462-408: The similarity in themes with the most famous Neapolitan Novels , as a story between two women, one of which is an academic who leaves her daughters for a while, and the other is a young mother married to what others call "a bad man". In 2018, Maggie Gyllenhaal acquired the rights to adapt Elena Ferrante's novel. In the same year, while the movie was still being produced, Elena Ferrante wrote about
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#1732793108352484-420: Was a young and talented mother trapped in a claustrophobic and unnerving situation, from which she had then escaped when her daughters were still small to devote herself to an academic career and a relationship with an esteemed English professor. She had returned to her daughters only three years later and since then she had painstakingly rebuilt a relationship with them. Gino asks Leda if he can use her house for
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