Translated from the Italian by Marina Harss, Two Friends is a collection of three posthumously discovered Moravia novellas. You can read a sample here.
And here’s part of Acacia’s review. (If you’re not familiar with Acacia, she’s working on her MA in literary translation here at the University of Rochester with a focus on contemporary Italian literature.)
Moravia is a huge figure in Italian literature and culture: he began his career as a journalist (not unlike his Sergio character in Two Friends) and editor, founding literary journals Oggi and Caratteri. His first novel, Gli Indifferenti (Time of Indifference) is perhaps still his best known, though other novels, including Il Conformista (The Conformist) and Il Deprezzo (Contempt), are well-known in their film iterations under the direction of Bernardo Bertolucci and Jean-Luc Godard. His work, which dealt with the contemporary crises of belief and issues of social alienation, consistently suffered censorship under the fascist regime. Later, he won the pretigious Strega Prize (as did his wife, Elsa Morante). In the years before his death, he entered politics, serving in the European Parliament.
Knowing a bit about Moravia’s background, especially the bit about his novels being seized under Mussolini, makes Two Friends all the more interesting. Because as much as these drafts are about the relationship between Sergio and his friend Maurizio, they are also about the relationship between the individual and the fraught political environment. In these unfinished stories, Moravia draws out the respective anxieties of two young men from different backgrounds and shows us their responses to communism and the war. Rather than a history book version of events and attitudes, Moravia tells you the story of a young man whose ideals and politics are mixed up in his local and personal dramas—much like my/our big ideals and small dramas are comingled today.
The drafts of these three piecemeal novellas were discovered in 1996 in Moravia’s basement in Rome. Because the author famously destroyed all his draft materials after completing a book, scholars and those at the Fondo Moravia have naturally been very interested in these pages. What you read in this newly translated text is an organized guestimate pieced together from disordered pages discovered in a ratty suitcase, but they are extremely readable.
You can read the entire review by clicking here.
In the London of Hédi Kaddour’s Little Grey Lies, translated by Teresa Lavender Fagan, peace has settled, but the tensions, fears, and anger of the Great War remain, even if tucked away behind stories and lies. Directly ahead, as those. . .
One of the greatest services—or disservices, depending on your viewpoint—Bertrand Russell ever performed for popular philosophy was humanizing its biggest thinkers in his History. No longer were they Platonic ideals, the clean-shaven exemplars of the kind of homely truisms that. . .
The best way to review Alejandra Pizarnik’s slim collection, A Musical Hell, published by New Directions as part of their Poetry Pamphlet series, is to begin by stating that it is poetry with a capital P: serious, dense, and, some. . .
Upon completing Albertine Sarrazin’s Astragal I was left to wonder why it ever fell from print. Aside from the location, Astragal could pass as the great American novel. Its edginess and rawness capture the angst and desires we all had. . .
When my eyes first crossed the back cover of Fabio Genovesi’s novel Live Bait, I was caught by a blurb nestled between accolades, a few words from a reviewer for La Repubblica stating that the novel was, however magically, “[b]eyond. . .
“I preferred the war to the plague,” writes Curzio Malaparte in his 1949 novel, The Skin. He speaks of World War II and the destruction it has wrought on Italy, the city of Naples in particular. But the plague he. . .
With the steady rise of feminist scholarship and criticism in recent decades, it is little wonder that the work of Louise Labé should be attracting, as Richard Sieburth tells us in the Afterword to his translation, a “wide and thriving”. . .
In Conversations, we find ourselves again in the protagonist’s conscious and subconscious, which is mostly likely that of Mr. César Aira and consistent with prototypical Aira style. This style never fails because each time Aira is able to develop a. . .
You are not ashamed of what you do, but of what they see you do. Without realizing it, life can be an accumulation of secrets that permeates every last minute of our routine . . .
The narrative history of. . .
Literature in translation often comes with a certain pedigree. In this little corner of the world, with so few books making it into this comforting nook, it is often those of the highest quality that cross through, and attention is. . .