The novels that the great Italian writer Alberto Moravia wrote in the years following the World War II represent an extraordinary survey of the range of human behavior in a fragmented modern society. "Boredom," the story of a failed artist and pampered son of a rich family who becomes dangerously attached to a young model, examines the complex relations between money, sex, and imperiled masculinity. This powerful and disturbing study in the pathology of modern life is one of the masterworks of a writer whom as Anthony Burgess once remarked, was "always trying to get to the bottom of the human imbroglio."

"Contempt" is a brilliant and unsettling work by one of the revolutionary masters of modern European literature. All the qualities for which Alberto Moravia is justly famous--his cool clarity of expression, his exacting attention to psychological complexity and social pretension, his still-striking openness about sex--are evident in this story of a failing marriage. "Contempt" (which was to inspire Jean-Luc Godard's no-less-celebrated film) is an unflinching examination of desperation and self-deception in the emotional vacuum of modern consumer society.

Moravia is not simply painting the portrait of an age but also coming to grips through his art with the great questions of all ages - the erotic, love, death, and the purposes of life. 1934 recapitulates the major themes of his art and at the same time takes us beyond them.

SECRECY AND SILENCE are second nature to Marcello Clerici, the hero of The Conformist, a book which made Alberto Moravia one of the world's most read postwar writers. Clerici is a man with everything under control - a wife who loves him, colleagues who respect him, the hidden power that comes with his secret work for the Italian political police during the Mussolini years. But then he is assigned to kill his former professor, now in exile, to demonstrate his loyalty to the Fascist state, and falls in love with a strange, compelling woman; his life is torn open - and with it the corrupt heart of Fascism. Moravia equates the rise of Italian Fascism with the psychological needs of his protagonist for whom conformity becomes an obsession in a life that has included parental neglect, an oddly self-conscious desire to engage in cruel acts, and a type of male beauty which, to Clerici's great distress, other men find attractive.
"Moravia brings to light the devil in the flesh and in the psyche." -"- The Atlantic Monthly

Thirteen-year-old Agostino is spending the summer at a Tuscan seaside resort with his beautiful widowed mother. When she takes up with a cocksure new companion, Agostino, feeling ignored and unloved, begins hanging around with a group of local young toughs. Though repelled by their squalor and brutality, and repeatedly humiliated for his weakness and ignorance when it comes to women and sex, the boy is increasingly, masochistically drawn to the gang and its rough games. He finds himself unable to make sense of his troubled feelings. Hoping to be full of manly calm, he is instead beset by guilty curiosity and an urgent desire to sever, at any cost, the thread of troubled sensuality that binds him to his mother.
Alberto Moravia's classic, startling portrait of innocence lost was written in 1942 but rejected by Fascist censors and not published until 1944, when it became a best seller and secured the author the first literary prize of his career. Revived here in a new translation by Michael F. Moore, "Agostino "is poised to captivate a twenty-first-century audience.

"To begin with I'd like to talk about my wife. To love means, in addition to many other things, to delight in gazing upon and observing the beloved."
--From Conjugal Love
When Silvio, a rich Italian dilettante, and his beautiful wife agree to move to the country and forgo sex so that he will have the energy to write a successful novel, something is bound to go wrong: Silvio's literary ambitions are far too big for his second-rate talent, and his wife Leda is a passionate woman. This dangerously combustible situation is set off when Leda accuses Antonio, the local barber who comes every morning to shave Silvio, of trying to molest her. Silvio obstinately refuses to dismiss him, and the quarrel and its shattering consequences put the couple's love to the test.