Alberto moravia

The novel as we knew it in the nineteenth century was killed off by Proust and Joyce.

Yes, one uses what one knows, but autobiography means something else. I should never be able to write a real autobiography; I always end by falsifying and fictionalizing—I’m a liar, in fact. That means I’m a novelist, after all. I write about what I know.

I like to compare my method with that of painters centuries ago, proceeding from layer to layer.

...my boredom might be described as a malady affecting external objects and consisting of a withering process; an almost instantaneous loss of vitality--just as though one saw a flower change in a few seconds from a bud to decay and dust.

Every true writer is like a bird; he repeats the same song, the same theme, all his life. For me, this theme as always been revolt.

Our ideals, laws and customs should be based on the proposition that each generation in turn becomes the custodian rather than the absolute owner of our resources - and each generation has the obligation to pass this inheritance on in the future.

I don't think it's possible to write a good novel around a negative personality.

There are many reasons for keeping a diary: to make a note of facts that one considers important; to open one's heart, to give vent to one's feelings, to make confessions; from the instinct of economy which sometimes encourages a writer to make good use of even the smallest crumbs of his life, so that he may have one more book to publish; or again from vanity and self- satisfaction.

Because the world to-day is so constructed that no one can do what he would like to do, and he is forced, instead, to do what others wish him to do. Because the question of money always intrudes—into what we do, into what we are, into what we wish to become, into our work, into our highest aspirations, even into our relations with the people we love!

When you aren't sincere you need to pretend, and by pretending you end up believing yourself; that's the basic principle of every faith.

War has become an affair of machines...and soldiers are little more than clever mechanics.

It is what we are forced to do that forms our character, not what we do of our own free will.

An uncertain evil causes anxiety because, at the bottom of one's heart, one goes on hoping till the last moment that it may not be true; a certain evil, on the other hand, instills, for a time, a kind of dreary tranquillity.

Modern man-whether in the womb of the masses, or with his workmates, or with his family, or alone-can never for one moment forget that he is living in a world in which he is a means and whose end is not his business.

Loyalty, Signor Molteni, not love. Penelope is loyal to Ulysses but we do not know how far she loved him...and as you know people can sometimes be absolutely loyal without loving. In certain cases, in fact, loyalty is form of vengeance, of black-mail, of recovering one's self-respect. Loyalty, not love.

In life there are no problems, that is, objective and external choices; there is only the life which we do not resolve as a problem but which we live as an experience, whatever the final result may be.

I do not foresee a time when I shall feel that I have nothing to say.

Good writers are monotonous, like good composers. They keep trying to perfect the one problem they were born to understand.

The less one notices happiness, the greater it is.

Dictatorships are one-way streets. Democracy boasts two-way traffic.

And we all know love is a glass which makes even a monster appear fascinating.

The ratio of literacy to illiteracy is constant, but nowadays the illiterates can read and write.

This thought strengthened in me my belief that all men, without exception, deserve to be pitied, if only because they are alive.

You can't think on purpose about somebody or something. Either you think about them naturally or you don't think at all.

A writer survives in spite of his beliefs.

When I sit at my table to write, I never know what it's going to be until I'm under way. I trust in inspiration, which sometimes comes and sometimes doesn't. But I don't sit back waiting for it. I work every day.

Author details

Alberto Moravia: Biography and Life Work

Alberto Moravia was a notable Novelist. The story of Alberto Moravia began on 28 November 1907 in Rome, Kingdom of Italy. The legacy of Alberto Moravia continues today, following their passing on 26 September 1990 in Rome, Italy.

Alberto Pincherle ( Italian: ; 28 November 1907 – 26 September 1990), known by his pseudonym Alberto Moravia, was an Italian novelist and journalist. His novels explored matters of modern sexuality , social alienation and existentialism . Moravia is best known for his debut novel Gli indifferenti ( The Time of Indifference 1929) and for the anti-fascist novel Il conformista ( The Conformist 1947), the basis for the film The Conformist (1970) directed by Bernardo Bertolucci . Other novels of his adapted for the cinema are Agostino , filmed with the same title by Mauro Bolognini in 1962; Il disprezzo ( A Ghost at Noon or Contempt ), filmed by Jean-Luc Godard as Le Mépris ( Contempt 1963); La noia ( Boredom ), filmed with that title by Damiano Damiani in 1963 and released in the US as The Empty Canvas in 1964 and La ciociara , filmed by Vittorio De Sica as Two Women (1960). Cédric Kahn 's L'Ennui (1998) is another version of La noia .

Legacy and Personal Influence

Personally, Alberto Moravia was married to Dacia Maraini.

Philosophical Views and Reflections

In May 1944, after the liberation of Rome, Alberto Moravia returned. He began collaborating with Corrado Alvaro, writing for important newspapers such as Il Mondo and Il Corriere della Sera , the latter publishing his writing until his death. After the war, his popularity steadily increased, with works such as La Romana ( The Woman of Rome , 1947), La Disubbidienza ( Disobedience , 1948), L'amore coniugale e altri racconti ( Conjugal Love and other stories , 1949) and Il conformista ( The Conformist , 1951). In 1952 he won the Premio Strega for I Racconti and his novels began to be translated abroad and La Provinciale was adapted to film by Mario Soldati ; in 1954 Luigi Zampa directed La Romana and in 1955 Gianni Franciolini directed I Racconti Romani ( The Roman Stories , 1954) a short collection that won the Marzotto Award. In 1953, Moravia founded the literary magazine Nuovi Argomenti ( New Arguments ), which featured Pier Paolo Pasolini among its editors. In the 1950s, he wrote prefaces to works such as Belli 's 100 Sonnets , Brancati 's Paolo il Caldo and Stendhal 's Roman Walks . From 1957, he also reviewed and criticised cinema for the weekly magazines L'Europeo and L'Espresso . His criticism is collected in the volume Al Cinema ( At the Cinema , 1975).

Moravia's writing style was highly regarded for being extremely stark and unadorned, characterised by elementary, common words in an elaborate syntax. A complex mood is established by mixing a proposition constituting the description of a single psychological observation mixed with another such proposition. In the later novels, the inner monologue is prominent.

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