History was written nearly thirty years after Elsa Morante and Alberto Moravia spent a year in hiding among remote farming villages in the mountains south of Rome. There she witnessed the full impact of the war and first formed the ambition to write an account of what history - the great political events driven by men of power, wealth, and ambition - does when it reaches the realm of ordinary people struggling for life and bread. The central character in this powerful and unforgiving novel is Ida Mancuso, a schoolteacher whose husband has died and whose feckless teenage son treats the war as his playground. A German soldier on his way to North Africa rapes her, falls in love with her, and leaves her pregnant with a boy whose survival becomes Ida's passion. Around these two other characters come and go, each caught up by the war which is like a river in flood. We catch glimpses of bombing raids, street crimes, a cattle car from which human cries emerge, an Italian soldier succumbing to frostbite on the Russian front, the dumb endurance of peasants who have lived their whole lives with nothing and now must get by with less than nothing.

An Italian master's magnum opus about three generations of women, now in the first-ever unabridged English translation. Winner of the 2024 Society of Authors John Florio Prize for for the best translation from Italian and the 2024 American Literary Translator Association's Italian Prose in Translation Prize Elsa Morante is one of the titans of twentieth-century literature—Natalia Ginzburg said she was the writer of her own generation that she most admired—and yet her work remains little known in the United States. Written during World War II, Morante’s celebrated first novel, Lies and Sorcery, is in the grand tradition of Stendhal, Tolstoy, and Proust, spanning the lives of three generations of wildly eccentric women. The story is set in Sicily and told by Elisa, orphaned young and raised by a “fallen woman.” For years Elisa has lived in an imaginary world of her own; now, however, her guardian has died, and the young woman feels that she must abandon her fantasy life to confront the truth of her family’s tortured and dramatic history. Elisa is a seductive, if less than reliable, spinner of stories, and the reader is drawn into a tale of secrets, intrigue, and treachery, which, as it proceeds, is increasingly revealed to be an exploration of a legacy of political and social injustice. Throughout, Morante’s elegant writing—and her drive to get at the heart of her characters’ complex relationships and all-too self-destructive behavior—holds us spellbound.

“Astonishing for the quality of the writing . . . the complexity of the invented world, the wide- ranging view of the human condition.”— Elena Ferrante Elsa Morante’s novels were once considered the greatest of Italy’s postwar generation. Here, Ann Goldstein’s “deft translation” (Madeline Schwartz, New York Review of Books) of Arturo’s Island heralds a “second life” for the beloved author, finally garnering Morante “the new readers she deserves” (Lily Tuck, Wall Street Journal). Imbued with a spectral grace, the novel follows the adolescent Arturo through his days on the isolated Neapolitan island of Procida, where—his mother long deceased, his father often absent, and a dog as his sole companion—he roams the countryside or reads in his family’s lonely, dilapidated mansion. This quiet, meandering boyhood existence is existentially upended when his father brings home a beautiful sixteen- year- old bride, Nunziatella. A novel of thwarted desires, written with “the power of malediction” (Dwight Garner, New York Times), Arturo’s Island reemerges to take its rightful place in the world literary canon.

An aging man attempts to recover the past and get his life back on track in the process. His deceased mother, Aracoeli, came from a small Spanish town and married an upper class Italian navy ensign. The idyllic years she spends with her only son, Mauel, are shattered when she contracts an incurable disease and becomes a nymphomaniac. Now 43, Manuel is a unattractive, self-loathing, recovering drug addict who works in a dead end job at a small publishing house. He decides to travel back to Spain to search for traces of his mother.

A representative text of a milieu marked by student protests and aspirations for moral and political renewal. First published in Italian in 1968, The World Saved by Kids was written in the aftermath of deep personal change and in the context of what Elsa Morante called the "great youth movement exploding against the funereal machinations of the organized contemporary world." Morante believed that it was only the youth who could truly hear her revolutionary call. With the fiftieth anniversary of the tumultuous events of 1968 approaching, there couldn't be a more timely moment for this first English translation of Morante's work to appear. Greeted by Antonio Porta as one of the most important books of its decade, The World Saved by Kids showcases Morante's true mastery of tone, rhythm, and imagery as she works elegy, parody, storytelling, song, and more into an act of linguistic magic through which Gramsci and Rimbaud, Christ and Antigone, Mozart and Simone Weil, and a host of other figures join the sassy, vulnerable neighborhood kids in a renewal of the word's timeless, revolutionary power to explore and celebrate life's insoluble paradox. Morante gained international recognition and critical acclaim for her novels History, Arturo's Island, and Aracoeli, and The World Saved By Kids may be her best book and the one that most closely represents her spirit.

"Insensibile al linguaggio poetico del Novecento, "Alibi" risale a una tradizione che non ha né tempo né luogo precisi ma si confonde con l'idea, costituita e trasmessa nei secoli, che il parlare poetico sia un linguaggio nobile, raro, elevato, prezioso, il vestito, per così dire, cosparso di gioielli e "spettacoloso", col quale i pensieri tragici e i concetti sublimi vanno in giro per il mondo e si mostrano al pubblico." (dalla Prefazione di Cesare Garboli)