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Boredom
The novels that the great Italian writer Alberto Moravia wrote in the years following the Second World War 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."
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."
320 pages, Paperback
First published January 1, 1960
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About the author
Alberto Moravia
457 books1,149 followersAlberto Moravia, born Alberto Pincherle, was one of the leading Italian novelists of the twentieth century whose novels explore matters of modern sexuality, social alienation, and existentialism. He was also a journalist, playwright, essayist and film critic.
Moravia was an atheist, his writing was marked by its factual, cold, precise style, often depicting the malaise of the bourgeoisie, underpinned by high social and cultural awareness. Moravia believed that writers must, if they were to represent reality, assume a moral position, a clearly conceived political, social, and philosophical attitude, but also that, ultimately, "A writer survives in spite of his beliefs".
Moravia was an atheist, his writing was marked by its factual, cold, precise style, often depicting the malaise of the bourgeoisie, underpinned by high social and cultural awareness. Moravia believed that writers must, if they were to represent reality, assume a moral position, a clearly conceived political, social, and philosophical attitude, but also that, ultimately, "A writer survives in spite of his beliefs".
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January 8, 2025
Alberto Moravia has written a fascinating, thought-provoking novel that explores the relations between boredom, sexual obsession and wealth in the social classes of 1950's Rome. Dino, a thirty five year old failed painter, who is caught in some sort of existential crisis. Bored he is, but it's more of an empty and disengaged predicament of the world around him. His feelings are that boredom originates from the absurdity of a reality that is insufficient, boredom is the inability to escape from ones own consciousness. He would display some of the most bizarre behaviour I have ever come across in a literary character. His mother is rich, living a high life in an affluent part of the city, while Dino chooses to live in an apartment elsewhere. He is partly a pampered, spoiled mummy's boy when he so wishes, and can get hold of large amounts of money if he wants, but generally lives with little contact with anyone, and eventually gives up painting as it no longer interests him, if it ever did.
But then enter Cecilia, a teenage sexually promiscuous model, who he meets by chance when an old painter (Balestrieri) dies in his block. In a brief moment he invites her into his apartment studio and is drawn to her adolescent body, not quite a woman, but no longer a child, with a disturbingly obsessive mind. Cecilia is as much an interesting character as Dino, and Moravia portrays a young woman who is a step or two above the poverty line, but not yet middle class, someone who can use money, and have a practical attitude towards the possibilities of sex, and yet also exhibit an absence of envy that would make her situation the more lamentable. Dino and Cecelia would regularly engage in love-making, Cecilia out of pleasure and love, Dino out of wanting to possess her, not just physically, but totally after learning she has and had other lovers, including the late Balestrieri, who was her drawing teacher.
Dino in almost a state of complete frenzy and agitation, is constantly asking the most mundane of questions in an interrogation style to his mother and Cecilia, when his mother asks him to move back home, he would fire away at her wanting to know the ins and outs of how she spends her days, likewise with Cecilia, he is always talking obsessively about their love-making, her family, her lovers, her friends, her home, pretty much how she spends every minute of her life, out of a desperation not to lose her, he would buy her if necessary, to keep out of the hands of her other lover Luciani, but after starting to lose his grip he spirals out of control. Although Dino is the centrepiece of the novel, and definitely a great creation, I still found Cecilia the more fascinating of the two, someone living and dealing with adult situations, but still maintaining that innocence of youth. I would have loved to read the same story, just telling from her point of view, seeing her lover as this weird, eccentric individual and compulsive participant of stupid questions, who she takes to her heart.
Moravia writes on the whole with a freedom of expression that I admire greatly, even after the gagging of the fascist years in Italy, there is no mention or backlash of anything political or war related. Boredom is the sort of novel I have been crying out for, daring, evocative, never a dull moment, two great characters that I loved, just in different ways. A most striking and enjoyable read.
January 31, 2021
Es una novela que me ha desconcertado.
El tedio del que habla el autor no es un mero aburrimiento, es la falta de interés por la vida, un sentimiento de vacío existencial que el autor utiliza como excusa para contarnos la historia de una pasión mal llevada. Y todo este rollo que parece tan profundo, que invita a pensar en un viaje por los recovecos más huidizos del alma humana, tiene como protagonistas a dos sosainas insufribles.
Uno, el hombre, un adolescente treintañero, hijito de su mamá; otra, la mujer, una teen, con tal poder sexual que la naturaleza se vio impelida a compensarlo con un vacío absoluto en su cabeza. Aunque pudiera ser que esto es solo lo que nos da a entender el sosainas hombre, cuando en realidad la niñita es una lista que se las sabe todas.
Como ejemplo, este comentario del sosainas hombre sobre la sosainas chica tan forrestgumpiano:
El tedio del que habla el autor no es un mero aburrimiento, es la falta de interés por la vida, un sentimiento de vacío existencial que el autor utiliza como excusa para contarnos la historia de una pasión mal llevada. Y todo este rollo que parece tan profundo, que invita a pensar en un viaje por los recovecos más huidizos del alma humana, tiene como protagonistas a dos sosainas insufribles.
Uno, el hombre, un adolescente treintañero, hijito de su mamá; otra, la mujer, una teen, con tal poder sexual que la naturaleza se vio impelida a compensarlo con un vacío absoluto en su cabeza. Aunque pudiera ser que esto es solo lo que nos da a entender el sosainas hombre, cuando en realidad la niñita es una lista que se las sabe todas.
Como ejemplo, este comentario del sosainas hombre sobre la sosainas chica tan forrestgumpiano:
"Algunos pensarán, en este punto, que Cecilia era tonta y, por consiguiente, falta de personalidad, pero no era así; que Cecilia no tenía un pelo de tonta lo demostraba el hecho de que nunca le había oído decir tonterías."Por otra parte, es Moravia, pero...
October 27, 2022
Глупая, ревнивая и жаждущая плотских утех аристократка не первой молодости Мариаграция безраздельно доверила свою судьбу и судьбу своих взрослых, но неустроенных и неспособных зарабатывать себе на жизнь детей своему любовнику Лео Мерумечи , проходимцу и ловеласу, неверному, намеренно стремящемуся разорить их с целью завладения их виллой в фешенебельном районе с большим садом, который можно продать по частям, обкрадывающему их и насмехающимся над ними человеку.
Сын Микеле слишком инертен, чтобы противостоять, он безволен и слаб, хотя все прекрасно понимает, в отличие от их матери. Бессильный что-либо предпринять, он в мыслях прокручивает, как за деньги отдает Лео сначала мать, потом сестру, не догадываясь, что она уже стала любовницей Мерумечи. Красивая, но одинокая дочь Карла готова уступить домогательствам Лео, невзирая на то, что он является более 15 лет любовником его матери, только лишь бы что-то изменить, она не имеет понятия, что можно изменить свою жизнь каким-нибудь иным образом.
Герои ищут только благ, похоти, платьев, шампанского, танцев в Ритце. Это все, что их интересует. Даже самый вид бедняков вызывает у них презрение, и они страшатся этой участи и готовы на все - убийство (готовность не значит способность), замужество с нелюбимым, годящимся в отцы мужчиной-любовником ее матери. Каждый из пяти героев по своему гадок, но объединяет их всех любовь к деньгам и к себе. Равнодушие Мариаграции и ее детей ко всему на свете, кроме собственных развлечений, губит их. Совершенно очевидно, что если не Лео, то другой разорит их, потому, что они ничего не умеют и не приспособлены к жизни. И их не жаль.
Герои старшего поколения - Лео, Мариаграция, Лиза ненасытны в своих плотских утехах, похоти; младшее поколение находится в состоянии пассивности, безволия, подавленной энергии. Микеле называет свое отношение равнодушием. Равнодушные - самые опасные люди, они легко предают даже самых близких людей, они изменяют, они ненадежны. Если Вы думаете, что сейчас таких нет, то Вы ошибаетесь. Равнодушие иначе называется пофигизм, и современные люди сплошь и рядом пофигисты, может и не такие безвольные и ни на что не годные, как герои Моравиа.
Сын Микеле слишком инертен, чтобы противостоять, он безволен и слаб, хотя все прекрасно понимает, в отличие от их матери. Бессильный что-либо предпринять, он в мыслях прокручивает, как за деньги отдает Лео сначала мать, потом сестру, не догадываясь, что она уже стала любовницей Мерумечи. Красивая, но одинокая дочь Карла готова уступить домогательствам Лео, невзирая на то, что он является более 15 лет любовником его матери, только лишь бы что-то изменить, она не имеет понятия, что можно изменить свою жизнь каким-нибудь иным образом.
Герои ищут только благ, похоти, платьев, шампанского, танцев в Ритце. Это все, что их интересует. Даже самый вид бедняков вызывает у них презрение, и они страшатся этой участи и готовы на все - убийство (готовность не значит способность), замужество с нелюбимым, годящимся в отцы мужчиной-любовником ее матери. Каждый из пяти героев по своему гадок, но объединяет их всех любовь к деньгам и к себе. Равнодушие Мариаграции и ее детей ко всему на свете, кроме собственных развлечений, губит их. Совершенно очевидно, что если не Лео, то другой разорит их, потому, что они ничего не умеют и не приспособлены к жизни. И их не жаль.
Герои старшего поколения - Лео, Мариаграция, Лиза ненасытны в своих плотских утехах, похоти; младшее поколение находится в состоянии пассивности, безволия, подавленной энергии. Микеле называет свое отношение равнодушием. Равнодушные - самые опасные люди, они легко предают даже самых близких людей, они изменяют, они ненадежны. Если Вы думаете, что сейчас таких нет, то Вы ошибаетесь. Равнодушие иначе называется пофигизм, и современные люди сплошь и рядом пофигисты, может и не такие безвольные и ни на что не годные, как герои Моравиа.
November 5, 2024
أدب الوجودية مرة أخرى، رواية نفسية فلسفية تحلل السلوك البشري والأخلاق وطباع النفس الغامضة.
دينو شاب في وسط الثلاثينات من العمر من عائلة ثرية ويزهد في ثروة أمه وعالمها الثري بطبقته المخملية وحياة العصر المادي الغير مقبولة من قبله، فهو لا يرتض عالم الثراء ومظاهره الشكلية، وينزوي في عالمه في مرسم ليمارس هواية الفن التشكيلي بعيدًا عن عالم أمه، وكان السأم قد أثر تأثيرًا بالغًا على حياته برمتها؛ وهو بتعريفه ليس عكس التسلية، بل إنه يشبه التسلية بما يخلفه من شرود.
"إن السأم في نظري حقًا نوع من النقص أو عدم التلاؤم، وغياب حس الواقع".
يتعرف على فتاة مراهقة تدعى سيسيليا، وهي غريبة الأطوار وهي تمثل العالم اللامبالي المتجرد من كل شئ إنساني، متعلقة بالحاضر ومحرومة كليًا من الخيال، الماضي والمستقبل لم يكونا موجودين في نظرها، ولكن أحداث الحاضر القريب المباشر؛ كانت وحدها تبدو لها جديرة بالاعتبار فقط ولها فلسفتها الخاصة بما يتعلق بالجنس والمال.
"إنني لست غنية، ولكي أعرف إذا كنت أحب أن أكون غنية، فيجب أن أصبح غنية. فبعد التجربة أستطيع أن أقول إن كان ذلك يروقني أم لا".
تلك الفتاة يجعلها دينو فأر تجاربه الوديع المتقبل لكل تجربة مهينة بلا شفقة؛ للتخلص من سأمه المزمن وإجراء تجاربه النفسية والفلسفية عليها ومحاولة امتلاكها والسيطرة عليها، في البداية كان يتخذها تسلية له ولكن وقع في غرامها المدمر الغير مفهوم وكانت تأخذه للهاوية وهو يدري بذلك ولا يروم على الإفلات منها وعند محاولته تلك كان قد فات الأوان للتخلص منها.
"وكان ما يدفعني إلى الجنون الغرامي الوهم الرجولي المعتاد بأن الحصول على الامتلاك دفعة واحدة إنما يتم دفعة واحدة بالعمل الجسدي، من غير كلام".
كان حبه لها مرضيًا مهووسًا لدرجة قبوله أن يكون لها عاشق آخر غيره ويبرر ذلك بمعرفته به والمعرفة تعني في بعض الأحوال امتلاك، ولأن الجهل يعني عدم الامتلاك.
أرى الرواية تسير في مسارين، مسار مرئي شعوري ومسار رمزي في العمق البشري تجريدي. الأم وعالمها المادي الدنيوي الذي نهرب منه، وسيسيليا رمز سرابي نلهث وراءه طوال حياتنا بلا جدوى من الإمساك بتلابيبه؛ نسأم بدونه وعند الإمساك به نسأم مرة أخرى، أما لوحته البيضاء الفارغة التي لم يضع عليها لون واحد وكانت موقعة فقط فهي حياته البيضاء الفارغة والتي تنتظر ملئها ولكن هل يتم ذلك؟
دينو شاب في وسط الثلاثينات من العمر من عائلة ثرية ويزهد في ثروة أمه وعالمها الثري بطبقته المخملية وحياة العصر المادي الغير مقبولة من قبله، فهو لا يرتض عالم الثراء ومظاهره الشكلية، وينزوي في عالمه في مرسم ليمارس هواية الفن التشكيلي بعيدًا عن عالم أمه، وكان السأم قد أثر تأثيرًا بالغًا على حياته برمتها؛ وهو بتعريفه ليس عكس التسلية، بل إنه يشبه التسلية بما يخلفه من شرود.
"إن السأم في نظري حقًا نوع من النقص أو عدم التلاؤم، وغياب حس الواقع".
يتعرف على فتاة مراهقة تدعى سيسيليا، وهي غريبة الأطوار وهي تمثل العالم اللامبالي المتجرد من كل شئ إنساني، متعلقة بالحاضر ومحرومة كليًا من الخيال، الماضي والمستقبل لم يكونا موجودين في نظرها، ولكن أحداث الحاضر القريب المباشر؛ كانت وحدها تبدو لها جديرة بالاعتبار فقط ولها فلسفتها الخاصة بما يتعلق بالجنس والمال.
"إنني لست غنية، ولكي أعرف إذا كنت أحب أن أكون غنية، فيجب أن أصبح غنية. فبعد التجربة أستطيع أن أقول إن كان ذلك يروقني أم لا".
تلك الفتاة يجعلها دينو فأر تجاربه الوديع المتقبل لكل تجربة مهينة بلا شفقة؛ للتخلص من سأمه المزمن وإجراء تجاربه النفسية والفلسفية عليها ومحاولة امتلاكها والسيطرة عليها، في البداية كان يتخذها تسلية له ولكن وقع في غرامها المدمر الغير مفهوم وكانت تأخذه للهاوية وهو يدري بذلك ولا يروم على الإفلات منها وعند محاولته تلك كان قد فات الأوان للتخلص منها.
"وكان ما يدفعني إلى الجنون الغرامي الوهم الرجولي المعتاد بأن الحصول على الامتلاك دفعة واحدة إنما يتم دفعة واحدة بالعمل الجسدي، من غير كلام".
كان حبه لها مرضيًا مهووسًا لدرجة قبوله أن يكون لها عاشق آخر غيره ويبرر ذلك بمعرفته به والمعرفة تعني في بعض الأحوال امتلاك، ولأن الجهل يعني عدم الامتلاك.
أرى الرواية تسير في مسارين، مسار مرئي شعوري ومسار رمزي في العمق البشري تجريدي. الأم وعالمها المادي الدنيوي الذي نهرب منه، وسيسيليا رمز سرابي نلهث وراءه طوال حياتنا بلا جدوى من الإمساك بتلابيبه؛ نسأم بدونه وعند الإمساك به نسأم مرة أخرى، أما لوحته البيضاء الفارغة التي لم يضع عليها لون واحد وكانت موقعة فقط فهي حياته البيضاء الفارغة والتي تنتظر ملئها ولكن هل يتم ذلك؟
August 14, 2023
Man meets a 17-year-old girl with lovely big tits.
Becomes understandably obsessed.
Great stuff.
Becomes understandably obsessed.
Great stuff.
July 24, 2023
It seems a more appropriate title for this book would have been Obsession, as it chronicles the pathetic tale of a 35-year-old painter (who doesn't paint) who is madly in love with a maddening 17-year-old girl who has already showed an older painter to his death (he died of "obsession," too, it would appear).
But maybe boredom and obsession are more closely aligned than one would think. Only through boredom does one become an addict, whether of another person or a habit doesn't matter. People are hardwired for such penchants, I guess. Look at smoking (if it doesn't get in your eyes). Drinking. Gambling. All out of the rich fertilizer of boredom. What about texting? The cellphone itself? Social networking? Like the girl in this book, all objects of obsession.
Still, 2-star credit goes to Moravia for getting me through, start to finish, despite the fact that I loathed both painter and his nymphomaniac friend (in fairness, they both qualify for that particular branch of "boredom").
I should have known, reading a book of this title. I was asking for it. I got it. In obsessed spades lifting chunks of boredom from the roots.
But maybe boredom and obsession are more closely aligned than one would think. Only through boredom does one become an addict, whether of another person or a habit doesn't matter. People are hardwired for such penchants, I guess. Look at smoking (if it doesn't get in your eyes). Drinking. Gambling. All out of the rich fertilizer of boredom. What about texting? The cellphone itself? Social networking? Like the girl in this book, all objects of obsession.
Still, 2-star credit goes to Moravia for getting me through, start to finish, despite the fact that I loathed both painter and his nymphomaniac friend (in fairness, they both qualify for that particular branch of "boredom").
I should have known, reading a book of this title. I was asking for it. I got it. In obsessed spades lifting chunks of boredom from the roots.
October 14, 2014
When I think of boredom I think of a flat blankness and sensory living-deadness; a kind of soul emptiness so empty that there’s not even enough passion to be tormented by it. But this isn’t Moravia’s boredom. His boredom is what I often refer to (during my own episodes of it) as alienation: a pervasive alienation from all things and all people that stifles the still straining passions thus causing quite a soul’s load of torment. If his boredom had been what I typically think of as boredom then this novel would’ve probably been intolerable, especially at 320 pages, but… well, it was far from boring, it was fascinating.
It’s the story of a rich, highly analytical man, an artist who has abandoned painting, who, while suffering through a protracted case of “boredom”, gets involved with a teenage woman with big tits and womanly hips who has not a single analytical nerve in her lovely headpiece. She is in fact a psychic blank with grinding hips, and she is far too much for our analytical protagonist to handle.
There is one very telling passage somewhere near the middle of the book where Dino, our protagonist, observes that Cecilia, our hips, suffers from the same boredom as he, but doesn’t know it as she’s never known anything but that boredom, and so she is not tormented as he is tormented. This is just one of many sticking points that prevent Dino from fully possessing/understanding Ceclia, and the novel is propelled by his attempts to possess/understand her so that he can discard her and disentangle himself and get on with his life of boredom.
It’s an excruciating tale, relentless in its coldly analytical momentum, but it’s also humorous in its own way. It’s humorous in the way that only the humorless can be. That is to say, there is no attempt at humor, but there’s something inherently humorous about obsessive analysis confronting that which eludes analysis, such as sex or a purely instinctual woman who only lives moment to moment. There is also something inherently humorous about the after-the-fact analysis of such encounters, as of an alien entity describing life on a distant planet where every little rule of conduct is different from a previously known norm; a transformation of the mundane into the inalterably odd. I’m not saying that I laughed out loud while reading Boredom, but there was enough of this humor to maintain the narrative at a jaunty pace.
And what a pace it was! I could not put this book down. There’s a cool crispness and clarity to the narrative voice, with every sentence inevitably linked to the next, so that even the excessive detail that is invariably the product of over-analysis was just so much more to enjoy. But I did have one gripe with the translation, though this nit might’ve been in the original; and that was a weird dialogue tic expressed through the contraction “d’you”, as in “do you”. Why this was insisted on I couldn’t figure out, as the rest of the book is written in a clean and orderly way. Even the dialogue is clean and orderly besides this little tic. I found myself trying to pronounce “d’you” and it just sounded stupid, as I couldn’t entirely cut out that initial “o”. Try it and you’ll see.
It’s the story of a rich, highly analytical man, an artist who has abandoned painting, who, while suffering through a protracted case of “boredom”, gets involved with a teenage woman with big tits and womanly hips who has not a single analytical nerve in her lovely headpiece. She is in fact a psychic blank with grinding hips, and she is far too much for our analytical protagonist to handle.
There is one very telling passage somewhere near the middle of the book where Dino, our protagonist, observes that Cecilia, our hips, suffers from the same boredom as he, but doesn’t know it as she’s never known anything but that boredom, and so she is not tormented as he is tormented. This is just one of many sticking points that prevent Dino from fully possessing/understanding Ceclia, and the novel is propelled by his attempts to possess/understand her so that he can discard her and disentangle himself and get on with his life of boredom.
It’s an excruciating tale, relentless in its coldly analytical momentum, but it’s also humorous in its own way. It’s humorous in the way that only the humorless can be. That is to say, there is no attempt at humor, but there’s something inherently humorous about obsessive analysis confronting that which eludes analysis, such as sex or a purely instinctual woman who only lives moment to moment. There is also something inherently humorous about the after-the-fact analysis of such encounters, as of an alien entity describing life on a distant planet where every little rule of conduct is different from a previously known norm; a transformation of the mundane into the inalterably odd. I’m not saying that I laughed out loud while reading Boredom, but there was enough of this humor to maintain the narrative at a jaunty pace.
And what a pace it was! I could not put this book down. There’s a cool crispness and clarity to the narrative voice, with every sentence inevitably linked to the next, so that even the excessive detail that is invariably the product of over-analysis was just so much more to enjoy. But I did have one gripe with the translation, though this nit might’ve been in the original; and that was a weird dialogue tic expressed through the contraction “d’you”, as in “do you”. Why this was insisted on I couldn’t figure out, as the rest of the book is written in a clean and orderly way. Even the dialogue is clean and orderly besides this little tic. I found myself trying to pronounce “d’you” and it just sounded stupid, as I couldn’t entirely cut out that initial “o”. Try it and you’ll see.
April 24, 2021
Inerzia e possessione come imperativo categorico della NOIA, dell’incapacità a vivere tipica degli inetti.
Ho detestato i personaggi di questo libro ma apprezzato il romanzo... forse perché, in qualche modo, Alberto Moravia riesce sempre a mettere in luce con spietata concretezza i difetti degli uomini e tutte quelle infinite debolezze che possono renderli davvero spregevoli e allo stesso tempo affascinanti.
Cosa è la noia in realtà?
Quel mancato contatto con le cose che così spesso ci sorprende, afferrandoci alla gola e allo stomaco, offuscandoci gli occhi?
L’umanità è fatta anche di questo: di momenti di tragico abbandono e perdizione, di confusione distratta, di latenza...
Questo romanzo, di edulcorato, non ha assolutamente nulla, è credo che sia proprio per questo che mi è piaciuto.
Non sempre la vita è una storia che mozza il fiato, a volte diventa arte anche un momento di trasparente agonia
Ho detestato i personaggi di questo libro ma apprezzato il romanzo... forse perché, in qualche modo, Alberto Moravia riesce sempre a mettere in luce con spietata concretezza i difetti degli uomini e tutte quelle infinite debolezze che possono renderli davvero spregevoli e allo stesso tempo affascinanti.
Cosa è la noia in realtà?
Quel mancato contatto con le cose che così spesso ci sorprende, afferrandoci alla gola e allo stomaco, offuscandoci gli occhi?
L’umanità è fatta anche di questo: di momenti di tragico abbandono e perdizione, di confusione distratta, di latenza...
Questo romanzo, di edulcorato, non ha assolutamente nulla, è credo che sia proprio per questo che mi è piaciuto.
Non sempre la vita è una storia che mozza il fiato, a volte diventa arte anche un momento di trasparente agonia
October 26, 2022
بين السأم الاول والسأم الاخير يقع هوس الامتلاك و قد يحل مكان السأم الاخير اما القتل او الانتحار أو في حالات شديدة الخصوصية والحظ التخلي ، كان دينو بطل الرواية واعي بسأمه و يعرفه انه انعدام العلاقة مع الشيء الذي هو بانعدام العلاقة يكون لا شيء فتصبح اللوحة البيضاء هي الشيء الوحيد الذي يستحق ان يكون تجريدا للواقع ، الا انه يفقد سأمه الغالي في علاقته مع سيسليا -المراهقة ذلك السن التي تكون فيها الانثى سرا مغريا ، نصف طفلة ونصف امراة- تلك العلاقة التي تبدأ في السأم بل و توكده كلما توهم انه امتلكها ، وكلما تسربت من يده وشعر نحوها بالسر العصي على الامتلاك، يتسرب سأمه كما تتسرب سيسليا و ينحو السأم نحو الهوس ، تلك الحقيقة التي يمارس الناس حياتهم بلا وعي منقادين من السأم الى الهوس الى الامتلاك الى السأم مرة أخرى ، في دورة تعيد نفسها كشكل نهائي و جوهري لحياة الكائن، كان دينو واعي بتلك الحلقة ، لكنه في النهاية لا يستطيع ان يتجاوزها ، بل ان اقصى ما تمناه هي لحظة امتلاك و لو كان ثمنها روحه ، طوال القراءة وانا انتظر من دينو فعل من ثلاث اما يتزوجها او يقتلها او ينتحر ولكن ....
تبقى النهاية مفتوحة على كل الاحتمالات ، الى العودة او التخلي وان كنت استبعد الاخير
تبقى النهاية مفتوحة على كل الاحتمالات ، الى العودة او التخلي وان كنت استبعد الاخير
September 2, 2022
ای وای بر من این چه کتابی بود.
چرا زودتر پیداش نکرده بودم موراویای عزیزم رو.
بینظیر.
روایت داستان سیال ذهنه و دلتنگی رو بینظیر توصیف میکنه البته نه مضمون دلتنگی که ما معنی میکنیم.
تقابل پول و عشق و فحشا.
نقاشی که.........
چرا زودتر پیداش نکرده بودم موراویای عزیزم رو.
بینظیر.
روایت داستان سیال ذهنه و دلتنگی رو بینظیر توصیف میکنه البته نه مضمون دلتنگی که ما معنی میکنیم.
تقابل پول و عشق و فحشا.
نقاشی که.........
July 23, 2023
VIA D'USCITA
Nel 1960 Moravia pubblica “La noia” che, dopo la parentesi neorealista postbellica (“La romana”, “La Ciociara”), riporta il lettore al punto di partenza, “Gli indifferenti” del lontano 1929. È un ritorno alla rappresentazione della borghesia in un mutato scenario storico, sociale ed economico: sono gli anni del grande sviluppo industriale, quelli che porteranno all’avvio di un modello consumistico solo apparentemente democratico, all’abbandono della morale tradizionale veicolata dalla religione, alla percezione di una maggiore libertà individuale, all’allentamento dei rapporti e dei vincoli in seno alla famiglia , all’avvio di un modello consumistico senza ritorno. La borghesia è sempre una classe sociale privilegiata, chiusa e portatrice di un intimo malessere ma ora può incontrare e riconoscere lo stesso disagio anche fuori dal suo mondo. È il caso di Dino, pittore trentacinquenne, romano, ricco borghese, incastrato in una vita che non gli appartiene, schiacciato da una identità sociale che non corrisponde al suo sentire. Vive in via Margutta, ha abbandonato gli agi di una comoda e lussuosa villa nella via Appia, cerca la sua identità nell’attività artistica. Lo conosciamo mentre inizia a percepire un’avversione anche verso questa identità che lo aveva salvato da un malessere pervasivo che lui, narratore in prima persona, chiama “noia”, specificando con opportuna disamina dal tono asciutto, analitico e clinico in cosa consiste questo sentire, non certo riconducibile alla accezione più nota del termine. La noia è l’impossibilità di collocarsi nel fluire della vita, è la percezione di un distacco gelido dal proprio vissuto, un’urgenza che, paradossalmente, mentre dovrebbe tendere all’azione porta invece all’inazione, all’inerzia perché si risolve in una successione di corto circuiti rispetto alla percezione della oggettività del reale. Tutto ciò che si manifesta intorno a Dino è reale ma assurdo e in quanto tale impossibile da vivere. A Dino è concessa però un’ancora di salvezza, si tratta della giovane Cecilia , una ragazza che con il suo aspetto provocante, con il suo torbido passato, con la sua modesta provenienza sociale potrebbe rappresentare l’alternativa alla stasi. I due intrattengono una relazione sessuale che sfocia presto nell’ennesima trappola per Dino: quando tutto si fa chiaro e certo, ritorna la noia e lui decide di lasciare Cecilia. Il comportamento della ragazza che gli anticipa la mossa rendendosi improvvisamente ambigua, irraggiungibile e sfuggente ribalta la situazione e vincola Dino a quello stesso oggetto donna che ormai aveva perso qualsiasi attrattiva. I suoi sforzi di appropriarsi di lei, di fermarla, di vincolarla , di imborghesirla per favorire quella vitalità che altrimenti non percepirebbe trasformano la relazione in un inseguimento senza speranza. Cecilia è l’altra faccia della medaglia, Cecilia è la noia povera, non possiede niente, non si attende niente, vive alla giornata lieta e spensierata, senza vincoli morali, senza vincoli famigliari, incapace di darsi agli altri se non con il corpo. È la cartina al tornasole del disagio trasversale a tutte le classi sociali secondo una fenomenologia che varia per spazi, ambienti, vissuti. Non c’è denaro che possa modificare la condizione di prigionia sentita e vissuta da Gino e da Cecilia , il dio denaro non garantisce la felicità nel primo caso, il dio denaro non compra la felicità nel secondo. La soluzione al disagio del vivere è vincolata alla volontà e ognuno la esercita come meglio riesce. Lettura claustrofobica, secca, lineare, angosciante, all’insegna di un esistenzialismo soffocante. Senza via d’uscita.
15 settembre 2019
Nel 1960 Moravia pubblica “La noia” che, dopo la parentesi neorealista postbellica (“La romana”, “La Ciociara”), riporta il lettore al punto di partenza, “Gli indifferenti” del lontano 1929. È un ritorno alla rappresentazione della borghesia in un mutato scenario storico, sociale ed economico: sono gli anni del grande sviluppo industriale, quelli che porteranno all’avvio di un modello consumistico solo apparentemente democratico, all’abbandono della morale tradizionale veicolata dalla religione, alla percezione di una maggiore libertà individuale, all’allentamento dei rapporti e dei vincoli in seno alla famiglia , all’avvio di un modello consumistico senza ritorno. La borghesia è sempre una classe sociale privilegiata, chiusa e portatrice di un intimo malessere ma ora può incontrare e riconoscere lo stesso disagio anche fuori dal suo mondo. È il caso di Dino, pittore trentacinquenne, romano, ricco borghese, incastrato in una vita che non gli appartiene, schiacciato da una identità sociale che non corrisponde al suo sentire. Vive in via Margutta, ha abbandonato gli agi di una comoda e lussuosa villa nella via Appia, cerca la sua identità nell’attività artistica. Lo conosciamo mentre inizia a percepire un’avversione anche verso questa identità che lo aveva salvato da un malessere pervasivo che lui, narratore in prima persona, chiama “noia”, specificando con opportuna disamina dal tono asciutto, analitico e clinico in cosa consiste questo sentire, non certo riconducibile alla accezione più nota del termine. La noia è l’impossibilità di collocarsi nel fluire della vita, è la percezione di un distacco gelido dal proprio vissuto, un’urgenza che, paradossalmente, mentre dovrebbe tendere all’azione porta invece all’inazione, all’inerzia perché si risolve in una successione di corto circuiti rispetto alla percezione della oggettività del reale. Tutto ciò che si manifesta intorno a Dino è reale ma assurdo e in quanto tale impossibile da vivere. A Dino è concessa però un’ancora di salvezza, si tratta della giovane Cecilia , una ragazza che con il suo aspetto provocante, con il suo torbido passato, con la sua modesta provenienza sociale potrebbe rappresentare l’alternativa alla stasi. I due intrattengono una relazione sessuale che sfocia presto nell’ennesima trappola per Dino: quando tutto si fa chiaro e certo, ritorna la noia e lui decide di lasciare Cecilia. Il comportamento della ragazza che gli anticipa la mossa rendendosi improvvisamente ambigua, irraggiungibile e sfuggente ribalta la situazione e vincola Dino a quello stesso oggetto donna che ormai aveva perso qualsiasi attrattiva. I suoi sforzi di appropriarsi di lei, di fermarla, di vincolarla , di imborghesirla per favorire quella vitalità che altrimenti non percepirebbe trasformano la relazione in un inseguimento senza speranza. Cecilia è l’altra faccia della medaglia, Cecilia è la noia povera, non possiede niente, non si attende niente, vive alla giornata lieta e spensierata, senza vincoli morali, senza vincoli famigliari, incapace di darsi agli altri se non con il corpo. È la cartina al tornasole del disagio trasversale a tutte le classi sociali secondo una fenomenologia che varia per spazi, ambienti, vissuti. Non c’è denaro che possa modificare la condizione di prigionia sentita e vissuta da Gino e da Cecilia , il dio denaro non garantisce la felicità nel primo caso, il dio denaro non compra la felicità nel secondo. La soluzione al disagio del vivere è vincolata alla volontà e ognuno la esercita come meglio riesce. Lettura claustrofobica, secca, lineare, angosciante, all’insegna di un esistenzialismo soffocante. Senza via d’uscita.
15 settembre 2019
September 6, 2024
Dino è un intellettuale borghese di trentacinque anni che, da sempre, soffre di noia. La noia, per lui, non è la mancanza di divertimento o intrattenimento, ma l’impossibilità di stabilire un rapporto con la realtà. Nel corso degli anni, Dino ha tentato più volte di liberarsi della noia: è andato a vivere da solo, convinto che la causa del suo male fosse la ricchezza di famiglia, e ha iniziato a dipingere, sperando che l’espressione artistica lo avrebbe aiutato. Tutto inutile: la noia sembra impossibile da eliminare.
La situazione cambia quando Dino conosce Cecilia, una ragazza che fa la modella per un pittore. Cecilia è una persona ambigua, sia fisicamente che come personalità, e Dino non riesce a possederla. L’impossibilità del possesso lo fa innamorare della ragazza e uscire dalla noia.
Lieto fine, quindi?
Purtroppo, no. Amare vuol dire anche soffrire e Dino arriva a una triste conclusione: la noia è preferibile all’amore.
“La noia” riprende i temi centrali della produzione moraviana - la critica alla società borghese, la mancanza di valori, la realtà priva di senso e il ruolo dell’intellettuale - in chiave molto più pessimistica rispetto ai romanzi precedenti.
La società borghese è rappresentata, nel romanzo, dalla madre di Dino, una donna che trascorre le sue giornate ad amministrare il capitale e che pensa di comprare tutti, figlio compreso, con il denaro. Dino prova disgusto e disprezzo per la donna e per il denaro, ma non riesce a liberarsi della ricchezza: anche se vive da solo e conduce una vita più modesta, non potrà mai essere un vero povero. La conseguenza di tutto ciò è la noia: il distacco dalla realtà, che implica incomunicabilità, incapacità di instaurare un rapporto autentico con il mondo circostante.
In opposizione al ceto borghese c’è il mondo del popolo, rappresentato da Cecilia, la ragazza di cui Dino si innamora. Nella fase precedente della produzione di Moravia, quella del neorealismo, il popolo era visto come simbolo di speranza e rinnovamento. Qui, a causa del crescente pessimismo dello scrittore, non è più così. Cecilia è un personaggio ambiguo, sia fisicamente - con parti infantili e altre femminili - che moralmente - ha diversi amanti e mente abitualmente a tutti. Inoltre, è incapace di affezionarsi alle persone, come dimostra il suo comportamento nei confronti del padre nel finale. È ben lontana, quindi, da personaggi popolani positivi come Cesira e Rosetta della “Ciociara”.
Cecilia è un personaggio cardine nel romanzo in quanto è l’unica in grado di riscuotere Dino dalla noia. Ma, ancora una volta, il pessimismo di Moravia impedisce un lieto fine. Per Dino, l’amore è solo tormento, insonnia, gelosia e, pertanto, se ne vuole liberare, preferendogli la noia. Nonostante il disprezzo per la propria classe, Dino cerca di liberarsi dell’amore proprio con la tipica logica borghese, quella del possesso: tenta di comprare Cecilia prima con il denaro, poi con una proposta di matrimonio. In questa parte del romanzo, il pessimismo moraviano raggiunge il suo estremo: chi appartiene alla borghesia, anche se intellettuale, finisce per comportarsi da tipico borghese.
Non c’è, quindi, alcuna speranza di rinnovamento, né all’interno della borghesia, né nel popolo.
“La noia” è un romanzo dal tono colloquiale ma al tempo stesso colto e, forse, un po’ didascalico. Ma è un grandissimo romanzo, a mio avviso addirittura superiore agli “Indifferenti”, che è considerato il capolavoro di Moravia.
La situazione cambia quando Dino conosce Cecilia, una ragazza che fa la modella per un pittore. Cecilia è una persona ambigua, sia fisicamente che come personalità, e Dino non riesce a possederla. L’impossibilità del possesso lo fa innamorare della ragazza e uscire dalla noia.
Lieto fine, quindi?
Purtroppo, no. Amare vuol dire anche soffrire e Dino arriva a una triste conclusione: la noia è preferibile all’amore.
“La noia” riprende i temi centrali della produzione moraviana - la critica alla società borghese, la mancanza di valori, la realtà priva di senso e il ruolo dell’intellettuale - in chiave molto più pessimistica rispetto ai romanzi precedenti.
La società borghese è rappresentata, nel romanzo, dalla madre di Dino, una donna che trascorre le sue giornate ad amministrare il capitale e che pensa di comprare tutti, figlio compreso, con il denaro. Dino prova disgusto e disprezzo per la donna e per il denaro, ma non riesce a liberarsi della ricchezza: anche se vive da solo e conduce una vita più modesta, non potrà mai essere un vero povero. La conseguenza di tutto ciò è la noia: il distacco dalla realtà, che implica incomunicabilità, incapacità di instaurare un rapporto autentico con il mondo circostante.
In opposizione al ceto borghese c’è il mondo del popolo, rappresentato da Cecilia, la ragazza di cui Dino si innamora. Nella fase precedente della produzione di Moravia, quella del neorealismo, il popolo era visto come simbolo di speranza e rinnovamento. Qui, a causa del crescente pessimismo dello scrittore, non è più così. Cecilia è un personaggio ambiguo, sia fisicamente - con parti infantili e altre femminili - che moralmente - ha diversi amanti e mente abitualmente a tutti. Inoltre, è incapace di affezionarsi alle persone, come dimostra il suo comportamento nei confronti del padre nel finale. È ben lontana, quindi, da personaggi popolani positivi come Cesira e Rosetta della “Ciociara”.
Cecilia è un personaggio cardine nel romanzo in quanto è l’unica in grado di riscuotere Dino dalla noia. Ma, ancora una volta, il pessimismo di Moravia impedisce un lieto fine. Per Dino, l’amore è solo tormento, insonnia, gelosia e, pertanto, se ne vuole liberare, preferendogli la noia. Nonostante il disprezzo per la propria classe, Dino cerca di liberarsi dell’amore proprio con la tipica logica borghese, quella del possesso: tenta di comprare Cecilia prima con il denaro, poi con una proposta di matrimonio. In questa parte del romanzo, il pessimismo moraviano raggiunge il suo estremo: chi appartiene alla borghesia, anche se intellettuale, finisce per comportarsi da tipico borghese.
Non c’è, quindi, alcuna speranza di rinnovamento, né all’interno della borghesia, né nel popolo.
“La noia” è un romanzo dal tono colloquiale ma al tempo stesso colto e, forse, un po’ didascalico. Ma è un grandissimo romanzo, a mio avviso addirittura superiore agli “Indifferenti”, che è considerato il capolavoro di Moravia.
September 20, 2018
Poche volte ho incontrato scrittori capaci di scrivere in maniera così chiara di concetti non semplici. Soprattutto se strettamente legati a momenti di vita personali. Moravia ci riesce. Per buona parte delle sue pagine il romanzo è un’autentica apnea da cui è difficile risalire: l’indolenza del protagonista e la sua incomprensibile incapacità di attribuire la minima rilevanza a qualunque oggetto o figura gli si presenti innanzi demoralizzano ed irritano il lettore, ma se si ha la pazienza di perseverare nella lettura si schiuderanno delle pagine di profonda e toccante verità. Leggere un romanzo di Moravia è un po' come trovarsi al tavolino di un caffè con un amico che ti racconta, in maniera del tutto confidenziale ma diretta, le sue esperienze.
December 28, 2009
Yet another "existential" novel about a disaffected rich prick going through an existential crisis. Like Sartre's protagonist in
Nausea
or Huysmans'
Against Nature
, the protagonist here is a spoiled twit who feels disconnected with the world, but he calls it "boredom." Fair enough.
Our poor little rich boy has stopped painting (it's boring) and really isn't doing much other than spying on his neighbors (but only half-heartedly since that's also boring).
Enter one 17 year old vamp who, except for sex, is even more disconnected than he is, but has none of his intellectual curiosity (but even then, he's only interested in himself and his boredom, not in the rest of the world). He decides to dump her (she's boring) but she starts acting weird which annoys the shit out of our protagonist because he thought he, like, totally possessed her, but now she's acting on her own. So he becomes obsessed and no longer bored and realizes that she is a stand in for the mystery and abject otherness of the world. He decides he must possess her and then, and only then, can he dump her (because she's boring). But until he possesses her, she's not boring.
Like any good existential novel, there is no real ending. I mean, he does half-heartedly try to kill himself, and very briefly attempts to kill her, but only barely. And he's still bored at the end, but not as much.
Oh yeah, I forgot: he hates his mother because she's rich and is obsessed with money. It is well written and it is compelling, but it drove me insane - which is what it wanted to do.
Our poor little rich boy has stopped painting (it's boring) and really isn't doing much other than spying on his neighbors (but only half-heartedly since that's also boring).
Enter one 17 year old vamp who, except for sex, is even more disconnected than he is, but has none of his intellectual curiosity (but even then, he's only interested in himself and his boredom, not in the rest of the world). He decides to dump her (she's boring) but she starts acting weird which annoys the shit out of our protagonist because he thought he, like, totally possessed her, but now she's acting on her own. So he becomes obsessed and no longer bored and realizes that she is a stand in for the mystery and abject otherness of the world. He decides he must possess her and then, and only then, can he dump her (because she's boring). But until he possesses her, she's not boring.
Like any good existential novel, there is no real ending. I mean, he does half-heartedly try to kill himself, and very briefly attempts to kill her, but only barely. And he's still bored at the end, but not as much.
Oh yeah, I forgot: he hates his mother because she's rich and is obsessed with money. It is well written and it is compelling, but it drove me insane - which is what it wanted to do.
June 21, 2015
للأسف قرأت نسخة مختصرة من الرواية الأصلية السأم لا أعرف كيف تسنى للمترجم أن يقوم بهذه الجريمة الأدبية فيغير شخصيات الرواية إلى أسماء مثل سمير ومجدي وسلوى والأماكن إلى المعادي والدقي والقاهرة لينسف بذلك هوية الرواية ويقضي على روحها ..
على الرغم من كل مصائب هذه الترجمة فإن فكرة النص وشخصية بطل الرواية جديرة بالإهتمام أنصح بنسخة دار الآداب أعتقد إنها النسخة الأفضل
على الرغم من كل مصائب هذه الترجمة فإن فكرة النص وشخصية بطل الرواية جديرة بالإهتمام أنصح بنسخة دار الآداب أعتقد إنها النسخة الأفضل
October 25, 2020
Ο πρωταγωνιστης του μυθιστορηματος είναι αυτό που λένε σε άπταιστα ελληνικά messed up.. Δεν έχω άλλα λόγια να τον περιγράψω. Ξεκινώντας από τα παιδικά του χρόνια, με έναν πατέρα που οδηγήθηκε στη φυγή και τον θάνατο, μια μητέρα που θεώρησε ότι ανέλαβε όλους τους ρόλους έκτοτε και κυρίως ανέβασε το budget και την κοινωνική τους θέση, άκρως χειριστικη με το χρήμα και όχι μόνο. Ο Ντίνο λοιπόν, ο πρωταγωνιστής έγινε όλα τα κλισέ :ένας ψιλοαποτυχημένος ζωγράφος, εξαρτωμενος 100% οικονομικά από τη μητέρα του, φουλ στα ψυχολογικά, χωρίς ίχνος ενσυναισθησης και με άπειρα mommy issues. Ξεκινώντας, μας παρουσιάζει το μεγάλο του πρόβλημα που είναι η πλήξη, την οποία περιγράφει ως την έλλειψη επικοινωνίας και σχέσης με οτιδήποτε και οποιονδήποτε. Η προσκόλληση στον εαυτό του.η έλλειψη ενσυναισθησης θα συμπλήρωνα εγώ.. Αυτό που κάνει ακόμη χειρότερα τα πράγματα είναι όταν γνωρίζει μια πολύ νεαροτερη κοπέλα με την οποία ξεκινά μια τοξική σχέση, θέλοντας να επιβεβαιώσει την "πάθηση" του. Να την κατακτήσει και μετά να την βαρεθεί και να την αφήσει. Όλα υπολογισμένα. Όσο εκείνη του δείχνει ότι είναι ερωτευμένη και συναισθηματικα διαθέσιμη, τόσο αυτός νοιώθει να πλήττει. Τι γίνεται όμως όταν συνειδητοποιει ότι η κοπέλα θέλει να τον αφήσει πριν το κάνει εκεινος και όλο αυτό το αρρωστημένο γαϊτανάκι τον κάνει να σπάσει την πλήξη και τον εγωισμό του και να αναπτύξει συναισθήματα? Τότε λοιπόν γίνεται πιο σαφές ότι ο Ντίνο έχει συνηθίσει αυτό που ονομάζει πλήξη, τρέφεται από αυτό που τον καταστρέφει, εκεί νοιώθει ασφάλεια και σιγουριά και όταν μπροστά του εμφανίζεται η προοπτική συναισθηματικου δεσιματος, εκεί νοιώθει αφοπλισμενος..
Η Πλήξη ήταν σίγουρα ένα βιβλίο που με έκανε να πονοκεφαλιασω προσπαθώντας να κατανοήσω τον πρωταγωνιστή και τι στην ευχή πήγε στραβά με εκείνον. Και αυτός και η Τσετσιλια, η νεαρή πρωταγωνιστρια, είναι σίγουρα 2 χαρακτήρες που δύσκολα συμπασχεις μαζί τους.. Εγωιστές μέχρι παραλογισμου, νομίζουν πως έχουν καταλάβει τη ζωή, μέχρι που ο καθένας βρίσκει το δάσκαλο του, ουσιαστικά στον καθρέφτη του, μιας και είναι σοκαριστικα ίδιοι.. Το ποιος θα πάρει ίσως το μάθημα του ή όχι φαίνεται στο τέλος..
Μου θύμισε λίγο Κούντερα, την αβάσταχτη ελαφρότητα, η γραφή ήταν εξαιρετική και ειδικά από τα μισά περίπου και μετά διάβαζα μανιωδώς μιας και η ιστορία πήγαινε νεράκι.. Μου άρεσε πάρα πολύ και σίγουρα θα σκέφτομαι για κάμποσο ακόμη τους προβληματισμούς που θέτει αυτό το βιβλίο.
"η πλήξη είναι η διακοπή κάθε σχέσης. Κι εγώ θέλω να σε παντρευτώ για να σε βαρεθώ, για να μην υποφέρω πια, για να μη σε αγαπάω πια, και με λίγα λόγια, να φροντίσω να μην υπάρχεις πια για μένα."
Η Πλήξη ήταν σίγουρα ένα βιβλίο που με έκανε να πονοκεφαλιασω προσπαθώντας να κατανοήσω τον πρωταγωνιστή και τι στην ευχή πήγε στραβά με εκείνον. Και αυτός και η Τσετσιλια, η νεαρή πρωταγωνιστρια, είναι σίγουρα 2 χαρακτήρες που δύσκολα συμπασχεις μαζί τους.. Εγωιστές μέχρι παραλογισμου, νομίζουν πως έχουν καταλάβει τη ζωή, μέχρι που ο καθένας βρίσκει το δάσκαλο του, ουσιαστικά στον καθρέφτη του, μιας και είναι σοκαριστικα ίδιοι.. Το ποιος θα πάρει ίσως το μάθημα του ή όχι φαίνεται στο τέλος..
Μου θύμισε λίγο Κούντερα, την αβάσταχτη ελαφρότητα, η γραφή ήταν εξαιρετική και ειδικά από τα μισά περίπου και μετά διάβαζα μανιωδώς μιας και η ιστορία πήγαινε νεράκι.. Μου άρεσε πάρα πολύ και σίγουρα θα σκέφτομαι για κάμποσο ακόμη τους προβληματισμούς που θέτει αυτό το βιβλίο.
"η πλήξη είναι η διακοπή κάθε σχέσης. Κι εγώ θέλω να σε παντρευτώ για να σε βαρεθώ, για να μην υποφέρω πια, για να μη σε αγαπάω πια, και με λίγα λόγια, να φροντίσω να μην υπάρχεις πια για μένα."
August 27, 2024
I adored every second of this.
I'm not sure if it was the writing, the subject matter, the characters, or even just the feel of the book in my hand (heavy, with a smooth surface and crisp pages). Hell, even the yellow cover was hugely appealing to me. All I know is that I haven't enjoyed reading a book as much as this for a very long time. The words almost seemed to melt from the pages as I read them.
It begins with our narrator (Dino), the wealthy son of a rich mother, telling us that from a very young age he has always suffered from boredom. Not the regular variety that accompanies a lack of activity or engagement, but a version which is probably better described as ennui. He finds that once he is bored of a particular thing (inanimate object, person, lifestyle) he no longer feels connected to it, no longer feels that it exists for him as part of realty. Reality itself is taken away from him. He is a painter who, ten years after taking up the vocation, can no longer do so. This too has left him bored and detached. Across from his studio is another painter named Balestrieri, older, in his sixties, who paints beautiful young models and often has sexual relations with them. These women come and go but one day, a young 17-year-old girl becomes Balestrieri's muse and he is apparently besotted with her, in a way that has evidently never happened before. Then, not long after this, Balestrieri dies (perhaps during love-making).
Dino finds himself almost instantly beginning a relationship with this young woman, Cecilia, and he seems to slot into the same role as Balestrieri just as quickly. They regularly meet for sex, until Dino decides that in order to end the relationship with her he must become bored of her, so that she is no longer a part of his reality. But there is something unique about this girl, something which, despite her vast sexual appetite, almost suggests the same illness of ennui. She is very matter-of-fact, passive, unemotional, and sees the world only in terms of today and now. Dino finds himself struggling to escape from her as a result, believing that only by possessing her can he become free of her.
I must say, I think Cecilia might be my favourite ever female literary character. She is everything which Dino claims to be and more. She is utterly uncompromising. You keep thinking there might be a twist, but there isn't. This is just who she is. And the fact that she (painfully) reminded me of an ex-girlfriend might admittedly have played a part in my fascination with her too.
This book was an absolute joy. I only discovered Moravia a few months ago and will definitely be reading more of his work.
I'm not sure if it was the writing, the subject matter, the characters, or even just the feel of the book in my hand (heavy, with a smooth surface and crisp pages). Hell, even the yellow cover was hugely appealing to me. All I know is that I haven't enjoyed reading a book as much as this for a very long time. The words almost seemed to melt from the pages as I read them.
It begins with our narrator (Dino), the wealthy son of a rich mother, telling us that from a very young age he has always suffered from boredom. Not the regular variety that accompanies a lack of activity or engagement, but a version which is probably better described as ennui. He finds that once he is bored of a particular thing (inanimate object, person, lifestyle) he no longer feels connected to it, no longer feels that it exists for him as part of realty. Reality itself is taken away from him. He is a painter who, ten years after taking up the vocation, can no longer do so. This too has left him bored and detached. Across from his studio is another painter named Balestrieri, older, in his sixties, who paints beautiful young models and often has sexual relations with them. These women come and go but one day, a young 17-year-old girl becomes Balestrieri's muse and he is apparently besotted with her, in a way that has evidently never happened before. Then, not long after this, Balestrieri dies (perhaps during love-making).
Dino finds himself almost instantly beginning a relationship with this young woman, Cecilia, and he seems to slot into the same role as Balestrieri just as quickly. They regularly meet for sex, until Dino decides that in order to end the relationship with her he must become bored of her, so that she is no longer a part of his reality. But there is something unique about this girl, something which, despite her vast sexual appetite, almost suggests the same illness of ennui. She is very matter-of-fact, passive, unemotional, and sees the world only in terms of today and now. Dino finds himself struggling to escape from her as a result, believing that only by possessing her can he become free of her.
I must say, I think Cecilia might be my favourite ever female literary character. She is everything which Dino claims to be and more. She is utterly uncompromising. You keep thinking there might be a twist, but there isn't. This is just who she is. And the fact that she (painfully) reminded me of an ex-girlfriend might admittedly have played a part in my fascination with her too.
This book was an absolute joy. I only discovered Moravia a few months ago and will definitely be reading more of his work.
December 17, 2012
I want to go as far as to say that this has got to be one of the finest, most psychologically captivating novels I have ever read. I've given it 4 stars, because although necessary in hindsight, the beginning was very difficult to read. I almost bailed out because of the slow and in some places stagnant narration, which made it hard to tell which direction the novel would ulitimately end up taking. I'm so glad that I stuck it out.
Boredom is the story of Dino, a rich, failed painter who is disconnected from and unable to grasp reality, and so, overcome with boredom, a boredom he thinks is not in-line with the type people usually mean when they employ the term. He happens upon Cecila, an attractive, elusive, seventeen-year old girl and ultimately destroys himself through trying to possess her.
This novel is rife with fascinating character relationships. First, there is Dino's pitiful relationship with his mother, of whom we are afforded only a glimpse of character, but Moravia's skilfull weaving of diaologue with first person narrtive allows us to peer far enough into her psyche tp understand her emotional turmoil and leave us curious as to how deep the troubles in her relationship with Dino go. Amongst these, you are again only afforded glimpses of Dino's relationship with Cecila, Cecilia's with the deceased artist Balestrieri, and the also Cecilia's with her parents.
I'd like to say that Moravia's work is a careful and self-conscious analysis of the desperation of love and the destructive nature of intense carnal desire, but really it's about much more than that. Really, it's a bold statement about what one should find if they are to unashamedly explore the recesses of the human soul. It's a piece of work that I feel I can't do the justice it deserves in a rushed review, written off the back of drunken infatuation, at 9am on a Monday morning.
Boredom is the story of Dino, a rich, failed painter who is disconnected from and unable to grasp reality, and so, overcome with boredom, a boredom he thinks is not in-line with the type people usually mean when they employ the term. He happens upon Cecila, an attractive, elusive, seventeen-year old girl and ultimately destroys himself through trying to possess her.
This novel is rife with fascinating character relationships. First, there is Dino's pitiful relationship with his mother, of whom we are afforded only a glimpse of character, but Moravia's skilfull weaving of diaologue with first person narrtive allows us to peer far enough into her psyche tp understand her emotional turmoil and leave us curious as to how deep the troubles in her relationship with Dino go. Amongst these, you are again only afforded glimpses of Dino's relationship with Cecila, Cecilia's with the deceased artist Balestrieri, and the also Cecilia's with her parents.
I'd like to say that Moravia's work is a careful and self-conscious analysis of the desperation of love and the destructive nature of intense carnal desire, but really it's about much more than that. Really, it's a bold statement about what one should find if they are to unashamedly explore the recesses of the human soul. It's a piece of work that I feel I can't do the justice it deserves in a rushed review, written off the back of drunken infatuation, at 9am on a Monday morning.
October 24, 2019
La noia che dà il titolo al romanzo è per il protagonista la "mancanza di relazione con lui" che può riguardare persone e cose indistintamente. Perché per Dino la vita non ha senso e tutto lo annoia, a partire dalla sua ricchezza, che rifiuta, andando a vivere con pochi soldi in uno studio per tentare la carriera da pittore, che altrettanto lo annoierà (questo succede alla riga uno del romanzo, non è un'anticipazione della trama). Per noia Dino intreccia una relazione con una ragazza che era in realtà l'amante del suo vicino pittore. Anche questa relazione comincia ben presto ad annoiare Dino, ma un imprevisto farà inaspettatamente virare il corso dei suoi sentimenti verso l'ossessione.
Ritratto umano estremamente approfondito e ben riuscito: il protagonista non ci è simpatico, ma estremamente credibile. La scrittura di Moravia è secca, asciutta anche nella descrizione dei sentimenti e nell'ossessione per la giovane Cecilia non si scade mai nel sentimentalismo, anzi è sempre il cinismo a farla da padrone.
Non avevo gran voglia di leggere questo romanzo, ma mi sono ricreduta e verso la fine, quando il ritmo aumenta, non riuscivo a posarlo.
Ritratto umano estremamente approfondito e ben riuscito: il protagonista non ci è simpatico, ma estremamente credibile. La scrittura di Moravia è secca, asciutta anche nella descrizione dei sentimenti e nell'ossessione per la giovane Cecilia non si scade mai nel sentimentalismo, anzi è sempre il cinismo a farla da padrone.
Non avevo gran voglia di leggere questo romanzo, ma mi sono ricreduta e verso la fine, quando il ritmo aumenta, non riuscivo a posarlo.
March 28, 2012
أحيانا ً تصبح الحياة هي الوهم الأخير الذي يجب علينا أن نتخلى عنه من أجل الحياة ! كيف !!!!
لا أعرف ، الإجابة على سؤال ملتبس يحتاج عمرا ً كاملا ً ، و التفكير في حياة ملتبسة يحتاج الحديث عما عايشه الإنسان في حياته أكثر من مرة ، ربما كان هنا حدث ٌ بسيط ، حدث ٌ ��افه ، قادر على التغيير في صياغة أحداثنا اليومية ، و ترتيب مشاعرنا من جديد ، حالة السأم التي يمر بها الإنسان ، طبيعية جدا ً ، لأن هذه الحياة تسببها لأنها بغيضة و مملة بتفاصيلها الصغيرة و الكبيرة ، الحياة ليست سوى تفاصيل ، هذه التفاصيل هي ما يحكم يومياتنا ، و يحيلنا أحيانا ً إلى بشر ٍأو إلى لا بشر !
حالة اللابشرية التي يسببها لنا السأم ، حالة مستدامة لن نستطيع التخلّي عنها أبدا ً ، لأننا لا نقدر على ذلك ، السأم مصير ، و السأم ملجأ من تفاصيل الدهشة الحياتية !
/
دينو أو الماركيز أو الرسام أو المصاب بالسأم ،
سيسيليا كانت نسخة مشابهة لدينو ، كانت النسخة الأنثوية له !
��ل ما عدا ذلك تفاصيل ليومياتنا نحن ، لطريقة تعاملنا مع السأم ، لمحاولة تفسيرات الحب ، و الحياة و السأم و الموت و المال و طرق الانتحار ، دوما ً ما كنت أفكر في الانتحار ، ليس لأنه وسيلة احتجاج لأنه وسيلة تخلّص من تكرار الحياة ، الحياة المتكررة مملة جدا ، هذه الحياة التي عاشها دينو في مرسمه في بيوت الدعارة ، مع سيسيليا مع أمه ، مع باليستياري ، مع الكل ،ربما مع هذا الكون ، التخطيط للزواج التخطيط للتملّك أحيانا ً من أجل التخلّص ، الامتلاك أحيانا ً يكون وسيلة تخلّي ، وسيلة خلاص هكذا كان يفكّر دينو ، أنا أفكر مثله بطريقة ٍ مختلفة ٍ نوعا ً ، بطريقة ٍ ملتبسة جدا ، بطريقة الجمع و الطرح ، هذا زائد عن الحاجة ، هذا أحتاجه للأيام القادمة ، هذا يجب أن أتخلص منه ، هذا يجب أن أمتلكه ، امتلاكنا للأشياء من أجل التخلّص من الأشياء ، باختصار ، الحياةعبارة عن تعابير مواربة لما نقوم به من أشياء ، الحياة عبارة عن خيط من اليوميات المسببة للسأم !
سأم سأم سأم إلخ إلخ إلخ !
و ثم ماذا ، لا شيء سوى السأم
/
دينو ، كنت أحمقا ً جدا ،
سيسيليا ، كنت ِ حمقاءأكثر ،
لكن هناك شيء ٌدائم ٌ في هذه الحياة ، أن المرأة أقدر على فهم الحياة من الرجل ؛ المرأة متعتها هذه الحياة ، بينما الرجل معضلته الحياة !
دايس
لا أعرف ، الإجابة على سؤال ملتبس يحتاج عمرا ً كاملا ً ، و التفكير في حياة ملتبسة يحتاج الحديث عما عايشه الإنسان في حياته أكثر من مرة ، ربما كان هنا حدث ٌ بسيط ، حدث ٌ ��افه ، قادر على التغيير في صياغة أحداثنا اليومية ، و ترتيب مشاعرنا من جديد ، حالة السأم التي يمر بها الإنسان ، طبيعية جدا ً ، لأن هذه الحياة تسببها لأنها بغيضة و مملة بتفاصيلها الصغيرة و الكبيرة ، الحياة ليست سوى تفاصيل ، هذه التفاصيل هي ما يحكم يومياتنا ، و يحيلنا أحيانا ً إلى بشر ٍأو إلى لا بشر !
حالة اللابشرية التي يسببها لنا السأم ، حالة مستدامة لن نستطيع التخلّي عنها أبدا ً ، لأننا لا نقدر على ذلك ، السأم مصير ، و السأم ملجأ من تفاصيل الدهشة الحياتية !
/
دينو أو الماركيز أو الرسام أو المصاب بالسأم ،
سيسيليا كانت نسخة مشابهة لدينو ، كانت النسخة الأنثوية له !
��ل ما عدا ذلك تفاصيل ليومياتنا نحن ، لطريقة تعاملنا مع السأم ، لمحاولة تفسيرات الحب ، و الحياة و السأم و الموت و المال و طرق الانتحار ، دوما ً ما كنت أفكر في الانتحار ، ليس لأنه وسيلة احتجاج لأنه وسيلة تخلّص من تكرار الحياة ، الحياة المتكررة مملة جدا ، هذه الحياة التي عاشها دينو في مرسمه في بيوت الدعارة ، مع سيسيليا مع أمه ، مع باليستياري ، مع الكل ،ربما مع هذا الكون ، التخطيط للزواج التخطيط للتملّك أحيانا ً من أجل التخلّص ، الامتلاك أحيانا ً يكون وسيلة تخلّي ، وسيلة خلاص هكذا كان يفكّر دينو ، أنا أفكر مثله بطريقة ٍ مختلفة ٍ نوعا ً ، بطريقة ٍ ملتبسة جدا ، بطريقة الجمع و الطرح ، هذا زائد عن الحاجة ، هذا أحتاجه للأيام القادمة ، هذا يجب أن أتخلص منه ، هذا يجب أن أمتلكه ، امتلاكنا للأشياء من أجل التخلّص من الأشياء ، باختصار ، الحياةعبارة عن تعابير مواربة لما نقوم به من أشياء ، الحياة عبارة عن خيط من اليوميات المسببة للسأم !
سأم سأم سأم إلخ إلخ إلخ !
و ثم ماذا ، لا شيء سوى السأم
/
دينو ، كنت أحمقا ً جدا ،
سيسيليا ، كنت ِ حمقاءأكثر ،
لكن هناك شيء ٌدائم ٌ في هذه الحياة ، أن المرأة أقدر على فهم الحياة من الرجل ؛ المرأة متعتها هذه الحياة ، بينما الرجل معضلته الحياة !
دايس
September 21, 2015
For the last ten years my older sister has been telling me to read this book. It’s her favourite. Is it about boredom? She gave me that look, are you stupid, obviously not. Will I be bored? She and I, well, we don’t have similar tastes.
It’s a story about 35 yr.old prick Dino, Italian dandy, who is bored out of his f*ucking mind. He is filthy rich, has a Mommy dear who loves him very much and who is paying everything for him, but he hates his Mommy, because Mommy loves money. He wants to be a painter. I mean he doesn’t really want to be a painter, but at least, with a brush he feels like he is at least doing something (although ‘doing something’ is not an imperative to him), and the truth is - he is doing nothing. He is just smoking and thinking about having sex with a glass of water, because that’s how bored he is. His boredom has a face and it’s everywhere. He is not depressed, but utterly lethargic and disgusting.
He meets intellectually inferior 17 yr.old girl, a lover from his deceased painter neighbour. And she starts milking the life, mind, sex, money and any decency that he has as a man. Screw you Dino, you prick with no spine, you so deserved that.
Now, this sounds easy and predictable, but don’t be fooled. Alberto Moravia is a magician. He is not just like that being recognized as one of the most influential Italian writers of all times. Boredom in this case is being hardcore ridiculed. For me, this book is horrible, I despise Dino, but this is the point of Boredom. Existentialism in its worst form.
It’s a story about 35 yr.old prick Dino, Italian dandy, who is bored out of his f*ucking mind. He is filthy rich, has a Mommy dear who loves him very much and who is paying everything for him, but he hates his Mommy, because Mommy loves money. He wants to be a painter. I mean he doesn’t really want to be a painter, but at least, with a brush he feels like he is at least doing something (although ‘doing something’ is not an imperative to him), and the truth is - he is doing nothing. He is just smoking and thinking about having sex with a glass of water, because that’s how bored he is. His boredom has a face and it’s everywhere. He is not depressed, but utterly lethargic and disgusting.
He meets intellectually inferior 17 yr.old girl, a lover from his deceased painter neighbour. And she starts milking the life, mind, sex, money and any decency that he has as a man. Screw you Dino, you prick with no spine, you so deserved that.
Now, this sounds easy and predictable, but don’t be fooled. Alberto Moravia is a magician. He is not just like that being recognized as one of the most influential Italian writers of all times. Boredom in this case is being hardcore ridiculed. For me, this book is horrible, I despise Dino, but this is the point of Boredom. Existentialism in its worst form.
September 23, 2024
Per definirlo in tre parole, è un romanzo-saggio esistenziale. Sì, come tanti... Il tema del titolo viene illustrato dalla scarsissima "azione" e, più spesso, dalle riflessioni del personaggio principale, il narratore, che si annoia in modo molto sfumato. L'intento di sviluppare un'idea principale (la noia) con tutto il libro, di romanzzarla, è stato un po' troppo ovvio per i miei gusti. Questo trattamento potrebbe sembrare anche un po' antiquato e facile, specialmente per chi legge con passione autori più hardcore come Beckett e Bernhard. C'è anche molto più amore - che fa bella coppia con la noia - in questo romanzo che nelle opere complete di quei due... troppo amore, e anche questo con le sue minuziose sfumature - amore per una ragazza che mi è sembrata la variante femminile di Meursault (Lo straniero) di Camus. La straniera di Moravia sarebbe, secondo me, un ottimo sottotitolo per La noia. Ma, in effetti, l'aspetto speculativo della narrazione - molto intelligente e noiosa - insieme allo stile semplice e scorrevole (e anche noioso), ha reso l'audiolibro che ho ascoltato facile da seguire e l'esperienza, insomma, più piacevole che noiosa!
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March 4, 2020لا أدري يبدو ان كاتبها كتبها في لحظة سأم
ويبدو أن شخصيتها الرئيسية كان في لحظة سأم إلى أن قرر التعلق بفتاة لينهي سأمه فانحرفت الرواية عن مسارها.
أحمق أشيب بليد وعالة غير مسئول ولا يفعل شيئا في حياته وطفلة خرقاء تعيش حياة بوهيمية يتسليان ببعضهما البعض، هذه هي الخلاصة.
رغم ذلك أعجبني أسلوب الكاتب لكن لم يكن هذا كافيا لقراءتها، بيد أني اكتشفت ذلك بعد أن خدعني في ربع الكتاب الأول.
وكذلك أسلوب المترجم رغم تحريفاته الغريبة.
ويبدو أن شخصيتها الرئيسية كان في لحظة سأم إلى أن قرر التعلق بفتاة لينهي سأمه فانحرفت الرواية عن مسارها.
أحمق أشيب بليد وعالة غير مسئول ولا يفعل شيئا في حياته وطفلة خرقاء تعيش حياة بوهيمية يتسليان ببعضهما البعض، هذه هي الخلاصة.
رغم ذلك أعجبني أسلوب الكاتب لكن لم يكن هذا كافيا لقراءتها، بيد أني اكتشفت ذلك بعد أن خدعني في ربع الكتاب الأول.
وكذلك أسلوب المترجم رغم تحريفاته الغريبة.
This entire review has been hidden because of spoilers.
December 20, 2023
Alberto Moravia's "Boredom" is a novel that delves into the depths of existential ennui, exploring themes of alienation, obsession, and the search for meaning in modern life. The story follows Dino, a disaffected artist in Rome who becomes obsessively involved with a young model, Cecilia. This book is less about the plot and more about the introspective journey of its protagonist. Let's dive into this existential exploration. 🤔🎨
Pros 👍
- Deep Psychological Insight: Moravia excels at dissecting his protagonist's psyche. The introspective narrative offers a profound look into Dino’s mind, revealing his struggles with purpose and self-identity. 🧠
- Exploration of Existential Themes: The novel masterfully explores existential boredom and the human condition. It's a thoughtful, provocative read that challenges you to ponder life's deeper meanings. 💭
- Rich, Atmospheric Setting: The depiction of Rome provides a vivid backdrop to Dino's story. Moravia's descriptions add a tangible sense of place that complements the novel’s introspective mood. 🏛️
Cons 👎
- Slow Pacing: The narrative can be quite slow, focusing heavily on Dino's internal monologues. Readers looking for action or a fast-paced plot may find it a bit tedious. 🐌
- Emotionally Detached Tone: The tone of the book is quite detached, mirroring the protagonist’s disconnection from the world. This might make it hard for some readers to fully engage with the story. ❄️
- Limited Character Development: Aside from Dino, other characters in the novel, including Cecilia, are not deeply explored, leaving them somewhat two-dimensional. 👥
Rating:⭐⭐⭐⭐
I’d rate "Boredom" 4 out of 5 stars. It's a compelling exploration of existential themes with rich psychological depth, though its slow pace and detached tone might not appeal to everyone.
Reading Suggestions:
If "Boredom" intrigued you, you might enjoy:
- "Nausea" by Jean-Paul Sartre – Another novel that explores existential themes and the absurdity of existence.
- "The Stranger" by Albert Camus – A classic existential novel that delves into themes of alienation and the arbitrary nature of society.
- "Chantilly" by Savior Sullivan – A novel that might offer an exploration of complex characters and existential themes.
In "Boredom," Alberto Moravia offers a stark, introspective examination of a man grappling with the existential dread of modern life, set against the backdrop of mid-20th century Rome.
Pros 👍
- Deep Psychological Insight: Moravia excels at dissecting his protagonist's psyche. The introspective narrative offers a profound look into Dino’s mind, revealing his struggles with purpose and self-identity. 🧠
- Exploration of Existential Themes: The novel masterfully explores existential boredom and the human condition. It's a thoughtful, provocative read that challenges you to ponder life's deeper meanings. 💭
- Rich, Atmospheric Setting: The depiction of Rome provides a vivid backdrop to Dino's story. Moravia's descriptions add a tangible sense of place that complements the novel’s introspective mood. 🏛️
Cons 👎
- Slow Pacing: The narrative can be quite slow, focusing heavily on Dino's internal monologues. Readers looking for action or a fast-paced plot may find it a bit tedious. 🐌
- Emotionally Detached Tone: The tone of the book is quite detached, mirroring the protagonist’s disconnection from the world. This might make it hard for some readers to fully engage with the story. ❄️
- Limited Character Development: Aside from Dino, other characters in the novel, including Cecilia, are not deeply explored, leaving them somewhat two-dimensional. 👥
Rating:⭐⭐⭐⭐
I’d rate "Boredom" 4 out of 5 stars. It's a compelling exploration of existential themes with rich psychological depth, though its slow pace and detached tone might not appeal to everyone.
Reading Suggestions:
If "Boredom" intrigued you, you might enjoy:
- "Nausea" by Jean-Paul Sartre – Another novel that explores existential themes and the absurdity of existence.
- "The Stranger" by Albert Camus – A classic existential novel that delves into themes of alienation and the arbitrary nature of society.
- "Chantilly" by Savior Sullivan – A novel that might offer an exploration of complex characters and existential themes.
In "Boredom," Alberto Moravia offers a stark, introspective examination of a man grappling with the existential dread of modern life, set against the backdrop of mid-20th century Rome.
July 20, 2012
إنّها العلمنة الكاملة , و الأبيقوريّة الديونيزيّة المحضة , بطلة القصّة تهتمّ بالمتعة فقط , إنّها المتعة الجنسيّة حصرا و ليست المادّة , فهي لا تبالي بالرفاه المادي و لا بالأموال و إنّما بالمتعة الجنسيّة وحدها ,بطل القصّة و تعريف السأم بارع في توضيح مشكلة العالم الذي فقد ترابط الأشياء و صار ظمآن للمعنى , الظما للمعنى الذي يدفعه لاختيار ما يكره فقط لأجل أن تصبح له علاقةٌ بالأشياء و لا تبقى على حياديّتها و انفصالها عن المعنى و مسافة التفاعل الإنسانيّ .
حتى الانتحار قد يكون ذا معنى في هذا العالم المتفكّك المفتقد إلى معنى و المولّد للقلق و الخيارات الاستثنائيّة عند أيّ نزوع نحو عاطفة إنسانيّة تخرجه من القفص , الانتحار هنا يصبح معنى الحياة !
حتى الانتحار قد يكون ذا معنى في هذا العالم المتفكّك المفتقد إلى معنى و المولّد للقلق و الخيارات الاستثنائيّة عند أيّ نزوع نحو عاطفة إنسانيّة تخرجه من القفص , الانتحار هنا يصبح معنى الحياة !
March 26, 2020
I suppose I 'm not that much into existentialism after one more attempt ended in failure. Obviously, it is not accidental, I remember I didn't like The Trial nor The Woman in the Dunes, by Kafka and Kobo Abe either, books which belong to the same genre and are mostly praised. The paradox, in this case, is that before reading them and having a look in their synopsis I always feel that they 're going to have something that will excite me, I always have high expectations, I 'm even convinced that it will be a book for me. In the end, I find myself regretting choosing them. One more worrying thing is that I read some so nicely written long reviews and I enjoy people's enthusiasm in their words, but finally I find myself unable to understand why they loved it so much.
It shouldn't be a real surprise I didn't like this one as well. The plot is set in post-war Rome, Dino the central character of the reading is a 35-year-old man who comes from a very wealthy family who suffers since he was a kid from, guess what, boredom. A very weird kind of boredom, in fact, he is not missing something, he has everything which can provide him a good living, a mother who offers him every help to any problem, he just feels unhappy and bored and he thinks that leaving his house and living alone like a normal person will solve his kind of problem and his life will become interesting. After ten years and having been a failed painter who actually stopped painting, he still feels helpless and the same boredom. Until he meets and starting an affair with a 17-years-old young slut. Don't blame me for saying this, she deserves to be called a slut, and although she is completely indifferent as a personality, she is much more lovely than stupid Dino. He enjoys the great sex she offers him but except this, he makes him bored, what a surprise! Until he starts suspecting that she is not totally his, she becomes mysterious and this seems to wake him up from the lethargy of his life since he has to spend some effort to conquer her.
Sounds intriguing, doesn't it? I still think so writing the lines above, but it didn't work to me like that in conclusion. In a way I must give Moravia a credit, he created maybe the most ridiculous characters I 've met, their stupidity was impressive and their dialogues were dumb as hell and even some times you can taste humor, chapter by chapter, page by page, you re losing patience. I always hoped that this parody will have an end soon or later and will begin the serious part of the book revolving around an obsessive love. There were some times I started feeling some hope, but soon or later I was disappointed again. All those mind games and the eternal questions the hero asks himself end up to be tiring and a test for my nerves, and although the author's writing is not bad, actually I could notice that Moravia knows very well to write good, was too much for me to enjoy reading it. Closing its last page, I didn't feel bored, I was just left wondering what exactly I read. I still don't know.
It shouldn't be a real surprise I didn't like this one as well. The plot is set in post-war Rome, Dino the central character of the reading is a 35-year-old man who comes from a very wealthy family who suffers since he was a kid from, guess what, boredom. A very weird kind of boredom, in fact, he is not missing something, he has everything which can provide him a good living, a mother who offers him every help to any problem, he just feels unhappy and bored and he thinks that leaving his house and living alone like a normal person will solve his kind of problem and his life will become interesting. After ten years and having been a failed painter who actually stopped painting, he still feels helpless and the same boredom. Until he meets and starting an affair with a 17-years-old young slut. Don't blame me for saying this, she deserves to be called a slut, and although she is completely indifferent as a personality, she is much more lovely than stupid Dino. He enjoys the great sex she offers him but except this, he makes him bored, what a surprise! Until he starts suspecting that she is not totally his, she becomes mysterious and this seems to wake him up from the lethargy of his life since he has to spend some effort to conquer her.
Sounds intriguing, doesn't it? I still think so writing the lines above, but it didn't work to me like that in conclusion. In a way I must give Moravia a credit, he created maybe the most ridiculous characters I 've met, their stupidity was impressive and their dialogues were dumb as hell and even some times you can taste humor, chapter by chapter, page by page, you re losing patience. I always hoped that this parody will have an end soon or later and will begin the serious part of the book revolving around an obsessive love. There were some times I started feeling some hope, but soon or later I was disappointed again. All those mind games and the eternal questions the hero asks himself end up to be tiring and a test for my nerves, and although the author's writing is not bad, actually I could notice that Moravia knows very well to write good, was too much for me to enjoy reading it. Closing its last page, I didn't feel bored, I was just left wondering what exactly I read. I still don't know.
May 19, 2023
Μα τι λογοτεχνικός θησαυρός είναι αυτός! Ένα ψυχολογικό μυθιστόρημα που κατάφερε να απασχολεί συνεχώς το μυαλό μου με σκέψεις.. Σε ολόκληρο το βιβλίο παρακολουθούμε τον Ντίνο, τον πρωταγωνιστή, ο οποίος προσπαθεί συνεχώς να δώσει νόημα στον τρόπο που συνδέεται με τους ανθρώπους γύρω του.. Οι σκέψεις του βαθιές, γεμάτες θλίψη και πόνο, αφού νιώθει αποκομμένος από τον κόσμο στον οποίο ανήκει και γι' αυτό μόνος.. Προσπαθεί να καλύψει την πλήξη -το κενό που νιώθει μέσα του- καταφεύγοντας στη φυγή από το σπίτι του και τη σχέση με μια κοπέλα στην οποία το μόνο που τον ελκύει είναι το άγνωστο και το μυστήριο που αυτό προκαλεί.. Κι όλα αυτά μέσα από μια γραφή γεμάτη αμεσότητα, ειλικρίνεια και σε μορφή εξομολόγησης από έναν φίλο..
Το αγάπησα αυτό το βιβλίο, κυρίως επειδή ένιωθα συνεχώς το συναισθηματικό αδιέξοδο του ήρωα και την συνακόλουθη απόγνωση του.. Και γιατί υπήρξαν τόσες στιγμές που ταυτίστηκα μαζί του.. Νομίζω εξάλλου πως δεν είμαι η μόνη.. Το ζήτημα είναι να μπορέσει ο καθένας μας να συνδεθεί με τον κόσμο γύρω του με τον τρόπο που θα του προσφέρει την προσωπική του πληρότητα και γαλήνη.. Και σίγουρα είναι άλλωστε ένας από τους λόγους που διαβάζουμε..
Το αγάπησα αυτό το βιβλίο, κυρίως επειδή ένιωθα συνεχώς το συναισθηματικό αδιέξοδο του ήρωα και την συνακόλουθη απόγνωση του.. Και γιατί υπήρξαν τόσες στιγμές που ταυτίστηκα μαζί του.. Νομίζω εξάλλου πως δεν είμαι η μόνη.. Το ζήτημα είναι να μπορέσει ο καθένας μας να συνδεθεί με τον κόσμο γύρω του με τον τρόπο που θα του προσφέρει την προσωπική του πληρότητα και γαλήνη.. Και σίγουρα είναι άλλωστε ένας από τους λόγους που διαβάζουμε..
February 4, 2021
“Tanto che, sovente, guardandola mentre mi stava accanto sul divano, dopo l’amore, supina e con le gambe aperte, io non potevo fare a meno di confrontare la fenditura orizzontale della bocca con quella verticale del sesso e di notare, meravigliato, quanto la seconda fosse più espressiva della prima, appunto nella maniera tutta psicologica che è propria a quei tratti del viso nei quali si rivela il carattere della persona.”
Non mi sento assolutamente in grado di parlare di questo libro bellissimo e di quello che ha rappresentato per me.
Per cui consiglio a tutti di leggerlo, se possibile, nell’ultima edizione dei Classici Contemporanei Bompiani che è dotata di una splendida nota critica (di Alessandra Grandelis) e di ancor più imperdibili appendici (tra cui un’intervista all’autore e due commenti critici di Debenedetti e Montale).
Non mi sento assolutamente in grado di parlare di questo libro bellissimo e di quello che ha rappresentato per me.
Per cui consiglio a tutti di leggerlo, se possibile, nell’ultima edizione dei Classici Contemporanei Bompiani che è dotata di una splendida nota critica (di Alessandra Grandelis) e di ancor più imperdibili appendici (tra cui un’intervista all’autore e due commenti critici di Debenedetti e Montale).
December 23, 2011
La prosa di Moravia provoca continui orgasmi.
Questa è la mia recensione per temperamente.it: Una volta mi è stato detto che La noia è un libro pesante, senza dubbio più de Gli indifferenti e di altre opere moraviane. Ebbene, non posso che dissentire con chi fece quell’affermazione. “Pesante”, come intendo io questo termine, non lo è affatto: argomento molto impegnativo e non certo da libro harmony (ma quando mai un’opera di Moravia – o di qualsiasi altro Autore con l’iniziale maiuscola – è stata tale?), prosa, per dirlo con dei superlativi, elegantissima, scorrevolissima, chiarissima. Insomma, moravian(issim)a. [...]
Per continuare la lettura: http://www.temperamente.it/novecento/...
Questa è la mia recensione per temperamente.it: Una volta mi è stato detto che La noia è un libro pesante, senza dubbio più de Gli indifferenti e di altre opere moraviane. Ebbene, non posso che dissentire con chi fece quell’affermazione. “Pesante”, come intendo io questo termine, non lo è affatto: argomento molto impegnativo e non certo da libro harmony (ma quando mai un’opera di Moravia – o di qualsiasi altro Autore con l’iniziale maiuscola – è stata tale?), prosa, per dirlo con dei superlativi, elegantissima, scorrevolissima, chiarissima. Insomma, moravian(issim)a. [...]
Per continuare la lettura: http://www.temperamente.it/novecento/...
June 11, 2020
یک کتاب خوب و ملانکولیک که زیر بار ترجمهی افتضاح شهید شده. اما بازم دوستش داشتم.
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