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by Bamber Gascoigne

Alberto Moravia (1907-1990) - pseudonym of Alberto Pincherle


Italian journalist, short-story writer, and novelist. Moravia explored in his books sex, social alienation, and other contemporary issues – he was a major figure in the 20th-century Italian literature. Alberto Moravia was married to Elsa Morante (1941-1963), who also was a writer, best known for her novel La Storia (1974). Several of Moravia's books have been filmed, among them Two Women by Vittorio De Sica (1960), A Ghost at Noon by Jean-Luc Godard (1964), and The Conformist by Bernardo Bertolucci (1970).

"Alas, Fausta had told the truth: everything was left exactly as it had been on the day I went away. One seemed to be poking one's nose into the study of one of those long-dead writers whose rooms have been transformed into museums, which are visited by people reverently and hat in hand. Except that there was a difference: those writers whose rooms have been transformed into museums were for the most part real, genuine writers; or were, in their lifetime, sublimated artists of the first water, and their studies are faithful mirrors of their sublimation. I, on the contrary, am desublimated, and my study was clearly a museum of mediocrity, of approximation, of self-didactism, of foolish aspirations, of the near miss, of amateurishness." (from The Two of Us, 1971)

Alberto Pincherle (Alberto Moravia) was born in Rome into a well-to-do middle-class Jewish-Catholic family. His mother was Teresa (de Marcanich) Pincherle, and father, Carlo Pincherle, an architect and a painter. "I was a healthy baby, and my family was normal." Moravia recalled. "I was the abnormal one, if anything. Abnormal because I was oversensitive. . . . The oversensitive ones can become misfits, but they can also become artists."

At the age of nine Moravia was stricken with tubercular infection of the leg bones, which he considered the most important factor in his early development. He spent considerable periods from 1916 to 1925 in sanatoriums. During these years Moravia began to write. His first published story, 'Cortigiana stance,' appeared in French in 1927. Gli indifferenti (1929, Time of Indifference), his first major novel, which was written between 1925 and 1929, Moravia published at his own expense. A poor translation into English, under the title The Indifferent Ones appeared in 1932. From the late 1940s, Moravia's regular translator was Angus Davidson, a writer and publisher who was associated with the Bloomsbury Group.

Time of Indifference was a great success and perhaps the first modern European Existentialist novel. It tells about three days in the life of a Roman family, Mariagrazia and her children Carla and Michele, who keep up a bourgeois front while living at the edge of poverty. Mariagrazia lover and her debtor seduces Carla, who is bored. Michele do not seem to care about anything. The condemnation of the Roman bourgeoisie under fascism became a sensation. "It is astonishing that Il Duce should have permitted this morbid and life-denying novel to circulate freely among the inheritors of the tradition of the Caesars", one reviewer said.

Not to arouse more disapproval of the authorities, Moravia adopted an allegorical style, but his increasing involvement in politics at the same time led to his books being banned, although his maternal uncle, Augusto De Marsanich, was an influential Italian National Fascist Party politician and his patron. Moravia utilized the typical characters of an impotent intellectual, his virile rival, a voluptuous seductress, and an aging mistress. Generally Moravia regarded women as being superior to men. He saw sex as the enemy of love.

Variations on the women of Time of Indifference are found in La romana (1947, The Woman of Rome), in which the protagonist, Adriana, is a prostitute, and La ciociara (1957, Two Women). The loose, rambling narrative recounts the war experiences of a calculating, widowed businesswoman, Cesira, and her daughter, Rosetta, who flee into the mountains to escape Fascist soldiers and Allied bombings. There they meet Michele, the son of a shopkeeper, a committed idealist. She starts to feel that if there had been a man who had attracted her "and who I could have loved, love itself would have had a new savor, more profound and more intense". Rosetta is raped by Moroccan soldiers – allies of the liberation army. The American soldiers are "indifferent and distant", and "all of them were chewing gum". Rosetta becomes a prostitute and her mother a thief, who in her suicidal despair sees a vision of Michele telling her that life is better than death. Moravia's criticism of society is presented on an allegorical level - proletariat is raped by capitalism, Italy loses her innocence under Fascism. The book was adapted for screen by Vittorio De Sica, starring Sophia Loren, Jean-Paul Belmondo, and Eleonora Brown. In De Sica's film, the relationship between Cesira and Rosetta is paralleled with the image of Madonna and Child; Rosetta is the sacrificial victim. The rape scene is set in a church, with the question where is God?

In the 1930s Moravia worked as a foreign correspondent for La Stampa and La Gazetta del Popolo. He travelled in the U.S., Poland, China, Mexico, and other countries. His works were censored by Benito Mussolini's fascist government, and placed by the Vatican on the Index librorum prohibitarum (Index of Forbidden Books). Moravia sharply criticized the dehumanized, capitalist world. He was especially influenced by the thoughts of Marx and Freud. After the publication of Le ambizioni sbagliate (1935, The Wheel of Fortune), Moravia lost his job at the Gazetta del Popolo.

L'imbroglio (1937), a collection of short stories, included L'Architetto, La Tempesta, and La Provinciale. Several of his stories were first published in newspapers. Racconti romani (1954, Roman Tales) and Nuovi racconti romani (1959, More Roman Tales) include some of Moravia's best sketches of working-class characters in everyday situations.

From 1941 to 1943 Moravia lived in Anacapri (Capri). In 1943 he tried to escape to Naples. Unable to cross the frontier, fled with his wife Elsa Morante into the mountains of Ciociaria. Moravia had written in 1941 a comic parody of the Mussolini government, La mascherata, attacked fascism in his articles in Il Popolo di Roma, and in danger of being arrested, Moravia went into hiding in the peasant community in Fondi, near Cassino, until the Allied Liberation.

In 1944 Moravia began to write Two Women, and took up the work again ten years later, when he had gained more distance from his own experiences. However, the nine months among peasants had strengthened his social conscience and new sympathy for the people, which was evident in the short novel Agostino (1944). Written in 1942, the work had been rejected by Fascist censors. After the publication, it became a bestseller and was filmed in 1962 by Mauro Bolognini, who had earlier cooperated with Pier Paolo Pasolini.

Il conformista (1951) portrays a person, Marcello, who has dedicated himself to total conformity. He joins the Fascist party, "as an abstract whole, as a great, existing army held together by common feelings, common ideas, common aims, and army of which it was comforting to form a part". The facts for the narrative were gathered from the assassination of the Rosselli brothers in 1937. Moravia himself was related to the Rosselli's on their mother's side.

Bernardo Bertolucci's acclaimed screen adaptation of the novel was according to the director a "story about me and Godard... I'm Marcello and I make Fascist movies and I want to kill Godard who's revolutionary, and who makes revolutionary movies and who was my teacher..." (Bertolucci in Sight and Sound, Vol. 40, No. 2, Spring 1971) One of the characters was given Godard's phone number, address, and middle name. Also Bertolucci smuggled in his adaptation a line from Godard's Le petit soldat: "The time of reflection is over. Now begins the time of action." When Moravia stressed Marcello's inevitable fate and followed a logical chronology, Bertolucci confused the narrative progression of the text. Moreover, a major idea in the book was that the protagonist is a fascist because he is homosexual. Bertolucci placed the sexual concerns into a wider context.   

The Woman of Rome, which originally started out as a short story, was in the postwar period the bestselling Italian novel in the United States. It sold well over a million copies. In the 1950s Moravia abandoned the third-person narrative, and used the limited, non-objective first person narrative in tune with the modernist literature theories.

Il disprezzo (1954, A Ghost at Noon) was the basis of Jean-Luc Godard's film Le Mépris (1963), starring Brigitte Bardot. The director considered the novel "a nice, vulgar one for a train journey, full of classical, old fashioned sentiments in spite of the modernity of the situation. But it is with this kind of novel that one can often make the best films." Godard played with the theme of the book – the adapting of Homer's Odyssey to film – and developed further the triangle drama of Odysseus, Penelope, and Poseidon. Riccardo Molteni, not so reliable narrator, tries to keep some sense of balance after the death of his wife, Emilia. "How beautiful Emilia had been, sitting in the stern of my boat, no longer hostile, but full of love, how sweet her words; how disturbing, how violent the feeling I had experienced when I told her I wanted to make love to her and she had answered me with that faint nod of agreement!" Bardot imitated the gestures of Godard's ex-wife Anna Karina. Godard kept her half-dressed throughout the whole film, and showed her swimming in the nude. The American actor Jack Palance played Prokosch, a producer, and on another level Poseidon, Odysseus' archenemy. Moravia'a attitude toward cinema was not admiring. "The camera is a less complete instrument of expression than the pen, even in the hands of an Eisenstein," he once said in in The Paris Review.

In 1953 with Alberto Carocci Moravia edited Nuovi Argomenti; he wrote film reviews from 1955 for L'Espresso, and in 1955 he was a State Department lecturer in the United States. Moravia's major novels from the 1960s include La noia (1960, The Empty Canvas), an examination of the relationship between reality and art, and L'attenzione (1965, The Lie), about a novelist writing a book entitled L'attenzione. The troubled narrator of The Empty Canvas states that "In the beginning was boredom, commonly called  chaos) and tells that as a boy he planned to write a universal history according to the boredom. The French philosopher Roland Barthes, who suffered from bouts of boredom all his life, knew well the novel and mentioned it in passing some weeks before the street accident which would eventually lead to his death.

Between the years 1958 and 1970 Moravia travelled widely throughout the world, and produced such books as Un mese in URSS (1958), La rivoluzione culturale in Cina (1968, The Red Book and the Great Wall), A quale tribù appartieni? (1972, Which Tribe Do You Belong To?), and Viaggi. Articoli 1930-1990 (1994). In 1982 he edited Nuovi Argomenti with Leonardo Sciascia and Enzo Siciliano.

Io e lui (1971, The Two of Us), an international bestseller, was a story of a screenwriter who tries to understand his large penis.  Acting independently, it constantly leads him into humiliating situations. The Panther edition was advertised as "A novel which takes up where Portnoy left off." La vita interiore (1978, Time of Desecration) was composed in the form of an interview between the ostensible narrator and the interviewee, Desideria.

Moravia's autobiography Vita di Motavia came out in 1990. His philosophical and political scepticism did not prevent him from entering politics, nor the voters expected him to be a run-of-the mill politician. In 1984 he was elected Italian representative to the European Parliament. Moravia died in Rome on September 26, 1990. He lived most of his life in Rome; one apartment was situated in the nearby Via dell’Oca, close to the Piazza del Popolo. The city and its people played an important role in his fiction.  To Corriere della Sera, the most prestigious Italian newspaper, Moravia contributed regularly from 1946.

For further reading: Alberto Moravia by E. Sanguineti (1962); Moravia by Giuliano Dego (1966); Three Italian Novelist by D. Heiney (1968); The Existentialism of Albeto Moravia by J. Ross and D. Freed (1972); Alberto Moravia by J. Cottrell (1974); Selected Essays by E. Montale (1978); Modern European Filmmakers and the Art of Adaptation, ed. by Andrew S. Horton and Joan Magretta (1981); 'Bertolucci's The Conformist: A Morals Change', in Italian Film in the Light of Neorealism by Millicent Joy Marcus (1986); Vita di Moravia (Alberto Moravia's Life) by Alberto Moravia and Alain Elkann (1990); Woman as Object: Language and Gender in the Work of Alberto Moravia by Sharon Wood (1990); The Architecture of Imagery in Alberto Moravia's Fiction by J.M. Kozma (1993); Homage to Alberto Moravia, ed. by Rocco Capozzi and Mario B. Mignone (1993); Alberto Moravia by Thomas Erling Peterson (1996); Moravia in bianco e nero: la vita, le opere, i viaggi by Giuliano Dego (2008); La speranza violenta: Alberto Moravia e il romanzo di formazione by Valentina Mascaretti (2013); Representing Fascism in the Italian Post-fascist Novel (1945-1965): Alberto Moravia, Vitaliano Brancati and Vasco Pratolini by Clea Rivalta (2013); La scacchiera: sul teatro di Alberto Moravia by Valeria Merola (2017); MoranteMoravia: storia di un amore by Anna Folli (2019); Pasolini e Moravia: due volti dello scandalo by Renzo Paris (2022) - Other films based on Moravia's works: Peccato che sia una canaglia, dir. by Alessandro Blasetti (1954). See also: Alba de Céspedes

Selected works:

  • Gli indifferenti, 1929
    - The Indifferent Ones (translated by Aida Mastrangelo, 1932) / Time of Indifference (translated by Angus Davidson, 1953; Tami Calliope, 2000)
    - Välinpitämättömät (suomentanut Kai Vuosalmi=Tauno Nurmela, 1952)
    - film: Time of Indifference, 1967, dir. Francesco Maselli, starring Claudia Cardinale, Rod Steiger, Shelley Winters, Tomas Milian, Paulette Goddard
  • Le ambizioni sbagliate, 1935
    - Wheel of Fortune (translated by Arthur Livingston, 1937) / Mistaken Ambitions (tr. in Five Novels: Mistaken ambitions. Agostino. Luca. Conjugal love. A ghost at noon, introd. by Charles J. Rolo, 1955)
  • La bella vita, 1935
  • L'imbroglio, 1937
  • I sogni del pigro, 1940
  • Cosma e i briganti, 1940
  • La mascherata, 1941
    - The Fancy Dress Party (translated by Angus Davidson, 1952)
  • La cetonia, 1943
  • L'amante infelice, 1943
  • La speranza, ossia Cristianesimo e Comunismo, 1944
  • Agostino, 1944
    - Two Adolescents: The Stories of Agostino and Luca (tr. 1950) / Two Adolescents: Agostino And Disobedience (tr. 1952) / Agostino (tr. in Five Novels: Mistaken ambitions. Agostino. Luca. Conjugal love. A ghost at noon, introd. by Charles J. Rolo, 1955) / Agostino (translated by Michael F. Moore, 2014)
    - Agostino (suomentanut Mirjam Polkunen, 1959)
    - film 1962, prod. Baltea Film, Dino de Laurentiis Cinematografica, dir. Mauro Bolognini, starring Paolo Colombo, Ingrid Thulin, John Saxon, Mario Bartoletti, Aldo Bussaglia
  • L'epidemia, 1944
  • Due cortigiane e Serata di Don Giovanni, 1945
  • La romana, 1947
    - The Woman of Rome (translated by Lydia Holland, 1949; translation updated and revised by Tami Calliope, 1999)
    - Roomatar (suomentanut Tauno Nurmela, 1950)
    - film 1954, dir. Luigi Zampa, starring Gina Lollobrigida, Daniel Gélin, Franco Fabrizi
  • La disubbidienza, 1948
    - Disobedience (in Two Adolescents: Agostino And Disobedience, 1952)
    - film 1981, prod. Les Films Molière, Nickelodeon Films, dir. by Aldo Lado, starring Stefania Sandrelli, Teresa Ann Savoy, Mario Adorf, Marie-José Nat
  • L'amore coniugale e altri racconti, 1949
    - Conjugal Love (translated by Angus Davidson; Marina Harss, 2007)
    - film 1970, prod. I Film Dell'Orso, dir. Dacia Maraini, starring Tomas Milian, Macha Méril, Lidia Biondi, Luigi Maria Burruano
  • Il conformista, 1951
    - The Conformist (translated by Angus Davidson, 1951) / Conformist: A Novel (translated by Tami Calliope, 1999)
    - film 1970, dir. Bernardo Bertolucci, starring Jean-Louis Trintignant, Stefania Sandrelli, Gastone Moschin, Dominique Sanda, Enzo Taroscio . "The film succeeds in unmasking Marcello as a conformist not to some illusory social standard but rather to unconscious desires and structures. The genius of Bertoluci's film is that it succeeds in reincorporating most of Moravia's narrative elements into a new and more meaningful oneiric structure while at the same time subtly but surely addressing the issue of the relationship between original text and film." (T. Jeferson Kline in 'The Unconformist', from Modern European Filmmakers and the Art of Adaptation)
  • I racconti, 1952
  • Racconti romani, 1954
    - Roman Tales (translated by Angus Davidson, 1956)
  • Il disprezzo, 1954
    - A Ghost at Noon (translated by Angus Davidson, 1955) / Contempt (translated by Angus Davidson, 1999)
    - Keskipäivän aave (suomentanut Kai Vuosalmi=Tauno Nurmela, 1956)
    - film Le Mépris, dir. Jean-Luc Godard (1963), starring Brigitte Bardot, Michel Piccoli, Jack Palance, Fritz Lang, Giorgia Moll, Jean-Luc Godard
  • L'epidemia racconti surrealisti e satirici, 1956
  • Bitter Honeymoon and Other Stories, 1956 (translated by Baptista Gilliat Smith, Frances Frenaye, and Bernard Wall)
  • La ciociara, 1957
    - Two Women (translated by Angus Davidson, 1958; updated and revised by Ann McGarrell, 2001)
    - Kaksi naista (suomentanut Kai Vuosalmi, 1958=Tauno Nurmela)
    - film 1960, adapted for the screen by Vittorio de Sica, starring Sophia Loren, Jean-Paul Belmondo, Eleonora Brown, screenplay by Cesdare Zavattini and De Sica . "The tragic history of these two women is not given time and space to work itself out, so that at the end, they lose their individuality and rich, willful humanity, and become puppets dancing to a production stopwatch." (Robert Hatch in The Nation, June 3, 1961)
  • Teatro, 1958 (contains Beatrice Cenci)
    - Beatrice Cenci (translated by Angus Davidson, 1965)
  • Un mese in URSS, 1958
  • Beatrice Cenci, 1958 (play)
  • Nuovi racconti romani, 1959
    - More Roman Tales (translated by Angus Davidson, 1963)
  • The Wayward Wife and Other Stories, 1960 (translated by Angus Davidson)
  • La noia, 1960
    - The Empty Canvas (translated by Angus Davidson, 1961) / Boredom (translated by Angus Davidson, 1999)
    - Tyhjä kangas (suomentanut Kaarina Mieskivi, 1962)
    - films: 1963, prod. by Carlo Ponti, dir. Damiano Damiani, screenplay by Damiano Damiani, Tonino Guerra and Ugo Liberatore, starring Horst Buchholz, Catherine Spaak, Bette Davis, Isa Miranda; L'Ennui, 1998, dir. by Cedric Kahn, starring Charles Berling, Sophie Guillermin, Arielle Dombasle
  • L'automa, 1962
    - The Fetish: A Volume of Stories (translated by Angus Davidson, 1964) / Fetish and Other Stories (translated by Angus Davidson, 1965)
    - Automaatti (suomentanut Liisa Ryömä, 1969)
    - film: 'Appuntamento al mare (Appointment at the Beach) was filmed by Marco Vicario in 1964 as Le ore nude (The Naked Hours)
  • Claudia Cardinale, 1962
  • Un'idea dell'India, 1962
  • L'uomo come fine, 1963
    - Man as an End: A Defense of Humanism (translated by Bernard Wall, 1965)
  • L'attenzione, 1965
    - The Lie (translated by Angus Davidson, 1966)
    - Valhe (suomentanut Jorma Kapari, 1966)
    - film 1984, prod. Selvaggia Film, dir. by Giovanni Soldati, starring Stefania Sandrelli, Ben Cross, Amanda Sandrelli, Arnoldo Foá, Claudia Cavalcanti
  • Cortigiana stanca, 1965
  • l mondo è quello che è  & L'intervista, 1966
  • Una cosa è una cosa, 1967
    - Command and I Will Obey You & Other Stories (translated by Angus Davidson, 1969)
  • Il dio Kurt, 1968 (play)
  • La rivoluzione culturale in Cina, 1968
    - The Red Book and the Great Wall (translated by Ronald Strom, 1968)
    - Maon Kiina eli Kivinen kutsuvieras (suomentanut Liisa Ryömä, 1968)
  • Racconti di Alberto Moravia, 1968
  • La vita è gioco, 1969 (play)
  • Il paradiso, 1970
    - Paradise and Other Stories (translated Angus Davidson, 1971) /  Bought and Sold (translated by Angus Davidson, 1973)
  • Io e lui, 1971
    - Two: A Phallic Novel (translated by Angus Davidson, 1972) / The Two of Us (translated by Angus Davidson, 1972)
    - Minä ja hän (suomentanut Jorma Kapari, 1972)
    - films: 1973, prod. Columbia Films, D.D.L., dir. Luciano Salce; starring Lando Buzzanca, Bulle Ogier, Vittorio Caprioli, Antonia Santilli; 1988, Ich und Er, prod. Neue Constantin Film, dir. by Doris Dörrie, starring Griffin Dunne, Ellen Greene, Kelly Bishop, Carey Lowell, Kim Flowers
  • A quale tribù appartieni?, 1972
    - Which Tribe Do You Belong To? (translated by Angus Davidson, 1974)
  • Un'altra vita, 1973
    - Lady Godiva and Other Stories (translated by Angus Davidson, 1975) / Mother Love (translated by Angus Davidson, 1976)
  • Al cinema, 1975
  • Boh, 1976
    - Boh (tr. 1976) / The Voice of the Sea and Other Stories (translated by Angus Davidson, 1978)
  • La vita interiore, 1978
    - Time of Desecration (translated by Angus Davidson, 1980)
    - Desideria (suomentanut Pirkko Peltonen, 1979)
    - film 1980 dir. by Gianni Barcelloni, starring Lara Wendel, Stefania Sandrelli, Klaus Löwitsch
  • Un miliardo di anni fa..., 1979  
  • Impegno controvoglia, 1980
  • Lettere dal Sahara, 1981
  • Storie della preistoria, 1982
  • La cosa e altri racconti, 1983
    - Erotic Tales (translated by Tim Parks, 1986)
    - Eroottisia tarinoita (suomentanut Tuula Saarikoski, 1987)
  • 1934, 1982
    - 1934 (translated by William Weaver, 1983)
    - Vuosi 1934 (suomentanut Pirkko Peltonen, 1982)
  • La tempesta, 1984
  • L'uomo che guard, 1986
    - The Voyer (translated by Tim Parks, 1986)
    - Sivustakatsoja (suomentanut Tuula Saarikoski, 1988)
    - film 1994, prod. Erre Cinematograsica S.r.l., Rodeo Drive, dir. by Tinto Brass, starring Katarina Vasilissa, Francesco Casale, Cristina Garavaglia, Raffaella Offidani
  • L'angelo dell'informazione e altri testi teatrali, 1986 (plays)
  • L'inverno nucleare, 1986
  • Opere, 1927-1947, 1986 (edited by Geno Pampaloni)
  • Opere 1948-1969, 1986
  • Passeggiate africane, 1987
  • Il viaggio a Roma, 1988
    - Journey to Rome (tr. 1990)
    - Matka Roomaan (suomentanut Tuula Saarikoski, 1991)
  • Opere, 1948-1968, 1989 (edited by Enzo Siciliano)
  • La villa del venerdì e altri racconti, 1990
    - Perjantain huvila ja muita kertomuksia (suomentanut Liisa Ryömä, 1992)
    - film: La Villa Del Venerdi, 1991, prod. Metro Film S.r.l., dir. Mauro Bolognini, starring Julian Sands, Joanna Pacula, Tchéky Karyo, Lara Wendel
  • Vita di Moravia, 1990
    - Life of Moravia (with Alain Elkann, translated by William Weaver, 2000)
    - Moravian elämä (suomentanut Mirjam Polkunen, 1996)
  • Diario europeo, 1993
  • La donna leopardo, 1993 (unfinished novel)
  • Viaggi: articoli 1930-1990, 1994 (edited Enzo Siciliano)
  • Teatro, 1998 (edited by Aline Nari and Franco Vazzoler)
  • Racconti dispersi, 1928-1951, 2000 (edited by Simone Casini and Francesca Serra)
  • Opere: Romanzi e racconti, 2000- (edited by Enzo Siciliano)
  • I due amici. Frammenti di una storia fra guerra e dopoguerra, 2007 (ed. Simone Casini)
    - Two Friends = I due amici (edited by Simone Casini; translated by Marina Harss; with an introduction by Thomas Erling Peterson, 2011)
  • Lettere ad Amelia Rosselli con altre lettere familiari e prime poesie: 1915-1951, 2010 (edited by Simone Casini)  
  • Cinema italiano: recensioni e interventi, 1933-1990, 2010 (edited by Alberto Pezzotta and Anna Gilardelli)
  • Se è questa la giovinezza vorrei che passasse presto: lettere, 1926-1940, con un racconto inedito, 2015 (a cura di Alessandra Grandelis; ricerca iconografica a cura di Nour Melehi)
  • Quando verrai sarò quasi felice: lettere a Elsa Morante (1947-1983), 2016 (a cura di Alessandra Grandelis; selezione fotografica di Nour Melehi)
  • Non so perché non ho fatto il pittore : scritti sull'arte (1934-1990), 2017  (a cura di Alessandra Grandelis; ricerca iconografica a cura di Nour Melehi)
  • Poesie, 2019 (a cura di Alessandra Grandelis)
  • L'America degli estremi: un reportage lungo trent'anni (1936-1969) , 2020 (a cura di Alessandra Grandelis)

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