What first causes a relationship to unravel? Is the initial step down the path of separation as simple as a misplaced gesture? A thoughtless word? A careless deed or failed action?

These are the questions that Alberto Moravia seeks to answer in the sublime "Contempt", a close-up at the dissolution of a marriage and a journey back to try and learn how things got that way.

"Contempt" is a superior entry in the canon of post-WWII European literature and was itself adapted by Jean-Luc Godard into one of the classic works of French cinema. But the movie I found myself thinking about when reading "Contempt" was "Force Majeure", a 2014 film by the Swedish director Ruben Östlund, in which a single solitary act has lasting repurcussions for a family on a ski holiday.

As to the Godard film, I haven't yet seen it so I can't make a judgement as to whether or not it does the book justice. What is undeniable is that, 65 years later, Moravia's "Contempt" still holds up.

What surprised me most about this book is how compulsively readable it is. In another author's hands, a relationship study like this one could easily feel dry, brittle, and exhaustingly academic, but Moravia is a master of psychoanalysis, of the reasons why we do the things we do, and his "Contempt" is a page-turner from start to finish.

This is a book that clearly has to be felt in order to be carried off so well, so it's not a surprise that Moravia's failed relationship with the Italian novelist Elsa Morante is reported to be its inspiration. While celebrating the end of someone's relationship feels a bit gauche — indeed, even using the word "gauche" feels a bit gauche — Moravia has done humanity a favor by channeling the disappointment and frustration of that failed union into something that truly does stand up two-thirds of a century later.

One of the other mighty compelling things about "Contempt" is its analysis of [b:The Odyssey|1381|The Odyssey|Homer|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1390173285l/1381._SY75_.jpg|3356006], particularly the relationship between Penelope and Odysseus. "The Odyssey" is, of course, a favorite, but never had I examined the relationship of Penelope and Odysseus the way Moravia does via the character of Rheingold, the German director who plans to adapt Homer's classic with the help of our troubled protagonist, Molteni. That is one adaptation I would definitely get in line to see.

Another thing most worth mentioning is the expert way in which Moravia foreshadows various events here. An ox-cart that nearly causes Molteni and Rheingold to swerve off the road, for example, causes you to weep with admiration when it appears later, and what seems like other, at the time rather innocuous objects and events, are called back to later brilliantly.

One slight note of annoyance: "Contempt" was initially translated into English as "A Ghost at Noon". I find this to be a terrible title, not only because it all but gives away the ending but because "Contempt" is so obviously better and a truer translation of the Italian.

I loved "Contempt", as much for its perspective — from the point of view of a not-quite reliable narrator — as its story. But the thing that really makes it stand the test of time is Moravia's fabulous writing.

Compulsory reading.

...
Yeah.

Un libro bastante ágil a pesar de ser un clásico italiano de principios del siglo pasado. Nos cuenta una historia de amor/desamor relacionándola con una historia clásica que conocemos todos de una forma muy ingeniosa y juguetona. Me ha gustado especialmente como el autor da pinceladas de política por el principio del libro para ya después abordar de lleno el tema de la relación en la segunda mitad del libro.

Se lee muy fácilmente, es relativamente corto y deduzco que sí te lo lees más de una vez puedes descubrir subcapas y segundos significados por todo el libro.

I don't really know what to say about this. Sure, the characters drove me crazy, and I guess that kinda was the point, but.... I don't know, that didn't keep me intrigued as much as it made me wanna close the book and throw it through the window (which I obviously didn't do). Having had to read it for class and having analyzed it I can surely say there were some stuff that I though were interesting and some that I even enjoyed. But the annoyance is too big. I will just say that I value this piece of work and what it tells, but I don't think I could ever re-read it.

"an unflinching examination of desperation and self-deception in the emotional vacuum of modern consumer society" is what the NYRB wrote.

It might seem a little pompous, but nevertheless it is true.
"Desperation and self deception" are the two main characterics of Molteni, the "hero" ("anti-hero" would be a better word) of this novel. He desperatetly tries to convince himself his wife Emilia still loves him, despite all the evidence against it. She literally says she despises him and still he tries to seek evidence of the contrary.

Moravia doesn't pull his punches; this book hits you hard and hits you were it hurts. His style is sharp and blunt; he analyzes his main character with relentless honesty. For me this makes this a great novel (better not to be read when you are depressed or on the rebound ;o)

The last two chapters 22 & 23 are sheer brilliance.

I can't wait to get started in "Boredom"!

hit too close to home