About the Author

Elsa Morante (1912-1985) was an Italian novelist, poet, and translator. She was born in Rome and lived there nearly all her life. In 1941, she published her first collection of stories and married the novelist Alberto Moravia. Morante is best known for her novels Arturo's Island and La Storia. For her work, she was awarded both the Viareggio Prize and the Strega Prize.

Jenny McPhee is a translator and the author of the novels The Center of Things, No Ordinary Matter, and A Man of No Moon. For NYRB Classics she translted Curzio Malaparte's The Kremlin Ball and Natalia Ginzburg's Family Lexicon. She is the director for the Center of Applied Liberal Arts at New York University.

Reviews

“[In Lies and Sorcery] I discovered that an entirely female story—entirely women’s desires and ideas and feelings— could be compelling and, at the same time, have great literary value.” —Elena Ferrante

Morante’s work reminds us of this: of the way in which we’re all—men and women, left and right, powerful and powerless—little fascists, exactly because we’re hungry and small. So despite the talking dogs and the fairy-tale castles, Morante’s novels are relentless in telling the truth.— Rebecca Schultz, LARB

"Now, for the first time, Lies and Sorcery is available in full in English, in an electrifying new translation by Jenny McPhee...a melodramatic saga of social climbing and doomed romance, is a deliberate anachronism in both its themes and its style. Its Belle Époque setting, sweeping cast of characters, frequent asides to the reader, and grandiloquence place it firmly in the tradition of the nineteenth-century novel....As Morante reminds us again and again, however, appearances are often deceiving. Despite its nineteenth-century veneer, Lies and Sorcery could have only been written in the twentieth century. The novel is animated by Morante’s hatred of the selfishness and superficiality that she saw in her countrymen. In their masochistic worship of hierarchy, tendency toward idolatry, and susceptibility to kitsch, its characters embody the traits that she believed had enabled Mussolini’s rise." —Jess Bergman, The New Yorker

But what stands out most of all is Morante’s undeviating devotion to the lives of women. Real women, that is, not unbelievable paragons of virtue or grace, but, as my favourite chapter title puts it, “Dissatisfied women, malicious women, and jealous women.” The particular weight she gives to the roiling interior landscapes of her female protagonists is every bit as exhilarating to read now as it must have been radical to encounter nearly 80 years ago. — Lisa Scholes, The Financial Times

With its attention to human foibles, the book is nothing short of a triumph: a fairy tale of epic proportions and a rightly rediscovered 20th-century classic.— Francesca Peacock, The Spectator (UK)

“Morante’s audience had been shaped by the triple-deckers of 19th-century maestros like Dumas, Dickens, Tolstoy and Manzoni. Her novel is a savage spoof of those masterpieces, an enormous work of literary disenchantment...Lies and Sorcery is, then, a phenomenal feat of misanthropy and disillusionment.” —Sam Sacks, The Wallstreet Journal

“Set in turn-of-the-century Sicily, [Lies and Sorcery] is a social epic tinged with fabulism and written in a sensual and highly ornate prose....McPhee translates, expertly, to convey a sense of the original baroque syntax and the heightened register, without feeling fusty or overwrought....[Morante] is, it turns out, that old-fashioned thing, a writer of conscience, and of brilliance besides.”—Bailey Trela, The Washington Post

“[Lies and Sorcery] is a work of wild abundance and inexhaustible psychological depth....[it] evokes the passage from a traditional society steeped in the values of collectiveness and belonging to one obsessed with power, with the idea that an individual need only impose their will to have what they want....Elsa Morante’s is, undeniably, a grim vision of the world; yet to read Lies and Sorcery in this heroic new translation by Jenny McPhee, always admirably attentive to the original’s delicate balance between archaism and fluency, is exhilarating throughout.” —Tim Parks, TLS

“[Morante’s] signature achievement is to conjure raptures of fantasy from miseries of circumstance." —Tim Parks

"[Lies and Sorcery] is a thrilling saga of love and madness in a southern Italian city…Maintaining an ironic distance, Morante’s lengthy but propulsive narrative describes in detail the characters’ desires, fears, and superstitions, as well as the stultifying class divisions, religiosity, and financial troubles that define their lives. It’s a tremendous accomplishment." —Publishers Weekly

"Morante’s vast, sprawling epic of passion and delusion, obsession and madness, certainly contains multitudes...Morante's novel is a masterpiece, and to have it finally translated into English in unabridged form is a great gift.” —Kirkus Starred Review

“Lies and Sorcery is a wild, digressive epic … the engines of so many domestic novels — poverty, marital dysfunction, breakdowns — are there, but the mundane dramas of survival are secondary to the drama of the story and the characters’ self-regard.” —Cora Currier, Lux