First published in the mid-1940s, Alberto Moravia’s novella, Agostino, is a striking portrayal of young boy’s loss of innocence over the course of a seemingly idyllic summer.
Thirteen-year-old Agostino and his widowed mother are spending the season at a seaside resort in Italy. As the story opens, we can see how Agostino looks up to his mother, a strong, attractive and serene woman who remains in the prime of her life. He enjoys spending time by his mother’s side catering to her every need as the pair soak up the sun and swim in the sea.
Agostino would see the mother’s body plunge into a circle of green bubbles, and he would jump in right after her, ready to follow her anywhere, even to the bottom of the sea. (pg. 4)
One morning, a tanned, dark-haired young man appears on the beach and invites Agostino’s mother to join him on a boat ride out to sea. Agostino is convinced that his mother will politely turn down the invitation as with the others that have preceded it, but much to his surprise she is quick to accept. Left alone on the beach, Agostino feels a mix of annoyance, disappointment and humiliation at his mother’s actions; it is as if he has been abandoned at the drop of a hat.
What offended him most wasn’t so much the mother’s preference for the young man as the quick almost premeditated joy with which she accepted his invitation. It was as if she had decided not to let the opportunity slip away and to seize it without hesitation as soon as it presented itself. It was as if all those days on the sea with him she had been bored and had only come along for lack of better company. (pg. 7)
The following day the young man returns to invite the mother on another boat trip, but this time she insists that Agostino join them on the pattino. Agostino, who has always viewed his mother as dignified and serene, is surprised to see her behaving in a playful and flirtatious manner in the company of this interloper. The mother seems blind to her son’s presence; meanwhile Agostino is left feeling uncomfortable and confused by this apparent change in his mother. At one stage during the trip, the mother’s belly brushes against Agostino’s cheek and this seemingly insignificant moment (certainly in the eyes of the mother) stirs a deep sense of repulsion in the boy.
She lowered herself awkwardly onto the plank, brushing her belly against her son’s cheek. A trace of moisture from the wet bathing suit was left on Agostino’s skin and a deeper warmth seemed to evaporate the moisture into steam. Although he felt a sharp stab of murky repulsion, he obstinately refused to dry himself off. (pg. 12)
In the days that follow this image remains in Agostino’s mind and it comes to represent the sense of revulsion he now feels towards his mother.
Shortly after this incident Agostino comes into contact with Berto, a rough, aggressive local boy who lives in an impoverished part of the town. Coming from a wealthy and sheltered background, Agostino is not used to mixing with coarse boys like Berto but events with his mother have left him in need of an escape. Agostino is drawn towards Berto despite the boy’s savage nature, a quality that becomes apparent when Berto picks a fight with him.
He was not so much frightened as bewildered by the boy’s extraordinary brutality. It seemed incredible that he, Agostino, whom everyone had always liked, could now be hurt so deliberately and ruthlessly. Most of all he was bewildered and troubled by this ruthlessness, a new behavior so monstrous it was almost attractive. (pg. 22)
Berto introduces Agostino to his friends, a collective of streetwise working-class kids presided over by a local boatman, Saro. The boys have been watching Agostino’s mother and her new admirer, Renzo, in the knowledge that Agostino has been playing the ‘third wheel’. The crude banter comes thick and fast as the boys speculate about the nature of relations between Agostino’s mother and her dark-haired friend. Once again, Agostino experiences a mix of emotions: embarrassment, confusion, but also a strange sense of gratification, almost as though some of his past humiliations have been redressed.
He felt as if he should object, but these uncouth jokes aroused in him an unexpected, almost cruel feeling of pleasure, as if the boys had unknowingly avenged through their words all the humiliations that his mother had inflicted on him lately. (pg. 29)
Prior to meeting Berto and his companions, the naïve and innocent Agostino had little understanding of sex, but recent events and discussions with the gang have roused a strong sense of curiosity in his mind. He wonders what his mother and Renzo have been getting up to in his absence – something of a sensual nature he suspects – so he goes looking for clues.
The truth is, he might not have been seized by a desire to spy on his mother and to destroy the aura of dignity and respect with which he had viewed her if, on that same day, chance had not set him so violently on this path. (pg. 41-42)
Agostino’s mother, however, is blissfully oblivious to her son’s awakening sexuality. She has no awareness of the emotional turmoil unfolding in Agostino’s mind, no idea of the provocative nature of her sensual behaviour. In her eyes, he remains an innocent child.
She walked back and forth in front of him as if he weren’t there. She would pull her stockings on and off, slip into her clothes, dab on some perfume, apply her makeup. All of these gestures, which had once seemed so natural to Agostino, now seemed to take on meaning and become an almost visible part of a larger more dangerous reality, dividing his spirit between curiosity and pain. (pg. 69)
Agostino is a novella of juxtapositions and tensions. Alongside the boy’s struggle to come to terms with the maelstrom of emotions evoked by his mother’s behaviour, Moravia also exposes Agostino to another facet of sexuality through his interactions with the local gang. Even though Bento and gang play on our protagonist’s naiveté and gullibility, Agostino longs to be accepted by them, and he continues to seek them out. In a memorable scene, the boys are preparing to go skinny dipping in the river. While Agostino is shy and somewhat reluctant to expose his body, the other boys are eager to strip – they boast of their virility and measure one another up in the process. Presiding over events is Saro, is an utterly nasty piece of work, a man who exerts his power and influence over the boys at key moments in the narrative. The toad-like description is very apt here:
The boys, getting ready to dive in, acted out hundreds of obscene gestures, tripping, pushing, and touching each other with brashness and an unrestrained promiscuity that shocked Agostino, who was new to this type of thing. He too was naked, his feet bare and caked with cold mud, but he would have preferred to hide behind the cane, if only to escape the looks cast his way through the half-closed eyes of Saro, crouching and motionless, like a giant toad who dwelled in the canebrake. (pg. 61)
Agostino is a short but very powerful novel full of strong, sometimes brutal, imagery. The murky, mysterious waters of the settings mirror the cloudy undercurrent of emotions in Agostino’s mind. Ultimately, this is a story of a young boy’s transition from the innocence of boyhood to a new phase in life. While this should be a happy an exciting time of discovery for Agostino, the summer is marked by a deep sense of pain and confusion. His feelings towards his mother have changed; reverence and affection have morphed into a swirling and disturbing mix.
As the novella draws to a close, Agostino seeks to insert something akin to a psychological buffer between himself and the conflicted emotions he feels towards his mother. He longs for an alternative outlet for his awakened sexuality, freedom from the dark obsessions that have tainted his summer. To discover whether or not Agostino achieves these aims, I would urge you to read this excellent book for yourself.
I bought this book on the strength of two trusted recommendations: Guy’s review and an endorsement from Scott (of Seraillon). Thank you, both.
Agostino is published in the UK by NYRB Classics. Source: personal copy.
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