At the outset of his writing career, Trocchi wrote several erotic novels such as Helen and Desire (1954), White Thighs (1955) and Thongs (1955) all published under Maurice Girodias’s Olympia Press. Girodias had set up the Olympia Press in 1953, accumulating writers from Britain and America living in Paris who wrote erotic fiction published under the Olympia ‘Traveller’s Companion’ series. Cheaply produced, the books were targeted at the American serviceman and tourist market, who helped to distribute them around the world. Their reputation as cheap pornographic paperbacks, however, disguised a rich vein of underground literary talent. Under the auspices of the Olympia Press some of the most important literature in the post-war era found its way into print; works including Vladimir Nabokov's Lolita, Pauline Reage's Story of O, William S. Burroughs' Naked Lunch and works by Henry Miller, Jean Genet and Georges Bataille.

Robert Creeley was one critic to recognise the philosophical implications of Trocchi’s erotic fiction, noting that the writing was not a self-gratifying indulgence in private fantasy but rather that ‘Trocchi is an intense moralist...In Thongs he defies the isolation of persons in sexual rapport, and the facts of life as unrelieved in all possible senses.’ Neither is Trocchi’s erotic fiction without literary merit. Novels such as Helen and Desire and White Thighs mark the beginnings of Trocchi’s formal experimentations in language and narrative personae. Jack Hirshchman, writing on White Thighs, has described a novel ‘dominated by domination itself, it is a book whose style (language, perceptions) – the voice of a poet – commands the highest respect’.

Perhaps Trocchi’s most famous novel, certainly since its film production in 2003, is Young Adam, published in its final form in 1961. The novel echoes Albert Camus’s L’Etranger (The Outsider) with its emotionally detached and morally ambivalent central character. Joe lives on society’s outskirts, an assistant on the barges that endlessly circumnavigate the Clyde canals. The novel is written in the first person, with Joe as narrator of events, although very little actually happens in the novel; Joe finds the body of a dead woman in the canal and follows the events leading to the arrest and conviction of her suspected murderer while he begins an affair with his co-worker’s wife. Trocchi’s novel is not concerned with conventional plotting, however. Young Adam is as much a philosophical examination of the concepts of truth, identity and morality.

The novel demonstrates Trocchi’s interest in the deceptive nature of language: ‘It is the word ‘I’ which is arbitrary and which contains within it its own inadequacy and its own contradiction’, Joe asserts. The self in this novel is never a coherent or morally consistent thing – it is a series of disjointed impressions and feelings wholly detached from the social framework within which it operates. The instability of identity is reflected in the fact that there is no authoritative ‘truth’ in this novel; neither religious nor social justice is shown to prevail. Even narrative reliability is undermined as it becomes increasingly apparent that Joe has been withholding information about his former relationship with the dead woman and his presence at the time of her death. His unwillingness to claim personal responsibility for his participation in the woman’s death and his cynical allowance for the miscarriage of justice, which sees another man falsely condemned to death for her murder, reveals Joe’s antipathy towards a punitive social system that seeks retribution rather than truth. Meanwhile, the tangled sexual relations and multiple betrayals enacted in the novel suggest humanity tragically alienated, both from one another and from any source of ultimate communion.

Trocchi’s later novel, Cain’s Book (1961) is heavily autobiographical, describing the mental processes and non-happenings of its heroin-addicted central protagonist, Joe Necchi, who is also writing a novel entitled ‘Cain’s Book’. Again, the interest of the book is philosophical rather than plot-driven. It is, in fact, a novel about writing a novel, a mind reflecting on its own mental processes. It is highly self-conscious and formally experimental, playing with a kind of de-centred opiate diction and attempting to dramatise the fragmented persona.

In the ‘Introduction’ to the 1992 edition of Cain’s Book, Richard Seaver described it as ‘more than a novel … it’s way of life’, an assessment which acknowledges the book’s idealistic bias. In its acute observation of everyday events and intensely confessional style, the reader is invited into the existence of the anti-social drug–addict, writer, observer, outsider. The sexual antics of the book once more demonstrate Trocchi’s concern with man’s ultimate isolation. Exploring the relationship between father and son, Cain’s Book also symbolises the youthful and idealistic rejection of the patriarchal values of stability, conformity and coherence offering an existential study of social boundaries and the imaginative margins of a morally irreverent, drug-addled exile.