A career-spanning collection of Marguerite Duras’s genre-bending essays that Kirkus calls “a luminous, erudite exploration of the self and art.” In her nonfiction as well as her fiction, Marguerite Duras’s curiosity was endless, her intellect voracious. Within a single essay she might roam from Flaubert to the “scattering of desire” to the Holocaust; within the body of her essays overall, style is always evolving, subject matter shifting, as her mind pushes beyond the obvious toward ever-original ground. Me & Other Writing is a guidebook to the extraordinary breadth of Duras’s nonfiction. From the stunning one-page “Me” to the sprawling 70-page “Summer 80,” there is not a piece in this collection that can be easily categorized. These are essayistic works written for their times but too virtuosic to be relegated to history, works of commentary or recollection or reportage that are also, unmistakably, works of art.
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In the summer of 1973, the journalist Xavi_re Gauthier interviewed the writer and filmmaker Marguerite Duras for an article in Le Monde. The meeting began a productive friendship between the two women that included the recording of four more interviews. They spoke of writing, literature, criticism, film, madness, sex, desire, alienation, Marxism, the situation of women, and their "oppression by the phallic class." Published in 1974 in France as Les Parleuses, the book became a classic statement of a positive and politically forceful feminist stance and an influential exploration of how Western culture has constructed gender roles and dealt with sexuality.
Dedicated to Duras’ companion with whom she spent her last decade of life, Yann Andréa Steiner is a haunting dance between two parallel stories of love and solitude: the love between Duras and the young Yann Andréa and a seaside romance observed – or imagined – by the narrator between a camp counselor and an orphaned camper, a Holocaust survivor who witnessed his sister’s murder at the hands of a German soldier. Memory blurs into desire as the summer of 1980 flows into 1944. An enigmatic elegy of history, creation, and raw emotion.
An international best-seller with more than one million copies in print and a winner of France's Prix Goncourt, The Lover has been acclaimed by critics all over the world since its first publication in 1984. Set in the prewar Indochina of Marguerite Duras's childhood, this is the haunting tale of a tumultuous affair between an adolescent French girl and her Chinese lover. In spare yet luminous prose, Duras evokes life on the margins of Saigon in the waning days of France's colonial empire, and its representation in the passionate relationship between two unforgettable outcasts. Long unavailable in hardcover, this edition of The Lover includes a new introduction by Maxine Hong Kingston that looks back at Duras's world from an intriguing new perspective--that of a visitor to Vietnam today.
A hardcover omnibus edition of the French writer's most famous novel—the basis for the film Memoir of War—alongside her fascinating wartime writings and a collection of intimate autobiographical essays. Marguerite Duras was one of the leading intellectuals and novelists of postwar France, but her wartime writings were not published in full until after her death. The Wartime Notebooks trace Duras's formative experiences—including her difficult childhood in Indochina and her harrowing wait for her husband's return from Nazi internment—revealing the personal history behind her bestselling novels. The Lover is the best known of these; set in prewar Indochina, its haunting tale of a tumultuous affair between an adolescent French girl and her wealthy Chinese lover is based on her own life. In spare and luminous prose, Duras evokes life on the margins in the waning days of France's colonial empire, and the passionate relationship between two unforgettable outcasts. Practicalities is a collection of small and intensely personal pieces Duras dictated near the end of her life. These deceptively simple meditations on motherhood, domesticity, sex, love, alcohol, writing, and more are witty, earthy, outspoken, and surprisingly fresh and relevant today.
Marguerite Duras was one of the leading intellectuals and novelists of post-war France. She owed her success to her obstinacy to be and remain herself, come what may and at whatever cost to her own person. This collection, retrieved from the papers she left at her death, offers a fascinating insight into Duras' life and work. Her notebooks retrace the formative experiences in Duras' life: her childhood in Indochina and, in wartime, her harrowing wait for her husband's return from a concentration camp.
For the first time in English, literary icon Marguerite Duras's foundational masterpiece about a young woman's existential breakdown in the deceptively peaceful French countryside. The Easy Life is the story of Francine Veyrenattes, a twenty-five-year-old woman who already feels like life is passing her by. After witnessing a series of tragedies on her family farm, she alternates between intense grief and staggering boredom as she discovers a curious detachment in herself, an inability to navigate the world as others do. Hoping to be cleansed of whatever ails her, she travels to the coast to visit the sea. But there she finds herself unraveling, uncertain of what is inside her. Lying in the sun with her toes in the sand by day while psychologically dissolving in her hotel room by night, she soon reaches the peak of her inner crisis and must grapple with whether and how she can take hold of her own existence. An extraordinary examination of a young woman's estrangement from the world that only Marguerite Duras could have written, The Easy Life is a work of unsettling beauty and insight, and a bold, spellbinding journey into the depths of the human heart.
Unseen voices narrate this story of the affair between the haunting Anne-Marie Stretter and the disgraced French vice-consul in Làhore. In the India of 1937, with the smell of laurels and leprosy permeating the air, the characters perform a dance of doomed love to the strains of a dying colonialism. Originally commissioned as a play for Britain’s National Theatre,India Song was made into a film that premiered at the 1975 Cannes Film Festival. American Cinematographer praised it for its “imaginative use of voices creating an echo chamber effect that perpetuates the past,” and Molly Haskell called it “Marguerite Duras’ most perfectly realized film, the most feminine film I have seen, a rarefied work of lyricism, despair, and passion, imbued with a kind of primitive emotional hunger that is all the more moving for its austere setting.”
Including text discovered after the French edition had been published and accompanied by the original French, the first English translation of the writer's memoirs of her last year explores the topics of love, sex, and death. By the author of Hiroshima Mon Amour. IP.
Published for the first time in English, the debut novel of Marguerite Duras—renowned author of The Lover and The War—is the story of a family’s moral reckoning and a daughter’s fall from grace Marguerite Duras rose to global stardom with her erotic masterpiece The Lover (L’Amant), which won the prestigious Prix Goncourt, has over a million copies in print in English, has been translated into forty-three languages, and was adapted into a canonical film in 1992. While almost all of Duras’s novels have been translated into English, her debut The Impudent Ones (Les Impudents) has been a glaring exception—until now. Fans of Duras will be thrilled to discover the germ of her bold, vital prose and signature blend of memoir and fiction in this intense and mournful story of the Taneran family, which introduces Duras’s classic themes of familial conflict, illicit romance, and scandal in the sleepy suburbs and southwest provinces of France. Duras’s great gift was her ability to bring vivid and passionate life to characters with whom society may not have sympathized, but with whom readers certainly do. With storytelling that evokes in equal parts beauty and brutality, The Impudent Ones depicts the scalding effects of seduction and disrepute on the soul of a young French girl. Including an essay on the story behind The Impudent Ones by Jean Vallier—biographer of the late Duras—which contextualizes the origins of Duras’s debut novel, this one-of-a-kind publishing endeavor will delight established Duras fans and a new generation of readers alike.
Disaffected, bored with his career at the French Colonial Ministry (where he has copied out birth and death certificates for eight years), and disgusted by a mistress whose vapid optimism arouses his most violent misogyny, the narrator finds himself at the point of complete breakdown while vacationing in Florence. After leaving his mistress and the Ministry behind forever, he joins the crew of The Gibraltar, a yacht captained by Anna, a beautiful American in perpetual search of her sometime lover, a young man known only as the Sailor from Gibraltar.
A narrativa de Savannah Bay se tece na relação amorosa entre as duas únicas personagens que aparecem no palco – Madalena, uma mulher que já atingiu "o esplendor da idade", e uma Jovem, não nomeada; talvez sua neta. Como através de um espelho, essa relação se desdobra em uma outra trama amorosa, constituída a partir da já esparsa memória de Madalena, que se confunde com a imaginação. O elo entre as duas, que constantemente se apresenta como um reflexo no espelho, desencadeia outra história de amor, formada a partir das memórias fragmentadas de Madalena. Nesse jogo de espelhos, no qual pouco ou nada se revela com nitidez, Madalena também evoca, ou talvez até imagine, um passado quando atuava como atriz de teatro, repetidamente interpretando essa mesma história que agora ela e a Jovem tentam recriar no presente. Tanto na relação entre essas duas mulheres quanto nas outras conexões que se desdobram a partir desse núcleo, o amor está sob os holofotes. Savannah Bay foi inicialmente escrita em 1982 e reescrita no ano seguinte, durante o processo de ensaios para a montagem no Théâtre du Rond-Point. Sua estreia ocorreu em 27 de setembro de 1983, sob direção da própria autora, com Bulle Ogier e Madeleine Renaud no elenco – a peça é uma homenagem a esta última. A trajetória desse texto teatral assemelha-se, assim, à de La Musica, que também foi reescrita pela autora durante a montagem, no mesmo Rond-Point e igualmente sob sua direção, dando origem a La Musica segunda. Com desfecho diferente da primeira, a segunda versão de Savannah Bay é mais condensada e indica uma divisão em três cenas, elemento antes ausente. Além disso, as linhas narrativas do texto de 1983 apresentam menos lacunas, o que, contudo, apenas atenua ligeiramente a natureza incompleta e aberta do enredo.
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