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In this volume of four short novels, Duras demonstrates her remarkable ability to create an emotional intensity and unity by focusing on the intimate details of the relationships among only a few cental characters: from the park bench couple in "The Square" (1955) to the double love triangle in "10:30 on a Summer Night" (1960), each novel probes the depths and complexities of human emotion, of love and of despair. Exceptional for their range in mood and situation, these four novels are unparalleled exhibitions of a poetic beauty that is uniquely Duras.
- Sales Rank: #788207 in eBooks
- Published on: 2015-07-13
- Released on: 2015-07-13
- Format: Kindle eBook
From the Back Cover
In this volume of four short novels, Duras demonstrates her remarkable ability to create an emotional intensity and unity by focusing on the intimate details of the relationships among only a few central characters.
About the Author
Marguerite Duras (1914 96) was a French writer and filmmaker and the author of many books, including The Lover.
Most helpful customer reviews
12 of 13 people found the following review helpful.
A Good Introduction to Duras
By A Customer
"10:30 on a Summer Night" is by far the best of the four novels in this book, focusing on murder and infidelity during a vacation outside Madrid. "Moderato Cantible" is good but not as intriguing as "10:30 on a Summer Night" and is about an alcoholic mother developing an odd relationship with a stranger in a caf� on the way home from her son's piano lesson. "The Square" has some good lines but is generally slow, focusing solely on a salesman and a servant talking in the park.
14 of 16 people found the following review helpful.
Save The Lover for later; start with the novellas.
By Jillian Marie Weise
Duras seems like the Simone Weil of fiction: her characters philosophize while they get undressed and into bed. While Duras covers the same material (man, woman, love, deceit) at least these are fine subjects in the hands of a master crafter. I don't think we can hold it against her for writing them over and over.
6 of 6 people found the following review helpful.
The truths of love and suffering.
By Guttersnipe Das
Marguerite Duras, Four Novels
(The Square, Moderato Cantabile, 10:30 on a Summer Night, The Afternoon of Mr. Andesmas.)
Spying this book in my hand, my husband asked suspiciously, "Is that one of those books that only you like - the kind with completely no plot?"
I assured him that only one of the four novellas has almost no plot - The Square - and I admitted that, yes, I loved it. Just a housemaid and a wanderer talking in the park as the light fades - it is enough. Especially when the characters are forever saying things like, "Either I shall be unhappy in the same way as everyone else is, or I shall not be unhappy at all."
The third novella, 10:30 on a Summer Night, succeeds as a work of suspense and floats through the mind like an art house film. (My husband seeks PLOT, honest-to-god dramatic action - I promised him he'd enjoy it.)
The fourth, The Afternoon of Mr. Andesmas, proceeds like the late afternoon light in the story, gradually revealing the landscape and the figures within it. It made me realize that I'd perhaps never read a story about a rich old man who was also dignified and loving. I found it marvelous.
Only the second novella, Moderato Cantabile, seemed less interesting, an imitation of the others, with several passages which I admit I found repeatedly incomprehensible - though its account of vomiting at a dinner part is. . . nearly as riveting as being in the same situation oneself.
The second and the third novellas made me wonder if anyone has ever taught on a course on "the Literature of Alcoholism" - let's say: Hemingway, Hart Crane, Flann O'Brien, Barthelme and Duras. It often seems to me that alcoholic writers belong to the same drunken nation. A sad, funny and charming country - though it is sometimes hard to resist the temptation to count bottles.
These books are experiments - and 50 to 80 pages is a perfect length for an experiment. To me it seems unfortunate that fiction is so often limited to stories under 15 pages and novels over 250. I sometimes wonder if the length in-between might be more conducive to the form.
Duras does away with the excessive characterization, plotting and description that often weigh on the novel. Like an ancient Buddhist scripture translated from a palm leaves, these novels seek to approach life and suffering directly - the honest ache of which they speak may come as a relief.
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