Hiroshima Mon Amour

ISBN: 082883637X
ISBN 13: 9780828836371
By: Marguerite Duras

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Reader's Thoughts

Milton B.

Há escritoras e Escritoras, e a Senhora Duras pertence ao 2º grupo. Nesta obra encontramos uma história de amor de amor visceral e apaixonante, sem nunca roçar sequer o terreno peganhento do lamechismo. Agora é ver o filme.

Myriam

I return to Hiroshima mon amour from time to time, thinking through the construction of the film of the same name. A hybrid between a screenplay and a novel of sorts, the text reveals how Duras worked through issues of identity and difference in presenting extremes of loss during the second World War from unexpected perspectives. In the end, the Japanese character is a bit static and it becomes clear in Duras's explanation of the back stories of each that the juxtaposition is meant to highlight the French woman's sordid past and her contribution to the suffering of others through her obliviousness during the War (which results in her public and brutal shaming during liberation). Her involvement with the Japanese man, in Hiroshima, is both atonement and recovery. The dialogue is priceless.

Maria

Encontro-te.Lembro-me de ti.Esta cidade era feita à medida do amor.Tu eras feito à medida do meu próprio corpo.Quem és tu?Matas-me.Tinha fome. Fome de infidelidades, adultérios, mentiras. Fome de morrer.Desde sempre.Eu bem suspeitava que um dia me havias de aparecer.Esperava-te com uma paciência sem limites, calma.Devora-me. Deforma-me à tua imagem, a fim de que nenhum outro, depois de ti, compreenda a razão de tanto desejo.Vamos ficar sós, meu amor.A noite não acabará.O dia não voltará a romper para ninguém.Jamais. Nunca mais. Por fim.Matas-me.Fazes-me bem.Choremos conscienciosamente e com boa vontade o dia defunto.Nada mais teremos a fazer senão chorar o dia defunto.O tempo passará. Apenas o tempo.E mais tempo há-de vir.O tempo virá em que não saberemos que nome dar ao que nos unirá. O nome apagar-se-á a pouco e pouco da nossa memória.Depois desaparecerá por completo.

Emily

I was going to watch the movie reccommended by a friend of mine, but it wasn't in the library. Luckily, I was able to get a copy in French from the script.This was so beautiful. How you can get to understand the characters, and their needs, and their past lives, and their sorrows, in only dialogue and a few moves. It's amazing. I love Marguerite Duras' prose so much. I want to see the film, like, now. Though I'm not sure if I'll enjoy it as much as the script. I usually prefer reading and imagining what the characters are doing than actually seeing it.A book without frontiers, a book about true love, about true pain, a book without names or nations in between. A masterpiece.

Teemu

Eli kyseessä on kuuluisan elokuvan käsikirjoistus taustoituksineen ja dialogeineen. Paljon maisema- ja kohtauskuvailuita. Herätti kiinnostuksen elokuvan näkemiseen. Toisen maailmansodan aikana suuren tragedian kohdannut ranskalaisnainen matkustaa Hiroshimaan rooliaan varten rauhaa julistavassa elokuvassa. Nainen tapaa itseään vanhemman japanilaismiehen ja heidän välilleen syttyy lyhyt, mutta tulinen romanssi. Heitä molempia yhdistää sodan jättämät arvet, mutta eri tasoilla.

علی

Margareth Duras is a long poem, in different books with different verses. با نام دوراس "سوزان سونتاگ"، و با نام سونتاگ، "مارگریت دوراس" تداعی می شود. تصور می کنم دوراس را هر زنی باید بخواند، و البته هر مردی هم. دوراس "سیمون دو بوار"ی دیگر است، با همان بی پروایی، جسارت و صلابت، اما زنانه و ظریف. برای خواندن و فهمیدن دوراس، باید حوصله و دقت داشت، همان اندازه که برای خواندن ویرجینیا وولف. بسیاری از آثار مارگریت دوراس به همت قاسم رویین به فارسی برگردانده شده. "تابستان 80"، "بحر مکتوب"، "درد"، "نایب کنسول"، "نوشتن"، "همین و تمام"، "باغ گذر"، "باران تابستان"، "عاشق" و البته یکی از شاهکارهایش "مدراتو کانتابیله" توسط رضا سیدحسینی ترجمه شده و "می گوید؛ ویران کن" را خانم فریده زندیه به فارسی برگردانده است. تا آنجا که یادم هست، "هیروشیما، عشق من" نیز سال ها پیش و احتمالن توسط "هوشنگ طاهری" به فارسی ترجمه شده. کتابی که دیگر هیچ خطی از آن به یادم نمانده با این نام، صحنه های فیلم "آلن رنه" با بازی "امانوئل ورا" در خاطرم زنده می شود، فیلمی که در 1959 بر مبنای این رمان کوتاه دوراس، ساخته شده است.

Stephanie

A so/so love story. The film is pretty much a drawn-out version of Days Of Our Lives. I would recommend The Lover-it's much better.

Maria Kelly

The screenplay, written by Marguerite Duras, of the film made by Alan Renais. Touching, haunting, tragic tale of a brief romance between a French actress and a Japanese architect while the woman is working on a film about peace in Hiroshima in the 1950s. The book has images from the film in it, and they are not for the faint of heart. Photos of victims of the Hiroshima bombing are a graphic reminder of the price paid in innocence for the end of World War II. I read this book for my World Literature and Culture class at the University of South Florida, and this week we are scheduled to watch the film. The dialogue and description of action between the two unnamed protagonists is hauntingly beautiful and subtly erotic. "You were made to the size of my body. You destroy me," the woman says to the man. Beautifully written with delicious dialogue.

Jose

This book is a rich read focusing on the often unexpressable emotions that are love, life, and loss. Duras attempts the difficult task of expressing these emotions and the pull have on us in this novel.

Eman Dubul

رواية هيروشيما حبيبيمن عنوانها تبدو على صلة بموضوع الكارثة النووية التي حدثت في اليابان وعندما تتصفحها تجد بأنها على علاقة وثيقة بالحرب أو لنقل بما بعد الحرب هي نوعا ما قصة حب معقدة كتبت على طريقة السيناريو لفيلم تدور كحوار بين هو البطل الياباني وهي البطلة الفرنسية التي كانت تسيطر على معظم الحواروهي طريقة لم أحبذها لأنني أحسست بها جامدة لم تجذبني الأحداث فهي رتيبة ومملة كما أن تقطيع المشاهد يجعلك تحس بعدم التسلسل في الأحداث وكأنها قطع بازل يصعب تركيبها ولولا الملحق في نهاية الرواية لكانت معظم الأمور غير واضحة أما الترجمة فهي أقل مايقال عنها متواضعة للغاية الفرنسية التي جاءت لهيروشيما لتصوير فيلم عنها تلتقي بالياباني وتدور بينهما علاقة حب كان من الممكن أن تكون عابرة خصوصا وأنهما متزوجان وأنها ستغادر بعد فترة قصيرة ربما دون عودة ولكن من خلال حوارهما تقربا لبعضهما عبر التوغل في معاناتهما من الحرب وويلاتها لن أذكر المزيد من التفاصيل حتى لا أحرقها عليكم

Masanobu

(23/11/09: I'm still watching the film, which I'm loving, so the real rating and review are still pending.)Well, I kind of forgot I hadn't written this review. I said what I said because this book cannot be separated from the film. Now I couldn't make it justice just by summarizing it, and the plot isn't that new (except for the inter-racial couple, that was a shock in the sixties), but together they are a masterpiece and I've often found myself thinking about it.

Gabrielle Grozea

"Esti cât o mie de femei laolalta. Asta pentru ca nu ma cunoşti". Superb.

Sofia Jacinto

Que murro no estomago que foi este livro. Único defeito: demasiado pequeno.«Uma noite longe de ti e esperava o dia como uma libertação.»

Emily

After watching and utterly falling for Alain Resnais's and Marguerite Duras's 1959 film Hiroshima mon amour back in March, I was so enamored of the language—sparse, yet compelling enough that I recited phrases from the film to myself for weeks after watching it—that I had to search out Duras's original screenplay and spend some time absorbing the words at a slower-than-speech pace. Doing so only increased my admiration for Duras's work here, while at the same time helping me realize how much the visual and audio elements of the film augment and alter the words spoken. Having read with interest Amateur Reader's recent post on watching and reading plays, it was an intriguing exercise to go back and read a screenplay of a film I've already watched and savored.In particular, Elle's hypnotic near-monologue from the opening of the film makes a different impression when stripped of the haunting score by Georges Delerue and Giovanni Fusco, and of the shocking and heartbreaking newsreel footage of war devastation (and its counterpoint, near-abstract images of lovers' bodies). Emmanuelle Riva's cadenced delivery of these lines emphasizes the way in which Duras's prose veers, under pressure, into poetic verse and back out again. The score, in turn, underlines that growing pressure underlying Elle's narration, as she tries to convince her Japanese lover that she has seen Hiroshima, that she has witnessed and at some level understands the devastation of the war. Take the following passage, from close to the beginning of the film (all marks and emphasis mine):       Quatre fois au musée à Hiroshima.      J'ai regardé les gens. J'ai regardé moi-même pensivement, le fer. Le fer brûlé. Le fer brisé, le fer devenu vulnérable comme la chair. J'ai vu des capsules en bouquet: qui y aurait pensé? Des peaux humaines flottantes, survivantes, encore dans la fraîcheur de leurs souffrances. Des pierres. Des pierres brûlées. Des pierres éclatées. Des chevelures anonymes que les femmes de Hiroshima retrouvaient tout entières tombées le matin, au réveil.      J'ai eu chaud place de la Paix. Dix mille degrés sur la place de la Paix. Je le sais. La température du soleil sur la place de la Paix. Comment l'ignorer?The meaning in English is more or less:       Four times at the museum in Hiroshima.      I watched the people. I myself watched, pensively, the metal. Metal burnt. Metal broken, metal become vulnerable like flesh. I saw the bouquet of bottle caps: who would have thought? The preserved human skins, floating, surviving, their suffering still fresh. The stones. Burnt stone. Shattered stone. The anonymous hair that the women of Hiroshima found, fallen out, on waking in the morning.      I was hot in Peace Square. Ten thousand degrees in Peace Square. I know it. The temperature of the sun in Peace Square - how could you not know it? However, many of the rhymes and echoes (in particular the "eɪ" sound common among the bolded syllables above) don't translate into English. Try to read it in French even if you don't understand the words, and notice how the rhyming or echoing words are grouped together, often in the shorter sentences. The rhyming/echoing "eɪ" sounds are generally on the accented syllable, and often directly precede a comma or period, which strengthens the stress on those beats. They are repetitive yet syncopated, building on each other to create a rhythmic tension which is alleviated by the counterpoint of the longer sentences, which descend back into a more prose-like rhythm (although the underlined syllables create another, minor rhythmic line). The overall effect is insistent, incantatory. Elle is building a story, a representation that is meant to convince her lover of what she "knows," what we all "know": the devastation and cruelty of the atomic bomb at Hiroshima. But representations of something felt in the body tend to be problematic in Duras. The insistent yet fragile structure created by Elle's voice is cut short by Lui's stark refusal: "Tu n'as rien vu à Hiroshima, rien." (You saw nothing at Hiroshima, nothing.") Although Duras communicates much of this rhythmic play via punctuation, the text alone simply does not have the power of the full filmic package. 1 The score underlines everything I've been talking about with regard to the building rhythmic anxiety: frenetic piano, flute, and string parts underline brilliantly the tension during her speeches about the museum, while his refusals are marked by silence, or the single, elegant line of (I'm guessing?) a clarinet. Just to illustrate the exact points Duras is making, my analysis comes nowhere close to the experience of actually watching all elements come together, which you can do here. The cuts back from the bomb footage to the lovers' bodies provide another method of contrasting the physical immediacy of Elle's current situation with the theoretical nature of her "knowledge" about the bomb. And the questions of reality versus representation are brought to yet another level by the fact that this is itself a piece of art, being viewed by an audience, yet it incorporates the same real newsreel footage that Elle keeps referencing. As the viewer, I feel I am coming face to face with the "reality" of the war, just as Elle feels she was brought face to face with it by going four times to the museum. My reaction was the same as hers: I wept. The impact of these images does not feel negligible, does not feel like something that can be so cleanly dismissed. And yet of course, my feeling is just as illusory as Elle's: our weeping does not indicate any privileged knowledge of Hiroshima under attack. That kind of knowledge is kept locked in the bodies of those who were there, and any attempt to communicate it in language (as Elle does with her own trauma later on) will lead only to forgetfulness, not to shared understanding.Notes on DisgustI've decided to jot down a few notes for each of my posts about how the book in question might make use of disgust, even if said book is not directly related to my Disgust Project. This is primarily so I can get a better idea what the most common uses of disgust might be.Hiroshima mon amour is remarkable for how little disgust it elicits, considering its subject matter. The opening 15-minute montage, in particular, shows very graphic images of disfigurement following the atomic blast, yet (at least personally) I wouldn't say disgust is my primary emotion on viewing these images. I think this is because the disgust impulse has either been superseded by grief and pity, or has reached a tipping point of extremity into horror. (Since I'm American, there may also be a certain amount of cultural guilt around the knowledge that "we" were the ones responsible for the atrocities pictured. Despite the fact that the bomb project was not exactly a democratic decision and happened in any case long before I was born, and despite my strong dislike of nationalism, witnessing photographic evidence of the devastation wrought by one's own country is for some reason more upsetting than witnessing similar devastation wrought by others. As such, most of the disgust I feel when viewing these images is directed inward, if not toward "me" at least toward "us," rather than outward toward "them.")Speaking from the small amount of reading I've done thus far, and from my common sense, disgust is a largely dehumanizing emotion, used to police boundaries between the "safe" and the "contaminating" (us and them, clean and dirty, etc.). The degree to which Hiroshima mon amour succeeds in breaking down those us vs. them boundaries can be measured by its communication of horror and grief (however limited or suspect they may be) rather than disgust, to the viewer, despite the inclusion of images which could easily disgust. Bottom line: Transformation of disgust into grief via sympathy.******* 1Which is not to say that I disagree with Amateur Reader's overall point: I enjoy reading plays and agree that we can stage them effectively in our imaginations. But the combined imaginative power of Marguerite Duras and Alain Resnais far outstrips my own.

Jean-claude Boulos

I enjoyed the film much more. Reading the screenplay was rather pointless.

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