ISBN: 207052907X
ISBN 13: 9782070529070
By: Marguerite Duras

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About this book

L'amour est enfant de bohème... La poésie et la musique lui vont comme un gant : Nouveau, Marbeuf, Labbé, Ronsard, Verlaine, Aragon. Chopin, Franck, Mahler, Schubert, Brahms, Mozart. Ou comment parler d'amour.

Reader's Thoughts


I was not a fan of The Ravishing of Lol Stein, so I'm not quite sure why I continued on with L'Amour. And unfortunately, L'Amour was even more disappointing. I do not think Marguerite Duras and I get on. At least it was a short misery.(First Reads Win.)

Linda Mccoy

I really didn't know how to rate this book, so I gave it 3 stars. As one in a series, it might have been more understandable if read with the others. At any rate, as a First Reads winner, it was good to read something completely different if somewhat odd.

Sheila Tejada

Cuando lea los primeros libros, de los cuales no conocia su existencia, podre opinar.


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.


I think that this may be an interesting exercise in prose; however, not having read Duras's earlier works, from which this slim volume distills its characters and scenes, I don't believe that I am in a good position to appreciate what Duras is doing here. This did pique my interest enough to make me want to pick up these earlier books. Once I read those, I'll re-visit this one.


Perpétuels errements... Une histoire obscures et des faits sous-jacents. A lire plusieurs fois, à moins d'en posséder les clés.

Aaron Mcquiston

This slim novel is the third in a trilogy of books I haven't read. After reading the afterward, I got the impression that I would understand it better if I had read the first two sections. As it is, I'm stuck with a confusing, small book, without character names, a bare bones novel stripped of every word that does not matter, making it such a surreal experience that a 98 page translation takes much longer to read. It is as if there is a world of novel between each line, each piece of dialogue, each movement and daybreak. I like reading like this sometimes; those books where nothing is spelled out for you and you don't know where you are going at all. This creates a kind of tension inside of the reader and brings the reader closer to the book.I haven't read the other two parts of this trilogy, I am sure that I'm missing the importance of some of these scenes, but the great thing about reading it by itself is that I can interpret it the way that I want. I do not go into this with any sort of guide and I get to create the scenes in my head however I want. I can be completely wrong without any type of conscious. This makes the novel somewhat refreshing. It reads fast if you don't want to spend a great amount of time thinking about what might really be happening because it is written like a film script and prose poem, so sparse and forgiving that there is so much interpretation that can be done, even if it is wrong to the original plot that it was based on. I say read this novel only. If you want to go back and see what it really was about by reading the other two novels, then do it. I personally like my own interpretation of the story, no matter how far off from the truth it is.

Sofia Jacinto

Can't give more stars as i decided to get lost in the book (and sometimes didnt undrstand what was going on),haunting story about closure, a visit to old memories.a book full of amorous desire, unrequited love, and abandonment, light, sand, heat, night, day, waves...waves that collapse as they travel to the past, as they live what's already forgotten by some.written as a sort of prose poem, it never gives you direct guidelines... you wander and decide what's real and what's just memories.Gladly i knew the story of Lol Stein. However, in L'amour there's no names, just a woman and a traveler.The traveler moves from the beach to the hotel, present past, making it hard to follow him...an enjoyable trip for the reader, but hard for them...all that remains are the flames that burn in S Thala, a place to be forgotten. full of tragedy and broken heartsand the dead dog."Il prend du sable, il le verse sur son corps. Elle respire, le sable bouge, il s’écoule d’elle. In en reprend, il recommence. Le sable s’ecoule encore. Il en reprend encore, le verse encore. Il s’arrête.-Amour.” L’amour, Marguerite Duras

Mary Jo Zilveti

Etéreo. Foi o que ouvi quando da primeira vez que me relataram sobre esse livro durante uma aula de literatura.

Shekoufeh homami

خواندنش سخته با توجه به حجم کمش نتونستم زود تمومش کنم


بهترين كتابي كه از دوراس خوانده‌ام . فرساينده بود اما زيبا .


Obsessively circling, I quite enjoy Duras when she's at her most circular. There's a sparseness here that is utterly confusing at times, intentionally so (though I must admit that after finishing the book I watched the film it channeled itself into, Woman of the Ganges, which certainly helps to illuminate narrative--I'm even tempted to say that this is an instance where I actually prefer the film over the book, if only for the apocalyptic landscapes that haunt the film, and the voice-over, absent from the book, layered over the transposed narrative, is evocative in a hyper-oneiric fashion).I will also admit that, while The Vice Consul is one of my favorite of Duras's books, I haven't read The Ravishing of Lol V Stein, so I will perhaps need to revisit this when I have the larger structural narrative in place.

Aaron (Typographical Era)

Not quite a screenplay, not quite a conventional novel, the final written entry in Marguerite Duras’s India cycle (The Ravaging of Lol Stein, The Vice-Consul) finds former teenage lovers Michael Richardson and Lol V. Stein aged by the passage of time and reunited back where it all began, or more precisely abruptly ended, for a final go round with one another. Their chance encounter and subsequent interactions make for a wonderfully complex yet maddeningly dizzying experience, one that leaves the reader feeling off-balance from the very start, and one that never ceases to challenge their basic assumptions about narrative structure.READ MORE:http://www.typographicalera.com/lamou...


Este libro es corto, no entendí completamente ese viaje al pasado del protagonista sin nombre, pero si sentí (porque no leí los otros dos libros), y mucho. El libro es toda una experiencia, su narración es impecable, te inmiscuye y te hace sentir más que entender.

César Valenzuela

En “El amor”, novela de Marguerite Duras hay tres personajes principales: un hombre, vigilante, que camina siguiendo la orilla de la mar con el paso regular de los prisioneros; una mujer embarazada, enojada contra Dios; y un viajero, nombrado así a causa de la lentitud de su paso y del extravío de sus ojos.Un lugar domina su imaginación y, al parecer, su voluntad: S. Thala, sitio que parece encerrar a sus habitantes, -cuya música hace llorar-, lugar de donde parece provenir un ruido indescifrable que la estremece. En el texto de Duras se detiene la luz, el aire. Todo está devastado, ha habido una explosión, un casino bombardeado, luego habrá un incendio, y un incendiario. Personajes que buscan desprenderse de lo que han tenido, que luego se quedan sin nada, se acompañan, buscan acabar con todo; son fugitivos, prisioneros, locos, que en “El amor” nos ofrecen una experiencia poética más que narrativa. Es difícil seguir los hechos; la atmósfera emocional se impone a la historia, que sólo aparece sugerida. La experiencia es triste, desoladora, confusa, quizá como el amor mismo.

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