By Marguerite Duras
"Duras's language and writing shine like crystals."—The New Yorker
"A extraordinary luck. . . . Duras is on the peak of her powers."—Edmund White
Available for the 1st time in English, Abahn Sabana David is a late-career masterpiece from one in all France's maximum writers.
Late one night, David and Sabana—members of a communist group—arrive at a rustic condo the place they meet Abahn, the guy they've been despatched to protect and at last kill for his perceived transgressions. A fourth guy arrives (also named Abahn), and through the evening those 4 characters speak about existential principles of knowing, capitalism, violence, revolution, and canine, whereas a gun lurks within the historical past the full time.
Suspenseful and thought-provoking, Duras's novel calls to brain the performs of Samuel Beckett within the means it explores human lifestyles and ache within the complicated modern world.
Marguerite Duras wrote dozens of performs, movie scripts, and novels, together with The Ravishing of Lol Stein, the ocean Wall, and Hiroshima, Mon Amour. She's such a lot famous for the sweetheart, which got the Goncourt Prize in 1984 and was once made right into a movie in 1992. this can be her 3rd booklet to be released via Open Letter.
Kazim Ali is a poet, essayist, and novelist, and has released a translation of Water's Footfall via Sohrab Sepehri as well as co-translating Duras's L'Amour. He teaches at Oberlin university and the college of Southern Maine.
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No Place for Her Individual Adventure 19 In the obscurity she felt her head clasped by two hands: her face was drawn backward, and Harney’s lips were pressed on hers. With sudden vehemence he wound his arms about her, holding her head against his breast while she gave him back his kisses. An unknown Harney had revealed himself, a Harney who dominated her. (96–97) This scene signifies Wharton’s view of the heterosexual romance as inherently hierarchical. As soon as Charity and Harney become romantic, the power structure between them shifts, transforming him into the “unknown” and “dominant” Harney who reveals himself to Charity, and her into the submissive, accommodating Charity who reveals herself to the reader.
Royall not only threatens to make a “fallen woman” out of Charity; he threatens to make a terminally dependent woman out of her. Two subsequent threshold scenes reinforce the notion that the primary threat Charity faces is the loss of her independence. Unsuccessful in his attempts to possess Charity sexually, Royall tries in earnest to contain her desire through marriage. In the first scene, occurring on the threshold of his office, he iterates a proposal that sounds more like a command: “I want you to marry me,” he states twice, making “a hideous parody of the fatherly old man [Charity] had always known” (75).
Structurally and diegetically, the narrative searches almost obsessively for this causal beginning, the cause of the central character’s self-hatred and tragedy. This search is one without definitive completion. Indeed, the form and the content Introduction xxix of the story thrust readers outside of the text, to themselves, for an answer to the novel’s core question. Chapter 4 explores the circularity of Morrison’s Beloved, her attempts to signify the orality of African American culture, and the importance of narrative beginnings to this endeavor.
Abahn Sabana David by Marguerite Duras