{"id":294586,"date":"2013-07-15T17:30:00","date_gmt":"2013-07-15T17:30:00","guid":{"rendered":"http:\/\/www.wdev.rochester.edu\/College\/translation\/threepercent-dev\/2013\/07\/15\/excerpt-from-lamour-at-guernica\/"},"modified":"2018-04-16T15:56:36","modified_gmt":"2018-04-16T15:56:36","slug":"excerpt-from-lamour-at-guernica","status":"publish","type":"post","link":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/2013\/07\/15\/excerpt-from-lamour-at-guernica\/","title":{"rendered":"Excerpt from "L'Amour" at Guernica"},"content":{"rendered":"

For all of you who are excited about L’Amour<\/em>,<\/a> the never-before-translated Marguerite Duras book that we’re publishing this week, you can check out a sizable excerpt over at Guernica<\/em>.<\/a><\/p>\n

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Night.<\/p>\n<\/blockquote>\n

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The beach and the sea are in darkness.<\/p>\n<\/blockquote>\n

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A dog passes, going toward the sea wall.<\/p>\n<\/blockquote>\n

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No one walks on the boardwalk, but, on the benches lining it, people sit. They relax. Are silent. Separated from one another. They do not speak.<\/p>\n<\/blockquote>\n

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The traveler passes. He walks slowly, he goes in the same direction as the dog.<\/p>\n<\/blockquote>\n

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He stops. Returns. He seems to be out for a walk. He starts off again.<\/p>\n<\/blockquote>\n

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His face is no longer visible.<\/p>\n<\/blockquote>\n

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The sea is calm. No wind.<\/p>\n<\/blockquote>\n

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The traveler returns. The dog does not return. The sea begins to rise, it seems. Its sounds getting closer. Muffled thudding coming from the river\u2019s many mouths. Somber sky.<\/p>\n<\/blockquote>\n

And as a special bonus, here’s a bit of Sharon Willis’s afterword:<\/p>\n

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L\u2019Amour<\/em> forgets. Of course, this is a novel about<\/em> forgetting\u2014and memory. But its narrative presents itself as dispossessed of the very memory that runs through it in the form of recycled figures and images that recall two of Duras\u2019s previous novels, The Ravishing of Lol V. Stein<\/em> (1964) and The Vice Consul<\/em> (1965). Sometimes known as the \u201cIndia cycle,\u201d this extended text, relayed across three books, performs its own forgetfulness, and imposes a frustrating\u2014even terrifying\u2014amnesia on the reader. But to read L\u2019Amour<\/em> apart from the earlier novels presents another problem, this time more epistemological: without the trans-textual memory that structures and binds these three narratives into one prolonged text, how does L\u2019Amour<\/em> become legible? <\/p>\n<\/blockquote>\n

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Reducing characters to figures as residues, remnants, and fragments, this book produces a textual relay that becomes its own internal memory and that dissolves its narrative frame, substituting its memory of the previous texts for the reader\u2019s own, implanting memories in us. But like the dead dog on the beach to which L\u2019Amour<\/em> returns with unsettingly frequency\u2014as if this corpse structures the narrative space\u2014these are figures in the course of deterioration. Memory is erasing itself. The dead dog, mentioned once in The Ravishing<\/em>, reappears repeatedly in L\u2019Amour.<\/em> Around this dreadful site\/sight, a hole in sense, circulate the unnamed residues of characters that the reader \u201cremembers\u201d from previous texts. Remembering here means fleshing out these haunting ghosts\u2014worn to nubs, \u201csanded down,\u201d to cite the translators\u2014transposed from The Ravishing<\/em> and The Vice Consul<\/em>: Lol V. Stein, her fianc\u00e9, Michael Richardson, and Jacques Hold, the narrator who tells their story while he gradually enters into it. <\/p>\n<\/blockquote>\n

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But instead of grinding to exhaustion in its obsessive return to these figures, this novel relaunches them\u2014translates them\u2014into film, the medium that will preoccupy Duras in the coming years. Haunted by its shape-shifting textual ghosts (in French revenants<\/em>; literally, one\u2019s coming back), L\u2019Amour<\/em> also anticipates a cycle of films marked by these same narrative remnants and traces: La Femme du Gange<\/em> (1972), India Song<\/em> (1974), and Son nom de Venise dans Calcutta d\u00e9sert<\/em> (1976). Situated at the join between the prose cycle and the cinematic one, L\u2019Amour<\/em> produces a site of translation, a space where everything keeps turning into something else. Hence this text\u2019s fascination with liminal or threshold spaces: dawn, dusk, the crepuscular. We might even see this space as the place where we can watch this extended novel turning into cinema.<\/p>\n<\/blockquote>\n

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L\u2019Amour<\/em> is a theater of translation, in which the ongoing conflict between eye and ear, image and speech, stillness and passage, present and past, endlessly mutates. This sense of ceaseless mutation coheres with the persistent boundary failures, between texts, between genres, between textual spaces and between the characters who uneasily inhabit them, that mark Duras\u2019s work in general, and that emerge within _L\u2019Amour_\u2019s narrative unfolding, troubling its ability even to begin and to end.<\/p>\n<\/blockquote>\n

L’Amour<\/em><\/a> is available at better bookstores everywhere, or can be ordered from Open Letter “directly.” (And at a really nice discount . . .)<\/p>\n

\n<\/a>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

For all of you who are excited about L’Amour, the never-before-translated Marguerite Duras book that we’re publishing this week, you can check out a sizable excerpt over at Guernica. Night. The beach and the sea are in darkness. A dog passes, going toward the sea wall. No one walks on the boardwalk, but, on the […]<\/p>\n","protected":false},"author":292,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[67486],"tags":[43946,52306,52146,52316,2126,52296],"class_list":["post-294586","post","type-post","status-publish","format-standard","hentry","category-articles","tag-guernica","tag-kazim-ali","tag-lamour","tag-libby-murphy","tag-marguerite-duras","tag-sharon-willis"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts\/294586","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/users\/292"}],"replies":[{"embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/comments?post=294586"}],"version-history":[{"count":1,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts\/294586\/revisions"}],"predecessor-version":[{"id":339506,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts\/294586\/revisions\/339506"}],"wp:attachment":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/media?parent=294586"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/categories?post=294586"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/tags?post=294586"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}