Looking over the Goodreads reviews of this tetralogy,

I find that almost everyone gave it either five stars, with the note that it's the greatest work they have ever read and that it changed their lives, or one or two stars, marked by utter impatience.

I can identify with both.

There are breathtakingly beautiful descriptions of every aspect of nature, such as light, desert, sea, and wildlife.

There are also repeated descriptions of the lovely, decadent, and deadly city of Alexandria.

Durrell makes you feel the heat, smell the fragrances, and taste on the wind both the dust of the desert and the salt of the Mediterranean Sea.

However, he also can let his prose run away with him.

For example, he writes, \\"[He found himself] a prey to gravitational forces which lie inherent in the time-spring of our acts, making them spread, ramify and distort themselves; making them spread as a stain will spread upon a white ceiling.\\"

Block that metaphor!

In spite of occasional excesses like this, Durrell rendered me as helplessly enchanted as the five-star readers, but eventually as irritated as the two-stars.

This work is about everything, and thus about nothing in particular.

It is about memory and its illusions, about every form of love you can imagine, including brother-sister incest, about faith and betrayal, both human and religious, about art and its causes (supernatural forces? genius? luck? work?), about the inadequacy of words for accurate communication (he complains at one point that even his wonderful descriptions are only the verbal equivalent of a monochrome snapshot), and about the impossibility of ever capturing truth by means of memory and expression.

After a thousand pages, I was hoping for some resolution, some admission that, although the truth is not possible, we can at least make better and better approximations.

But resolution would have been untrue to the fundamental claims the work was trying to make.

I have a friend who has read this work three times since it came out around 1960, with a different (but always admiring) view of it each time.

I can see possibly tackling it again in 10 years or so, but right now I've absorbed all I can.

Four Superb Novels Set in Egypt and Greece During WWII

During World War II, the settings of Egypt and Greece provided a rich backdrop for four remarkable novels. These novels vividly evoke the unique atmosphere of that era.

In particular, they capture the decadence and excitement that characterized life in Alexandria. The city was a melting pot of cultures, with a vibrant social scene and a sense of both luxury and danger.

The novels transport readers to a time when the world was at war, but also a time when people were still able to find moments of beauty and passion. Through the eyes of the characters, we experience the joys and sorrows of life in Alexandria during this tumultuous period.

Whether it's the intrigues of the upper class or the struggles of the common people, these novels offer a fascinating glimpse into a bygone era. They are a must-read for anyone interested in history, literature, or the complex emotions that define the human experience.

Dlouhá a skvostná jízda! This is truly one of the best books that I have ever read. The story takes you on a long and magnificent journey that is simply captivating. The characters are well-developed and the plot is full of twists and turns that keep you on the edge of your seat. I don't want to say too much more about it because it's impossible to summarize in just a few sentences. You really have to experience this book for yourself to fully understand its beauty and charm.

The Alexandria Quartet is a work that often展现出深刻与美丽的一面，然而有时也会变得枯燥和平庸。

我们有幸能对一个人对现实的感知进行独特而深入的探索。同时，书中还有对一座古老中东城市的精彩描绘，以及地点和环境对人的情感的影响。

但当杜雷尔的描述过于冗长或夸张时，就会出现一些不足之处，例如“或者是那些在心灵的冰箱里哭着入睡的诗歌的疲惫冰淇淋？”

这部小说吸引着你，创造出各种谜团，然后随着故事从不同的视角重复和润色，逐渐解开这些谜团。我们看到现实是如何根据每个人的动机、背景和自我意识而从他们的视角发生变化的。杜雷尔简洁地总结道：“如果对一个人类行为有两种或更多同样好的解释，那么行为除了是一种幻觉还意味着什么呢？”

这个故事聚焦于浪漫爱情，质疑我们在多大程度上看到了自己想要的，只是将自己的情感投射到他人身上，并使关系符合我们自己对时间和地点的感觉。这让我们思考我们最终能在多大程度上相信自己的判断。杜雷尔有力的呈现让我回顾了自己的一生。

不幸的是，要获得这些益处，需要筛选出糟粕。这四部小说加起来需要大量的阅读。它们在时间上前后穿梭，并穿插着大量描述性的文本段落，这些段落可能非常出色，但也可能过长、重复，有时甚至毫无意义。

也许这本书本身就像一段爱情关系，虽然有趣且令人满足，但也可能变得乏味和疲惫。推荐给有耐心的读者，特别是那些对浪漫心理学感兴趣，并喜欢20世纪30 - 40年代埃及亚历山大这个大熔炉及其多样化角色的异国风情的读者。

You could never mistake it for a happy book.

The sexual provender which lies to hand is staggering in its variety and profusion. For there are more than five sexes and only Durrell seems to distinguish among them. The symbolic lovers of the free Hellenic world are replaced here by something different, something subtly androgynous, inverted upon itself. Durrell cannot rejoice in the sweet anarchy of the body - for he has outstripped the body.

'The Alexandria Quartet' is the great winepress of love. Those who emerge from it are the sick men, the solitaries, the prophets - I mean, all who have been deeply wounded in their sex.

You see, nothing matters except pleasure - which is the opposite of happiness, its tragic part, I expect. Days simply become the spaces between dreams... a tide of meaningless affairs nosing along the dead level of things, entering no climate, leading us nowhere, demanding of us nothing save the impossible - that we should be. Justine would say that we had been trapped in the projection of a will too powerful and too deliberate to be human - the gravitation field that 'The Alexandria Quartet' throws down about those it has chosen as its exemplars.

With each succeeding page I felt anxiety and expectation running neck and neck. The Past! There came over me an unexpected lust to sleep with Justine - no, with her plans, her dreams, her obsessions, her money, her death! Who invented the human heart, I wonder? Tell me, and then show me the place where he was hanged.

Pretentious? Moi? This work seems to be a complex exploration of the human condition, delving deep into the realms of sexuality, pleasure, and the search for meaning. The author's vivid descriptions and unique perspectives draw the reader in, making them question their own understanding of these themes. It is a thought-provoking and engaging piece that leaves a lasting impression.

Trying to review these books is like trying to review your life.

While reading these, I truly ceased to exist in 21st-century America. Instead, I felt as if I was in a different, slower world that my grandparents would have recognized. Full credit goes to the author for creating this effect.

An aside: My mother, now ravaged by Alzheimer's, was overjoyed when I was home on break from college a few decades ago and picked up Justine from her reading shelf, where the Quartet had been in plain sight throughout my entire childhood. She advised me to re-read the entire thing once per decade for the rest of my life, and I've attempted to do so.

So why only three stars?

The "quality of the writing," often lauded, seems to be focused on the long, overly written (in my opinion) descriptions of landscapes and sunsets. I was impressed, within the first couple of pages of the first book, by the description of "dust-tormented streets." However, I was less so by the dozen or so descriptions of "fly-tormented," "heat-tormented," "mosquito-tormented," etc. that followed. The effect of this overwriting, though, is that it compels you (or me, at least) to concentrate, for fear that something important might be hidden within. This is part of the reason it is so captivating.

I suppose this was the first literature I ever read that seriously addressed the problems of love and sex. Since I so strongly associated the book with my parents' and grandparents' eras, it was a bit uncomfortable, and I still feel slightly unclean after reading it. But more importantly: I really struggle to relate to any of these people or their thought processes. The profound insights about love leave me perplexed. I say this seriously: I am too simple-minded for this kind of internal reflection, and I'm not sure that's a bad thing.

But! --Despite all that, I think that this quartet is a magnificent snapshot in time, and if you read it, you'll never forget it.

I had to really convince myself to write this review. I only read a small portion of this book (or maybe these books?). A coworker loaned it to me, claiming that I would like it. When I read the jacket, I was highly skeptical. It's set during wartime in Egypt, which doesn't interest me at all. I prefer things that are here and now, alive and present. And after reading the book, I was certain of my initial doubts. Is this thing celebrated in some way? Why? Wikipedia states that it's supposed to cover the same events from different perspectives, in a Rashomon style, but to me, it just seemed like a jumble of senseless ramblings. I'm really tired and a bit delusional right now, so I'm probably being much harsher than I need to be. But my overall feeling about this book was, "fuck this shit."

The introduction claims that readers are going to skip parts of this book. But how would one even know what to skip? And if the point is to present different perspectives on the same events, how can that be accomplished if you don't read all the perspectives?

“‘There are only three things to be done with a woman […]. You can love her, suffer for her, or turn her into literature.'” In my opinion, these are all essentially the same thing.

“‘We live […] lives based upon selected fictions. Our view of reality is conditioned upon space and time–not by our personalities as we like to think […].'” I had to cut out parts to get a powerful quote, which was a major issue. This stuff was extremely wordy. Look, obviously I like words. That's why I'm writing this. But they should have a purpose. I like food too, but I don't just throw tuna, sage, ranch dressing, sweet potato, beef wellington, and Doritos into a bowl. Words need to have a reason to exist; otherwise, they might as well be the blank space on a page.

Probably one of the most spectacular things I've read in a long time.

The writing is truly exquisite. It is both ornate and sweeping, painting a vivid and detailed picture in the reader's mind.

The characters are drawn from all corners of Egyptian society, bringing together the high and the low in a sensuous jumble.

The shifting narrative is a real strength of the series. As you progress through it, you gain more and more perspective on the characters and the essential plot points.

Initial impressions are often upended and proven to be completely wrong. More and more illusions are shattered, leaving you with something that is painful, yet utterly real.

Here are only a few quotes from Clea. Sadly, KNH broke and I lost most of my highlights.

"Words are the mirrors of our discontents merely; they contain all the huge unhatched eggs of the world's sorrows."

"Eloquent and silent water-ballets which allowed us to correspond only by smile and gesture."

"We carry in ourselves the biological trophies they bequeathed us by their failure to use up life--alignment of an eye, responsive curve of a nose; or in still more fugitive forms like someone's dead laugh, or a dimple which excites a long-buried smile."

"Art is not art unless it threatens your very existence. Could you repeat that, please, more slowly?"

It took almost two months (interspersed with less intense readings) to read these four volumes (1073 pages): a rich but sometimes arduous reading experience.

Justine, volume 1, is the best among them. It presents a vivid and engaging story that immediately grabs the reader's attention. The characters are well-developed, and the plot is full of twists and turns.

However, as the reading progresses, the other volumes also have their own charms. They explore different aspects of the story and add depth to the overall narrative.

Despite the challenges, this reading journey has been rewarding. It has allowed me to immerse myself in a different world and gain a deeper understanding of the characters and their experiences.

In conclusion, these four volumes are a must-read for anyone who enjoys a good story. Although it may take some time and effort, the end result is well worth it.

I read "Justine" many years ago and have just completed reading the entire "Quartet". It has been a remarkable literary journey. I have reviewed each individual work separately at the links provided below. I gave "Mountolive" a five-star rating, while the others received four stars.

I rated "Mountolive" higher due to the captivating and roundabout journey it took me on. It was truly a unique and engaging read. However, when considering the "Quartet" as a whole, I have given it a five-star rating. My reasoning is that the sum of these individual works is greater than their parts, which could almost be one of the central themes of the "Quartet".

There is a strong possibility that in the future, I may increase the four-star ratings of the other volumes to five stars. Lawrence Durrell's works deserve to be placed in the same league as those of Marcel Proust, both in terms of subject matter and the beauty of his prose. His ability to create vivid and complex characters, as well as his masterful use of language, is truly remarkable.

Star Rating

I read "Justine" many years ago and have just read the whole "Quartet".

I've reviewed the individual works separately at the links below. I rated "Mountolive" five stars and the others four.

I rated "Mountolive" higher, because of the roundabout journey it took me on.

I've rated the "Quartet" as a whole five stars. My rationale is that the sum is greater than its parts (which could almost be one of its themes).

However, there is a good chance that I will some day increase the four star ratings to five.

Durrell deserves to be considered in the same company as Proust for both subject matter and prose.

REVIEWS OF INDIVIDUAL VOLUMES:

"Justine"

https://www.goodreads.com/review/show...

"Balthazar"

https://www.goodreads.com/review/show...

"Mountolive"

https://www.goodreads.com/review/show...

"Clea"

https://www.goodreads.com/review/show...

Stratis Tsirkas is a remarkable figure.

His works have left a profound impact on the literary world.

Unlike many others, Stratis Tsirkas had a unique approach and style.

He was able to bring characters and stories to life in a way that few could.

His descriptions were vivid and detailed, allowing readers to truly immerse themselves in the narrative.

Whether it was the emotions of the characters or the settings of the stories, Stratis Tsirkas did it better.

His writing was not only engaging but also thought-provoking, making readers reflect on various aspects of life.

Overall, Stratis Tsirkas is a master of his craft, and his works continue to be widely read and admired.

Stratis Tsirkas did it better.

In a sense, this evaluation of Durrell's magnum opus has been lingering in the recesses of my mind for decades. Three volumes have been resting on my bookshelf for thirty years, patiently awaiting (or perhaps challenging?) me to flip through the pages and start anew. Would they possess the same potency and evocativeness as they did the first time? Would they transport me back in time to the girl I was on the bus journeying from Oaxaca to Mexico City, attempting to read Justine through the tears shed for a recently lost love? (A belated apology to the man confined to his window seat beside me.) Yes. And yes.

So, I wasn't overly astonished when a man at the gym noticed me reading Balthazar on the stationary bike and simply had to share with me how profoundly Durrell's novels had influenced him in his youth. "So romantic!" he exclaimed. A week later, another man at the gym spotted Mountolive in my hands and promptly came over to engage in a chat about it. The third gym enthusiast to approach me was a woman who stated that she had never read the books, but they were her father's all-time favorite novels, and he read them repeatedly. Why? She informed me that her father had grown up in Alexandria, and reading the novels transported him back to the city of his youth. Now, this was fascinating. Many people hypothesize that the Alexandria Durrell描绘的 is a fictional construct - the writer Jan Morris being one of them. Hmm. Perhaps the gym woman's father recalls a fictionalized version of his hometown? Or perhaps Durrell got it mostly correct? Regardless of the authenticity of his portrayal of the city and its inhabitants, Durrell's tactile, evocative, and rhythmic prose can whisk the reader into the city's streets and make them sense the whirlwinds and eddies of a riotously celebrating crowd. Don't believe me? Grab a copy of Balthazar, turn to page 155 (paperback), and commence reading from "From the outer perimeter of darkness..."

You'll notice that I haven't disclosed what the novels are about. You truly don't want to know that in advance. Just read the books in the order they were written.

“Aware of every discord, of every calamity in the nature of man himself, he can do nothing to warn his friends, to point, to cry out in time and to try to save them. It would be useless. For they are deliberate factors of their own unhappiness.” Lawrence Durrell, from Balthazar.