The palimpsest is a remarkable literary work.

When I first read it in 2013, my initial impression was that it didn't seem as rich or as avant-garde as Justine, which I had completely failed to understand at that time. As a result, I gave this book four stars.

However, now that I have re-read it and have gained a better understanding of the threads within Justine, my appreciation for this work has grown significantly.

The set scenes are truly wonderful, painting vivid pictures in the reader's mind. The deep characterization is also a standout feature.

In particular, characters like Narouz, Pursewarden (Wyndham Lewis), and even Clea, who is slowly starting to come into view, are all brought to life in a captivating way.

This re-reading has allowed me to see the true beauty and depth of the palimpsest, and I now have a much greater admiration for it.

It serves as a reminder that sometimes, a second look can reveal hidden treasures within a literary work.

Overall, I would highly recommend this book to others, especially those who are willing to invest the time to fully explore its complex and engaging narrative.

In the second volume, I got immersed in a formal idea, and that's good.

The accusations (stylistic ones) that I had after the first volume still hold. This poetic psychologizing that leads to exaltation is still annoying. But the story itself has picked up pace, and the construction based on questioning things that were previously considered true - has a strong postmodern bite. It's not as good as Fowles' "Mag" when it comes to convincing the reader's consciousness. It probably doesn't even aim to amuse the reader as Fowles did. But still, the formal device is very engaging, and I'm eagerly waiting for the continuation and further perspectives on the whole story.

Moreover, the way the author plays with the narrative structure and challenges the traditional notions of truth and perception adds an extra layer of complexity to the story. It makes the reader think and question their own beliefs and assumptions.

Despite its flaws, the second volume shows promise and leaves me curious to see how the story will unfold in the upcoming volumes. I'm looking forward to seeing more of the author's unique style and the further development of the characters and the plot.

This is volume II of Durrell's "Alexandria Quartet"!

In "Balthazar", the story that was told in "Justin" is revisited, but from a different perspective and through another person's eyes, even though the narrator remains the same. New details are uncovered, which distort the story to such an extent that a new reality emerges.

It is an exploration of doubt, memories, and emotions, seen through various lenses. It is delicate, captivating, and extremely clever.

Of course, this very concept gives rise to a whole new underlying theme, namely the relationship between the writer and his work, and the possibility of allowing the truth to shift in order to create a new novel with each retelling of a story.

In any case, at the conclusion of this second volume, I am even more intrigued and eager to continue reading.

On to Volume 3...

I have a profound affection for the first two volumes of the Alexandria quartet, and there are two main reasons for this.

Firstly, the characters within these volumes are, to me, extremely captivating. Each character is vividly drawn, with their own unique personalities, motives, and desires. They come alive on the pages, making me feel as if I am truly getting to know them.

Secondly, the setting of Alexandria is both exotic and romantic. The author has done an excellent job of描绘 this ancient city, with its rich history, diverse culture, and beautiful architecture. The descriptions of the city make me long to visit it myself and experience its charm firsthand.

Overall, the combination of fascinating characters and a captivating setting makes the first two volumes of the Alexandria quartet a truly enjoyable read. I look forward to delving into the remaining volumes and continuing my exploration of this wonderful world.

Ahhh, the second parts: the eternal dilemma of repeating the formula or changing. In this saga, both are achieved. Literally, from the first page - the "Note" of a face that more resembles a warning in which Joyce, Proust, and Bergson are mentioned - one discovers that it is leaving its mark on unexplored territory.

The very idea of a second part that comments or corrects the first is, I don't know to what extent, sharp or original (I liked it), but it undoubtedly makes the reading experience different, leaving more doubts than certainties and confronting us with the paradox that something we already know is completely new, something that often happens with love.
Among the many "novelties" or revelations, the main one is that in reality Justine was in love with Purserwarden and not with the "official" narrator, let's say the one Balthazar takes the spotlight away from in this "sequel". Other unpublished scenes from the First Part are the detail of how Nessim proposed marriage to Justine (chapter III) and that the action moves out of Alexandria to Nessim's family hacienda and we get to know his mother Leila and his brother Naruz (chapter IV). We also discover the relationship of the progenitor with Mountolive. My theory is that Nessim is, deep down, overly attached to his mother and projects his Oedipus complex onto Justine, who would be very similar to Leila. Another frustrated love: that of Naruz for Clea.
In the end, Darley takes possession (literally and figuratively) of Justine's ring, which she actually gives to more than one. It is the closest he could get to any sign of commitment with her. And sometimes that giving can be deadly. Two more murders complete the novel and, in contrast, the one talked about in the first part does not seem to have been such. Life, and a good part of the work, is a Carnival: pleasure, masks, forgetfulness.
The prose is a little less overwhelming and sensory than in Justine (only a little), but the story gains in complexity and nuances. Just like in the latter, the inserts of letters and "extra materials" such as a special section of common expressions or obiter dicta of the characters strengthen the fabric of the fiction and it seems that even the most secondary of the characters has greater depth than one thought.
The mention of Peru (p. 76) as a synonym for exoticism, of something we徒劳地 try to understand as happens with the romantic phenomenon, could not be missing. A parrot could not be missing either, as in other novels that I like (Treasure Island, Love in the Time of Cholera, The Storyteller). And my suspicion could not be missing: that feeling that, in matters of love, Mr. Darley > Mr. Darcy.

In "Justine", love was presented as a seductive enigma. However, in "Balthazar", the search for truth becomes a disturbing journey through the layers of reality, blurring the boundaries between desire and betrayal. I invite you to read [my review of Justine](https://www.goodreads.com/review/show/4667691567?type=review#rating_779778764) to appreciate how these two novels are intertwined in the universe of Lawrence Durrell's "The Alexandria Quartet".

"Balthazar", the second novel of "The Alexandria Quartet", is much more than a simple continuation of "Justine". It revisits the same characters - Darley (the narrator), Justine, Nessim, Melissa, Clea, Pursewarden, and Balthazar himself, among others - but presents them from a completely new angle, transforming our perception of them from the first novel. Durrell describes Alexandria again with the same sensorial intensity as in "Justine", but in "Balthazar", the layers of truth begin to crumble, revealing what was previously hidden.

The great twist of this second installment comes from the character of Balthazar, the doctor friend who offers the narrator a new interpretation of the events he thought he knew. The previous narrative, centered on Darley's emotional and subjective perspective, is deeply questioned. "Balthazar" introduces the idea that most of the conclusions Darley reached in "Justine" were wrong or incomplete. This reminds us that individual perception is limited and subjective, and that truth is mutable, an idea that resonates throughout the book.

The novel stands out for its focus on the search for truth, a process that, although it strips away some of the magic and mystery of what was narrated in "Justine", also opens new depths for us to explore. As the story is revised and expanded, Durrell offers new facets of characters like Nessim and his family. The emotional and symbolic richness of these scenes - such as Nessim and his brother Naruz's ride through the Egyptian desert - adds a more visceral dimension to the plot, highlighting the beauty that Durrell manages to intertwine with pain and alienation.

While "Balthazar" may seem less enigmatic than its predecessor, this is due to the very nature of the search for truth that the novel faces. The mystery that surrounded the characters in "Justine" begins to fade as Darley confronts the reality behind his illusions. However, Durrell compensates for this loss of mystery with vivid and vibrant prose, which remains one of the greatest pleasures of the work. His sensorial and deeply visual style, full of evocative images, continues to be one of its distinctive features.

Moreover, the structure of "Balthazar" is significantly more complex than that of "Justine", as it introduces multiple perspectives that expand the understanding of the events. While in "Justine" the narrative was centered on Darley's subjective experience, "Balthazar" uses Balthazar's annotated manuscript as a means to refute that version of the facts. This device not only questions the narrator's perceptions but also forces the reader to reconsider what they thought they knew about the characters and their motivations. Thus, the novel presents a fascinating game of mirrors where partial truths overlap, reflecting a much more fragmented and complex reality.

Thematically, "Balthazar" continues to explore love, desire, and betrayal, but with a less romantic and more analytical focus than in "Justine". Here, love is presented not as a sublime emotion but as a web of manipulations and secrets; human relationships, far from being governed by passion, are now examined with greater cynicism, revealing how the characters use and betray each other for more complex motives than the simple search for love. The figure of Pursewarden, central in this second installment, adds new layers of complexity that invite reflection on the relationships and motivations of the characters. However, this search for truth, although revealing, can strip the characters of part of their enigmatic aura, offering a more raw view of their true intentions.

As for the narrative voice, Darley remains the focal point, but his tone has changed: he is no longer the man dominated by obsession and desire that we found in "Justine". Now, he is a more introspective narrator, conscious of his own limitations. His evolution reflects the thematic growth of the novel, which moves from emotional subjectivity to a colder and more objective examination of truth. This evolutionary arc of Darley is intertwined with the general development of "The Quartet", where each new novel sheds light on the events from different and contradictory angles, reaffirming the idea that truth is never absolute.

In conclusion, "Balthazar" is a novel rich in nuances that expands the emotional and narrative universe of "Justine". Its ability to test the reader's perceptions, its exuberant prose, and its structural complexity make this work a key piece within "The Alexandria Quartet". Although less enigmatic than its predecessor, its search for truth and the relativity of human emotions add an intellectual depth that makes this novel a fascinating and captivating read. It is essential to approach "Balthazar" after having read "Justine", as the context and subtleties of the first novel enrich the experience of the second. The lyrical prose of Durrell and the depth of the complex themes related to love, betrayal, and identity are even more significant when considered together. Although both texts challenge the reader with their non-linear structure, "Justine" establishes the necessary basis for a deeper understanding of the complexities that unfold in "Balthazar". Readers who enjoy a rich and nuanced narrative will find in both works an unforgettable literary experience.

The second installment of the Alexandria Quartet, once again seen through the eyes of the central character, the writer Darley. He now resides on a secluded Greek island, several years after the events of the first novel. Durrell's remarkable narrative and descriptive abilities craft an atmosphere that is almost palpable, as if one can reach out and touch and smell it.

Balthazar arrives with some notes, descriptions, and information regarding the events of Justine, which serve to fill in gaps, offer new perspectives, solve some puzzles, and create new ones. The majority of the novel is occupied by these notes. We gain more insights into Pursewarden (loosely based on Wyndham Lewis). There is also an extensive section about the annual carnival and masque where a murder occurs. The novel concludes with a brief interlude related to Clea, who remains as mysterious as ever.

The message that things are never quite what they seem is also part of the story, and the added nuance compels the reader to question their perceptions of the first novel. Different versions of the same story; it almost feels as if Durrell is emulating the story of Jesus in the New Testament. Durrell claimed that the entire Quartet was about modern love. The language is rich and feels venerable, yet the themes are indeed modern. However, they are age-old themes, and there is nothing truly new under the sun. The blending of the sacred and the profane in the city of Alexandria is modern, but it could just as easily be a tale set in the era of the pharaohs.

This novel was published in 1958 but is set in the 1930s, so Durrell is looking back through the lens of time, perhaps recapturing some aspects of his past. Durrell was in Alexandria during the war; the character of Justine was modeled after his second wife. Of course, much of the sexual complexity in the novels reflects Durrell's own life. Although the theme is modern love, Durrell himself was not "modern" in his attitudes. I also possess the edition of Granta in which his daughter Sappho's diary extracts are published (not long after his death and about five years after her suicide). Real life themes mirror those in fiction.

Nevertheless, it is a great novel, exquisitely written, and I am eagerly anticipating the next novel, Mountolive.

What do you want?

To flee from the eyes of this world to a quiet corner where I can have control of my own self. There are entire parts of my personality that I don't understand. I need time for that.

This part is much stronger and better than the previous one!

I didn't feel the boredom or distraction that I felt in the first part.

On the contrary, this part solved many mysteries and gave many keys to the story of "Justine"!

As I expected,

and as the author said at the beginning of this part,

the following parts are not a continuation of the first part, but its branches!

That is, the second and third parts tell the story from another perspective and explain other aspects.

And this was the most remarkable thing in this part!

There is still the mystery of the hidden narrator that I hope will be revealed in the next part that I am eager for.

Finished

10th July 2022

Lawrence Durrell is truly a master when it comes to depicting the human spectacle.

His writing is like a sharp knife, cutting through the multiple layers of our skin with a gentle yet precise dissection, and mercilessly exposing the naked truth about human nature.

In fact, all of us can be seen as Durrell's characters.

Perhaps the best description of his work is actually his own words: ‘My unkindest critics maintain that I am making lampshades out of human skin. This puzzles me.

Perhaps at the bottom of the Anglo-Saxon soul there is a still small voice forever whispering: “Is this Quaite Naice?” and my books never seem to pass the test’.

Durrell's works are not for the faint of heart. They challenge our preconceived notions and force us to look deep within ourselves.

His vivid and often disturbing portrayals of human behavior make us question our own actions and motives.

Whether we like it or not, Durrell's writing has the power to make us see the world and ourselves in a whole new light.

This is the second book in Durrell's Alexandria Quartet.

I simply can't fathom reading it without having read Justine first. Even though I read Justine not too long ago, I constantly felt the urge to go back and re-read it in an attempt to fit Balthazar into the context of the first novel.

It's truly fascinating. There are new angles and information presented, which vividly demonstrate how a change in perspective can completely transform a story.

It makes one realize that each character's viewpoint offers a unique lens through which to view the events and relationships in the story.

The way Durrell weaves these different perspectives together is masterful, and it keeps the reader engaged and constantly reevaluating their understanding of the narrative.

Balthazar is a complex and intriguing addition to the quartet, and I'm eager to see how it all unfolds in the subsequent books.

Doing basically the same story over and over through different narrators with increasingly stupid names is indeed a rather fun bit.

It can bring a unique kind of entertainment and humor. Each new narrator with a silly name adds a fresh perspective and a touch of absurdity to the familiar tale.

For example, we might have the story told first by "Clever Clive," then by "Silly Sally," and finally by "Daft Dave." The contrast between the names and the way they present the story can create a comical effect.

This approach allows for creativity and experimentation in storytelling. It gives the opportunity to play with different voices and personalities, making the overall experience more engaging and enjoyable.

Whether it's in a book, a movie, or a stage play, using increasingly stupid names for narrators can be a great way to add a lighthearted and humorous element to the narrative.

The story in this volume has a big surprise at the beginning.

However, in the continuation, no new incident occurs and we only come face to face with another group of characters in the story.

The beauty of the situation is that although no astonishing event takes place in this volume, reading it is extremely captivating!!!

This story manages to hold the reader's attention despite the lack of major plot twists.

The characters are well-developed and their interactions keep the reader engaged.

The author has done a great job of creating a world that the reader wants to explore further.

Overall, this volume is a great read and leaves the reader eager for more.