Among these four books, I liked the third one (Mount Olive) the most. Perhaps it's because only the narrator of this volume knew the whole story, and I didn't have the proper connection with the narrators of the other volumes as I should have.

The story in this volume is told six years after the events of the previous volumes. In a way, all the characters come together in this volume. I must say that this tetralogy is really worth reading, and I'm very glad that this book has also been translated into Persian.

Moreover, the plot of Mount Olive is engaging and full of surprises. It keeps the reader hooked from the beginning to the end. The author has done a great job in developing the characters and making them relatable. The settings are also described vividly, which makes it easier for the reader to imagine the scenes.

Overall, I highly recommend this tetralogy to anyone who loves reading good stories. It's a great piece of literature that will surely leave a lasting impression on you.

In this book, I completed a series that solved the secrets of the previous ones.

I will add a more detailed review on the entire series in the shortest possible time.

If you like walking through the streets of a city you have never been to, following long sentences, and integrating and internalizing with those characters, then you must read this tetralogy.

This series offers a captivating journey into a world filled with mystery and intrigue. Each book builds upon the others, gradually revealing the hidden secrets and connections.

The characters are well-developed and complex, making it easy to become invested in their stories.

Whether you are a fan of mystery, adventure, or simply a good read, this tetralogy is sure to satisfy.

So, don't miss out on the opportunity to explore this fascinating world and discover the secrets that lie within.

With the fourth book in the quartet, Durrell brings back his narrator, Darley. Darley had left for a Greek island after the chaotic events in pre-war Alexandria. His relationship with Justine, the wife of his friend Nessim, has fallen apart as he realizes their true goals. The death of Melissa is the final straw that leads to Darley's withdrawal from the city. "Clea" begins with a request from Darley's friend Balthazar to return to the city. The fates of the characters from the other three books are tied up in this final volume.

Although I found this to be the weakest and, in some cases, the most puzzling book of the quartet, Durrell still demonstrates his ability as a writer to draw readers into the lives and motives of this diverse group of seekers. The plot is not the main focus of Durrell's writing; rather, it is the hardships that each person endures, some with success and others with tragedy, that keep you engaged in the story. Life alters them all. Some of the events seemed a bit contrived and absurd, but in the end, the significance of Durrell's work will linger in your mind long after you've turned the last page.

To write something like this, one has to be a very good writer.

The intertwined stories of the characters are wonderful; the personality and character of each and every protagonist and even the secondary characters that appear throughout this tetralogy; the narration of the life of all and the death of some; the settings; the colors, smells and sounds; the voices.

I didn't want to finish it but at the same time I wanted to keep reading to see what happened, how it all ended.

I don't know when, but I will read the four again. I have become attached to some character. Also to the author.

|
“A city becomes a world when one loves one of its inhabitants.”
|
“I wrote: «Once upon a time there was...».
And I felt that the whole universe gave me a hug.”

The main character of the tetralogy is Iskenderiye. The real love of the characters in the novel, their friend, mother, father, their shelters and even the source of their wealth is Iskenderiye. Throughout the novel, the city is beautifully described with its streets, traditions, people, and cosmopolitanism. But how real this Iskenderiye is remains debatable. It is an Eastern city described with a Western eye. After all, the narrative is based on memory, and everything we remember is actually a re-creation. I think it is more correct to call this city Durrell's Iskenderiye.

Looking at it from today's perspective, there are many things in the novel that make the reader uncomfortable. The language is sexist. The representation of women is problematic. The natives can only find places in roles such as servants and barbers throughout the novel (Native Christians are a bit luckier), but I think it is more correct to evaluate the texts by considering the conditions of the period in which they were written. The characters in the novel are people who have come to the East after going through Western education. Their knowledge and expectations about the East are clear, and the West's view of the East in that period is also clear. That is, the things that make us uncomfortable when reading today actually reflect the mind of a Westerner who came to Iskenderiye in that period. Even from this point of view, it can be said that it is quite successful. I don't think there is a negative perspective of the text or the author other than reflecting the conditions of that era and the mental structure of the characters.

A wonderful narrative, a wonderful Turkish from Ülker İnce. A text full of incredible analogies. It is one of the books that can be said to those who think that the poetic language consists only of constructing revolutionary sentences. In a narrative where the atmosphere is so prominent, I think the language should be like this.

The novel has an unusual structure. It can be roughly thought of as 3+1. The first three volumes consist of parts that are not chronologically ordered and intertwined with each other. Just like memory. That is, as it should be. The fourth volume is the classic idea of tying up the story years later. Since I just finished it, I'm not very sure about what I'm going to say, but I think the fourth volume shouldn't exist. Yes, it fills all the gaps in the story, and it is a very good book on its own, and just the pool scene is enough, but I think it spoils the structure in the first three volumes.

Why on earth did I completely forget the fourth part? And yet it's a great one, adding a new dimension and a whole lot of new questions.

This cycle is wonderful in that it virtuosically sketches out truly complex people. They can't even be called characters. Each one of them is unique (and in their complexity, unique even for the world of literature, where every kind of creature comes in pairs) and multi-dimensional. It seems as if you find the truth in their actions, why they act the way they do, but with each new book, a new reason emerges, which is no worse than the previous one. In fact, it doesn't so much cancel it out as it makes it clear that everything is more complicated than black and white - even gray. The colors here are such that it seems possible only in an exotic place among expats who are already quite eccentric themselves to simply stay in Alexandria, in a crazy city where a pedophile-transvestite becomes a saint, curing infertility. I usually don't like such vulgarity, and it's stretched to the nines, but in Darrell's case, it's very organic. Just like all the vices, just like all the imperfections of these people, they are written out without any unnecessary condemnation or admiration, without frills... and somehow it all becomes immediately understandable and realistic. Even Darley, who seems like such an overgrown romantic cabbage among normal people, even he in the end is actually not bad, which is amazing.

While I was reading, I really wanted to become a person with achievements, with some kind of significance, but now it's clear that the essence is one... and my bourgeois existence, carefully constructed in opposition to the marginality of the first 25 years of my life - that's all normal, let it be. My Alexandria is behind me, and everything is fine. I, like the heroes of Darrell, have left for Europe, where everything is neat and hidden behind a decent facade.

The fourth volume of the Alexandria Quartet is an epilogue where the others; the peripheral characters, are solidified as the main actors whose voices were muted in the previous volumes.

To understand and appreciate this book epilogue, it is necessary to have the contents of the other three books fresh in mind. The voices of Clea, Pursewarden, Scobie, and their legacies to the city are narrated by the voice of Darley, who attempts to reconcile an idyllic past (Justine) with a modernity and present that will never meet the expectations of nostalgia.

This is the least friendly literary and passionate book of the quartet, but the most philosophically interesting. The letters and contributions of Pursewarden are wonderful.

It offers a unique perspective on the characters and their relationships, delving deeper into their inner thoughts and emotions. The writing is rich and descriptive, painting a vivid picture of the city of Alexandria and its inhabitants.

Overall, the fourth volume of the Alexandria Quartet is a thought-provoking and engaging read that adds another layer to the complex and captivating story.

I have completed the Alexandria Quartet along with Clea. I think Clea is the weakest part of the series. Yes, many questions are answered, yes, Clea is a great character in my opinion, and yes, the descriptions of Alexandria are again wonderful, but there is a flaw (actually an excess, a mess) that I can't quite put my finger on. Moreover, when I couldn't find the excitement that is unique to the series, I got bored here and there, and precisely because of this, the book's flaws became more noticeable to me. Maybe it will be a bold statement, but I think the first two books of the series achieved their purpose and are more than "good". And Mountolive and Clea - despite being the books that close the circle and complete the deficiencies - I believe they are works that are beneath the surface and make one think "they could have been omitted". Nevertheless, I am more than happy that I read the series.

I found the overall experience of reading the Alexandria Quartet to be a mixed bag. The first two books really hooked me with their engaging storylines and vivid portrayals. However, as I reached Clea, I felt a bit let down. There was something about it that just didn't click for me. It seemed to lack the same level of energy and focus that the earlier books had.

That being said, I still appreciate the series as a whole. The descriptions of Alexandria are truly beautiful and transport the reader to that vibrant city. And while Clea may not have been my favorite, it did offer some interesting insights and tied up some loose ends. Overall, it was a worthwhile read that I'm glad I took the time to explore.

Napomena: Dok sam prve tri vukla i po više meseci, ovu knjigu sam pročitala za 4 dana. Počela sam ispočetka, ovaj datum ovde vara, enough said.

Mislim da mi se nikada do sad nije desilo da me neka knjiga ovoliko pomeri iz korena. Iskreno, ne očekujem da ću se ikada ponovo ovako osećati kada završim neku knjigu.

Lorens Darel mi je otvorio vrata u mozgu za koja nisam znala ni da postoje, a kamoli da su još i zatvorena. I onda kroz njih poslao sunce da mi obasja i šta se iza nalazi. Već tri dana neprestano razmišljam o osećanju koje je u meni izazvano i ne umem da ga sistematizujem.

Neke stvari sam već do sada govorila. Poetičnost njegovih rečenica je neprevaziđena, a i prevodioci su uradili majstorski posao. Sve je apsolutno na svom mestu. Teme kojima se bavi, od međuljudskih odnosa, ljubavi, različitih perspektiva, do verovanja, rata, prevazilaženja strahova i umetničkog stvaralaštva. Mnogo mi je bilo potrebno da mi neko sve to kaže.

A onaj persvordenov esej o umetnosti treba da bude objavljen kao posebna dopunska knjižica, hvala.

Ona dva pisma na kraju su me samo... Sve što nisam ni mogla da zamislim da će se desiti, da nisam ni znala da želim, tako je završio. Otvara mogućnosti, daje nadu u bolji svet, i na tome mu hvala.

A Klea? Od prve strane, ja znam da sam Klea. Klea koja prospe vino sebi na haljinu, a onda preko obuče kaput da se ne vidi i bude srećna što u džepu nađe karamele. Klea koja je radost za sve ljude oko sebe, ali ipak ima svoju tamnu stranu sa kojom ne ume da se nosi. Klea koja je uvek najsamostalnija, ali joj nekad ipak treba neko da je pogura - ali da on to oseti sam, a ne da mu ona kaže. Klea, kod koje će sve ipak, na kraju, uvek biti u redu.

I Klein odnos prema stvaranju, budućnosti i odlasku u novo.

Osećam se kao da sam zakoračila u jedan intiman svet u kom mogu da se osećam kao u sebi samoj. Možda nekad u tom svetu uspem da odrastem na način na koji je i ona odrasla do kraja.

Stvarno mi je trebalo da mi neko sve ovo kaže. Osećam se kao da me je ceo svemir munuo laktom.

The first two volumes, Justine and Balthazar, delve deep into the philosophical musings on love. The narrator finds himself falling for Justine, but the question remains: whom does Justine love?

All this philosophy takes a turn when we reach the third volume, Mountolive. Here, it becomes clear that the philosophical descriptions are actually mirroring "real" activities. It is in this volume that we finally learn the narrator's name, although he is no longer the one doing the narrating. More of the action, such as it is, unfolds in Mountolive.

The Alexandria Quartet is written in an "artsy" style that I struggled to fully engage with. However, it does have its shining moments and some truly strange characters. The British policeman Scobie, for example, is a character of great value.

In Mountolive and the final book, Clea, where the narrator makes a return, we are presented with more traditional perspectives. This makes these volumes more readable and interesting to me.

From a cultural standpoint, Clea offers valuable insights into Islam, as well as the Copts, a Christian sect. It also provides an understanding of the workings of Moslem society, which is particularly relevant in today's world.

Overall, the Alexandria Quartet is a complex and thought-provoking work that offers a unique exploration of love, philosophy, and culture.

My biggest regret is in initially approaching The Alexandria Quartet as a single, monolithic novel.

How on earth does one write such poetically elegant and intricate prose in approximately 250 pages, presenting a loose narrative where characters and events ebb and flow like the shifting desert sands, and then proceed to pen 900 more pages with the sole intention of completely turning those same characters and events on their heads? Motives, decisions, and even entire personalities undergo profound shifts in meaning. Durrell masterfully rewrites the reader's memories, making it clear that nothing is as it first appeared.

His brilliant explanation? Perspective.

At first, I was thoroughly puzzled by the nature of his character development. By the conclusion of *Clea*, the characters bear little resemblance to their earlier selves. However, I soon realized how easily a human facade can deceive, how we all don different masks. Darley, the main narrator, is the greatest victim of this illusion, constantly being manipulated and misled. By the end, I was left with the impression that he understood very little, and *Justine* seemed like a significant misunderstanding upon which the Quartet was founded.

And yet, paradoxically, this is precisely what makes it so great.

Even Durrell himself seemingly required a broader perspective by the time he wrote *Mountolive*, which led to the change in structure in the third book. Honestly, that shift disrupted my love affair with the narrative up to that point.

One aspect that I found particularly ingenious is the death of a seemingly minor character right at the beginning of the first book. Only later does Durrell retrospectively endow him with such depth and importance throughout the subsequent three books that he emerges as perhaps the most pivotal figure in the Quartet. (Yes, dear Pursewarden, you truly stand out in this holy commotion.)

By the end, even Alexandria no longer resembles the lush, vibrant city depicted in the pre-war descriptions of the first book. And what better moment to quote Cavafy, whose literary presence looms large in the novel with profound significance:

"Above all do not fool yourself, don't say
that it was a dream, that your ears deceived you;
don't stoop to futile hopes like these.
Like one who's long prepared, like someone brave,
as befits a man who's been blessed with a city like this,
go without faltering toward the window
and listen with deep emotion, but not
with the entreaties and the whining of a coward,
to the sounds—a final entertainment—
to the exquisite instruments of that initiate crew,
and bid farewell to her, to Alexandria, whom you are losing."

Para alguns, entre nós, o implacável dia chega. Da grande escolha, da grande decisão. De dizer Sim ou Não. Aqueles que sentem a sede de afirmar devem pronunciar-se sem demora. Os caminhos da vida abrir-se-ão para eles numa cornucópia de benesses. Contudo, o outro, o que nega, não pode ser acusado de falsidade. Ele repetirá cada vez mais alto a sua descrença. Está no seu direito, mas há uma pequena diferença. Um "Não" por um "Sim" pode afundar uma vida inteira.

Quem pretende ler sobre "O Quarteto de Alexandria", de Lawrence Durrell, deve pesquisar outras opiniões. Há livros que estão ligados à nossa vida pessoal, tornando a sua leitura especial. Eu comprei o quarteto há anos, li as primeiras páginas e o arranjei na estante. Algures no tempo, algo aconteceu que me fez voltar ao livro. Nada acontece por acaso.

Durrell é magnífico na criação de personagens e na forma como nos conta as suas vidas e paixões. O romance foi estruturado com base na Teoria da Relatividade. Os três primeiros livros representam o espaço e o último o tempo. Não é uma leitura simples, mas vale a pena.

"Para alguns, entre nós, o implacável dia chega
Da grande escolha, da grande decisão
De dizer Sim ou Não.
Aquele que em si sentir a sede de afirmar
Pronuncie-se sem demora.
Os caminhos da vida abrir-se-ão para ele
Numa cornucópia de benesses.
Mas o outro, o que nega,
Ninguém o poderá acusar de falsidade,
E repetirá cada vez mais alto a sua descrença.
Está no seu direito — e, contudo, esta pequena diferença.
Um \\"Não\\" por um \\"Sim\\" — afunda uma vida inteira."
— Konstandinos Kavafis

Quem pretender ler algo sobre O Quarteto de Alexandria, de Lawrence Durrell, pesquise outras opiniões que, por aqui, foram publicadas e não perca tempo a ler o que se segue, pois se trata de pouco mais que devaneios meus...
Fica a sugestão. Quem quiser continuar, depois não se queixe...

Há livros que, por vários motivos, estão ligados à nossa vida pessoal o que torna a sua leitura especial.
Comprei o Quarteto há anos; li as primeiras páginas e, não sei porquê, arrumei-o na estante. Algures no tempo e indirectamente, foi \\"um bater de asa de uma borboleta\\" que provocou um \\"tufão\\" na minha vida. Continuou à espera. Há dias, chegou o momento pelo qual ele esperou para me levar de regresso ao Egipto... Nada acontece por acaso...

\\n  \\"Mas podemos deixar de amar secretamente os lugares onde mais sofremos?\\"\\n

E pudemos deixar de amar secretamente os lugares onde fomos felizes?
Fui feliz, há muitos anos, no Egipto com dois seres a quem muito quero.
Fui feliz, nestes últimos dias, em Alexandria com Justine, Baltasar, Mountolive e Clea; com Leila, Narouz, Darley e Liza; com Nessim, Amaril, Melissa e Scobie, Ah! E com Purswarden!
Nunca nunca deixarei de os amar!

Ingleses, egípcios, irlandeses,...; judeus, árabes, coptas,...; escritores, pintores, médicos,... e uma cidade mágica onde vivem homens e mulheres livres e, simultaneamente, acorrentados ao que faz mover o mundo: O Amor! O amor em estado puro que não se subjuga a raças, religiões, sexos...

Durrell é magnífico! Quer na criação de gente, quer na forma como nos conta as suas vidas, as suas paixões.

O romance foi estruturado, segundo disse Durrell, tendo como base a Teoria da Relatividade. Os três primeiros livros representam o espaço e o último o tempo. Em Justine - o primeiro - as personagens são apresentadas e revelados os principais acontecimentos: quem faz o quê; quem ama quem; e até quem morre. Nos dois livros seguintes as situações são aprofundadas e acrescentados novos pormenores. No entanto, a evolução temporal só acontece no volume final.

Não posso dizer que seja uma leitura simples, não só pela extensão (quase mil páginas), mas porque exige alguma concentração para não nos perdermos devido ao grande número de personagens e histórias secundárias. Tem, também, algumas partes que me custaram muito a ler; relatos de uma crueldade atroz, e cuja arte narrativa de Durrell as gravou, dolorosamente, na minha mente.

Além das personagens que enumerei e de muitas outras que faltam, há duas que, embora não correspondam aos padrões, estão quase sempre presentes: a cidade de Alexandria e Kavafis, referido várias vezes como \\"o velho poeta da cidade\\".

\\"Continua a voltar frequentemente e a tomar-me,
sensação amada continua a voltar e a tomar-me —
quando acorda a memória do corpo,
e desejo antigo volta a passar no sangue;
quando os lábios e a pele se lembram,
e sentem as mãos como se tocassem de novo.

Continua a voltar frequentemente e a tomar-me à noite,
quando os lábios e a pele se lembram...\\"
— Konstandinos Kavafis