Okurken filme yazarı uyarlanmış olması çok yerinde diye düşündüm.. Hafif hafif esen bir Adrasan rüzgarı yüzüme vururken ve tam da doğum günümde tüm gün dalıp gittim. Yıkmak diyor bir kadın... çok bir şey beklemiyorum hiçbir zaman Marguerite Duras'tan, o da bana çok bir şey vermiyor. öyle güzel anlaşıyoruz işte, daha ne olsun...

You're part of me [...] And I don't know you.

هذه الرواية أدارت رأسي وجعلتني أقرأها مرتين متتاليتين وفي القراءة الثانية أصابني الدوار اكثر،تمضي القراءة سلسة بسيطة والمعني خلالها كله غموض وهذا ما جعل هذا العمل محمل بالسحر ومعبيء بالخيال، امرأتان ورجلان بفندق نتابع معهم أحداث تمت في أيام معدودة لكنها تحكي تاريخ وقصة غامضة أبطالها شخصيات يخلط فيها الزمن ويستدعي الماضى الحاضر ليروي لنا في غموض قصة عادية لزوج كبير بالعمر هو ماكس تزوج صغيرة هي اليسا يتعرفون علي شتاين الذي سيصبح عشيق لأليسا وربما تمت الخيانة في الغابة القريبة كن الفندق وربما أسفر عنها هذا الطفل الذي مات دون أن يولد ، تأتي اليزبث التي هي نفسها اليسا كل عام نفس الفندق التي تمت فيه هذه الأحداث وتستدعي ذكريات الماضي بشخصيتها بما فيهم اليزبث نفسها بأسم اليسا وهناك تتخيل اليزبث ابنتها التي ماتت قبل أن تولد إنها موجودة وبلغت أربعة عشر عاما وتأتي مع ابيها لزيارتها كل اسبوع!!أحاول أن الملم المبعثر وأوصل المقطوع أوزيل غبار الغموض عن ما اقرأة لأصل لتصور مهضوم مفهوم! هل اقتربت من المعني الحقيقي من القصة ام ابتعدت؟ أو أن الكاتبه نفسها ليس لها معني محبي في ثنايا الأحداث والغموض مقصود بذاته التعدد التفسيرات بقصص متعددة كلها يصلح؟ وبذلك تكون خرجت الرواية من ملكية الكاتبة ليمتلك تأليفها وفهمها القاريء كلا بأجتهاده وذائقته!
اذا آمنت عزيزي بفهمي للرواية عليك ان تساعدني في وضع معني ومفهوم لشخصية اليون فقد اعجزني الرجل!
لم تكن جمال الرواية ومتعتها في أحداثها وان اختلف الجميع في فهمها، بل كانت الروعة في سحر الغموض

For all her skill and daring as a postmodernist, Duras doesn't get the kind of attention she should. Possibly because she is a lady. Anyway, this is her best novel, I think, a real killer.

'I'm afraid [...] Afraid of being abandoned, afraid of the future, afraid of loving, of violence, of numbers, of the unknown, of hunger, of poverty, of the truth.’

Love how stripped back and cinematic Duras's writing is. A deeply visual novel that is deceptively simple and thematically rich.

Floating in ambiguity, three guests at a hotel that may be a sanitarium that may be some kind of waiting area just outside the next world that may be the most unremarkable of vacation spots -- three guests become obsessed with a fourth, and attempt to draw her into their company/game/world/madness, under the sound of unseen tennis courts. Just beyond, the woods, always the woods, a lure, a threat, a veil, a plot unfulfilled but tantalizing. Duras is at great pains here to create, despite her very specific sense of urgency, as open and destabilized a narrative as she can. Without directly contradicting herself, she constantly inclines her characters away from obvious resolution: of the four, it's the only one that we actually know to be convalescing who seems least trapped by the place, who retains the most connection to the outside world, and the least to the others. On the other hand, it's the only character that we actually get to see arrive from the outside, not a patient or guest, that is referred to by the others as insane. And like sleep-walkers, they spiral around and around eachother, under the sun and sound of the tennis courts, on the edge of the wood that none quite seem able to enter or pass through.

There's also a film, Duras' own directorial debut, that echoes and subtly modifies the original. They're very true to eachother though, reflected images. They both feel, to me, like this:

n  n

(It's a poster I drew for a a screening at the Spectacle this month, April 2014. Check it out if you're in New York, it plays twice more.)

The interview in the second part of the book is particularly opaque. Maybe it's a translation problem, maybe I'm not artsy enough to understand it, or maybe the author and her interviewers were just full of shit.

Read it, then read it again. This book moves fast, not just due to it's length but due to the urgency the words demand. Written in such a was as it reads like a screen play you find yourself immediately submerged in the directions. Consistently you are moved from character to character as the camera, at some moments there will be no identification as to who is speaking but somehow the blanks fill themselves in.

Opening the book you are thrust into a descript but undisclosed location, is this a hotel, a sanitarium, a wellness retreat, a psychiatric ward? You're never fully given an answer but you are consistently reminded that people here are not quite right. The story will then follow three main characters as they pine for a fourth. This triad (whose origins are as strange as anything else) begin to slowly reach out to another character in an attempt to bring her into their group.

The entire story reads almost like a fever dream; if you are a fan of the obscure and more artsy type books and films, this book is a wonderful afternoon read to add to your collection. At ~130 pages, ~40 are made up of an interview with the author at the end.

il n’y a pas de trottoir, il n’y a que les trottoirs

Détruire, dit-elle; la Destruction la Parole = Destroy, She Said, Marguerite Duras

Marguerite Donnadieu, known as Marguerite Duras (4 April 1914 – 3 March 1996), was a French novelist, playwright, screenwriter, essayist, and experimental filmmaker.

Her script for the film Hiroshima Mon Amour (1959) earned her a nomination for Best Original Screenplay at the Academy Awards. Destroy, She Said is a 1969 French drama film directed by Marguerite Duras based on her book of the same title in French (Détruire, dit-elle; la Destruction la Parole).

تاریخ نخستین خوانش: ماه آوریل سال 2003 میلادی

عنوان: گفتا که خراب اولی، همراه گفتگوی دوراس با ژاک ربوت و ژان ناربونی؛ نویسنده: مارگریت دوراس؛ تهران، نیلوفر، 1381؛ در 152ص، مصور، شابک 9644481941؛ موضوع: مصاحبه ها و داستانهای نویسندگان فرانسوی - سده 20م

در بین آثار «مارگریت دوراس»، نویسنده و کارگردان فرانسوی، کتاب «گفتا که خراب اولی» عجیب­ترین است، به مراسمی می­ماند، که از رسوم آن بی­خبریم، اما با مسحوری آن را دنبال می­کنیم؛ درونمایه ی کتاب، همانطور که از عنوان آن برمی­آید، خرابی است، و این خرابی یکسره تحمیلی ست؛ با این توضیح، که خرابی در این­جا، بری از خشونت است، و بیشتر قرین تحلیل، تراش، صیقل خوردن، و تعالی یافتن است؛

پیش از این نیز، در آثار «دوراس» شاهد نمونه­ هایی بوده ­ایم، که همین جوهره ی: «گفتا که خراب اولی» را، در نهان خود داشته­ اند، همان شیوه ی «دوراسی»، که خود گفته، مثلا سایه روشن­هایی، از موضوع کتاب حاضر را، با اندکی تغییر، و تعدیل، در عبارات و تصاویر، بعضا در «مدراتو کانتابیله»، و «شیدایی لل»، و «اشتاین»، نیز می­توان مشاهده کرد؛ در «گفتا که خراب اولی»، با دنیایی از جنون، یا بی­نظمی روحی گمراه کننده­ ای، سر و کار داریم؛ هر واژه یا حرکتی، به صورت جداگانه و مجرد، دارای منظری منطقی است، حال آنکه در ترتیبی سلسله­ ای، و پیوسته، حالتی از ذهن به هم ریخته، برای خوانشگر تداعی می­شود

تاریخ بهنگام رسانی 18/06/1399هجری خورشیدی؛ ا. شربیانی

Hmm, I kinda think Duras went a little too far in the spare, nonlinear direction with this one. It's written to be a play and maybe it would have had more impact if I had experienced it in that way. Duras is one of my favorite authors and I found some of the images in this book creepily enticing, but I wasn't fully understanding the psychology of the characters. And is it just me or did this book make anyone else think of Blanchot's Thomas the Obscure?

Another 3.5 star book. I don't really know how much of the impenetrability here is about missing cultural context on my part (the interesting but ultimately not that clarifying interview with Duras that makes up the second half of the book was the first time I realized that the book was intended to be at least somewhat about/filtered through Marxism, for example) and how much of it is intentional, but that's actually the most successful part of the book for me. Duras has written something exceptionally effective here; the atmosphere is charged with meaning. But what is that meaning? I don't know if I could ultimately tell you. I plan to reread this at some point, I'll be interested in seeing whether I get anything more concrete out of it then.