The Lover (Harper Perennial Modern Classics) by Marguerite DurasThe Lover (Harper Perennial Modern Classics) by Marguerite Duras

The Lover (Harper Perennial Modern Classics)

byMarguerite Duras

Paperback | May 19, 2016

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A sensational international bestseller, and winner of Frances' coveted Prix Goncourt, 'The Lover' is an unforgettable portrayal of the incandescent relationship between two lovers, and of the hate that slowly tears the girl's family apart.Saigon, 1930s: a poor young French girl meets the elegant son of a wealthy Chinese family. Soon they are lovers, locked into a private world of passion and intensity that defies all the conventions of their society.A sensational international bestseller, 'The Lover' is disturbing, erotic, masterly and simply unforgettable.
Marguerite Duras was one of Europe's most distinguished writers. The author of many novels and screenplays, she is perhaps best known outside France for her filmscript Hiroshima Mon Amour and her Prix Goncourt-winning novel THE LOVER, also filmed. Her other books include LA DOLEUR, BLUE EYES BLACK HAIR, SUMMER RAIN and THE NORTH CHINA ...
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Title:The Lover (Harper Perennial Modern Classics)Format:PaperbackDimensions:128 pagesPublished:May 19, 2016Publisher:HARPERCOLLINS PUBLISHERSLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0007205007

ISBN - 13:9780007205004

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Reviews

Rated 3 out of 5 by from Enamored, but Erratic I’m not sure if the number of people who’ve actually read The Lover outnumber those who’ve seen it. The title itself has become popularized as a result of the movie the book spawned in the early 90s; and I’m not sure if its cinematic rendition was as a result of substantive sales or the curious creative license of its director and benefactors. The Lover (1990) starred Jane March and Tony Leung [Ka Fai] as the narrator and eponymous lover respectively; and rumours of unsimulated sex scenes left the former quite scandalized. And, they were truly rumours: body doubles, cast, and crew spoke to the contrary; and it was heavily implicated that the director indulged the untruth to generate buzz or intrigue. Duras’ book is not unlike the film in how its reputation precedes it. The title alone, The Lover, invokes a kind of visceral response; an allusion to romance or cathartic coupling. However, the book is truly a mirage of muddled musings—mostly misgivings—of a young woman who is both emotionally lost and stunted. The film has a narrator recite choice excerpts at various intervals, and they feel void even in context. I’m not sure if that reflects some misanthropy or some dour, dire detachment; and the letdown is therein in my uncertainty. Duras does not expound upon the narrator’s ennui whereas the film simply exploits it. The narrated nihilism is informed by classism and orientalism, the latter of which is beautifully visualized onscreen as opposed to being pithy and prolonged in prose. What seems to be the heart of the book is that the world is not one’s oyster or playground. Rather, that one ought to ponder the pearl in an oyster and the body as a wonderland. Sex becomes a vehicle of disassociation, not entirely depersonalization since it stimulates a pleasure principle; but it doesn’t allay depression, even in the ignorance of youth. As time drags on, this is something the narrator comes to slowly and very sadly reconcile—at least, if you care to see it that way. Duras is easy to read here, but hard to make sense of. A significant amount of the writing reads as filler: gratuitous details that rub as vaguely pretentious, as if they are afforded space wholly for the reader to allegorize; to draw inferences rather than conclusions “because art.”
Date published: 2018-05-13
Rated 4 out of 5 by from Great This book was great, honest, and an all-around good read.
Date published: 2017-06-26
Rated 5 out of 5 by from Sentimental done right Marguerite Duras (even in the English translation) maintains a unique writing style and a tone that builds with every moment. She doesn't shock or jolt readers, only takes them to an exact place and time to feel the looming sadness her heroine is experiencing. It's slow, languid and perfectly tuned to the story of the child and the lover. Every detail counts and adds something desperately tuned to the gripping poignancy of the story. A careful reader depends on authors like her to produce work with so much sentimental perspective done properly.
Date published: 2006-06-01
Rated 2 out of 5 by from The Lover Not the best book I've read. I didn't like how the author would start a scene in the story than all of a sudden skip to another scene and then go back to the first scene. The way the story was written was dull and it had me waiting for the point. But I do have to say that the author was successful in capturing the mood and her descriptions were good...quite depressing and sad.
Date published: 2000-02-09

Editorial Reviews

'Rarely have I read a novel so flawlessly written.' Spectator'Very beautiful, highly intelligent, enjoyable and original.' Sunday Times'Perfect, a "tour de force".accessible in the way Thomas Mann's "Death in Venice" or D.M. Thomas's "The White Hotel" are accessible.dealing successfully with the strong themes of erotic love and death.' New York Times Book Review'A spectacular success.' Edmund White