Me & Other Writing


Product Details

Dorothy a Publishing Project
Publish Date
5.5 X 0.6 X 6.9 inches | 0.5 pounds
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About the Author

French novelist, screenwriter, scenarist, playwright, and film director, internationally known for her screenplays of Hiroshima mon amour (1959) and India Song (1975). The novel L'Amant (1984; The Lover; film, 1992) won the prestigious Prix Goncourt in 1984.


"Duras's writings span a host of styles and emotional tones, but Anglophone readers have, to date, not been exposed to nearly as much of her nonfiction. That's all about to change with this expansive collection of her nonfiction, offering readers a way to engage with a new, and equally impressive, side of Duras's bibliography."β€”Vol. 1 Brooklyn
"This is writing that demands, and provides, its own spotlight--not only through its incandescent intelligence (as in Duras's reading of the violence enacted not by, but upon, Simone Deschamps in 'Horror at Choisy-le-Roi'), but also through its refusal of linear exposition, the way it careens from one idea to another or dashes the reader's expectation of authorly pronouncements by offering instead a lyrical image (Olivia Baes and Emma Ramadan reflect on the challenges of translating this opacity in an excellent note in the book's final pages)."--Heather Cleary, Lit Hub "Book Marks"
"While reading Marguerite Duras, it can be hard to tell if you are pressing your hands to her chest or if she is pressing her hands to yours. Has she mined your deepest feelings or have you caught her heart's fever? Her nonfiction, written in the same blood and seawater as her fiction, produces the same sensation."--Julia Berick, Paris Review "Staff Picks"
"Essays, aphorisms and other eclectic nonfiction from one of the 20th century's greatest thinkers and prose stylists."--New York Times Book Review
"As Duras tells us about the Moscow Olympics, shipyard strikes in GdaΕ„sk, her hopes for a proletarian revolution, and her despair at the 'misfortune of mankind, ' she weaves in a tender narrative about a small boy and the adolescent girl who looks after him. This is entirely fictional--a characteristic ploy from a writer who believed that understanding suffering was an act of the imagination."--The New Yorker