Marguerite Duras

“Ma vie est un film doublé, mal monté, mal interprété, mal ajusté, une erreur en somme.”

“She lavishes pain with generosity.”

“Ils sont morts ensemble. Cent mètres à faire. Se coucher. Faire tenir les enfants tranquilles. Les endormir peut-être avec des chansons.Le train s'est arrêté dit-on.Voilà, c'est ça l'histoire.”

“Et puis il le lui avait dit. Il lui avait dit que c’était comme avant, qu’il l’aimait encore, qu’il ne pourrait jamais cesser de l’aimer, qu’il l’aimerait jusqu’à sa mort.”

“Et la jeune fille s’était dressée comme pour aller à son tour se tuer, se jeter à son tour dans la mer et après elle avait pleuré parce qu’elle avait pensé à cet homme de Cholen et elle n’avait pas été sûre tout à coup de ne pas l’avoir aimé d’un amour qu’elle n’avait pas vu parce qu’il s’était perdu dans l’histoire comme l’eau dans le sable et qu’elle le retrouvait seulement maintenant à cet instant de la musique jetée à travers la mer. Comme plus tard l’éternité du petit frère à travers la mort”

“Il faudrait prévenir les gens de ces choses-là. Leur apprendre que l’immortalité est mortelle, qu’elle peut mourir, que c’est arrivé, que cela arrive encore.”

“L’enfant dira : je lui ai demandé cinq cent piastres pour le retour en France. La mère dira que c’est bien, que c’est ce qu’il faut pour s’installer à Paris, elle dira : ça ira avec cinq cent piastres. L’enfant sait ce qu’elle fait, elle, c’est ce que la mère aurait choisi que fasse son enfant, si elle avait osé, si elle en avait la force, si le mal que faisait la pensée n’était pas là chaque jour, exténuant.”

“Ce manquement des femmes à elles-mêmes par elles-mêmes opéré m’apparaissait toujours comme une erreur.”

“Je sais que ce ne sont pas les vêtements qui font les femmes plus ou moins belles ni les soins de beauté, ni les prix des onguents, ni la rareté, le prix des atours. Je sais que le problème est ailleurs. Je ne sais pas où il est.”

“Très vite dans ma vie il a été trop tard. A dix-huit ans il était déjà trop tard. Entre dix-huit ans et vingt-cinq ans mon visage est parti dans une direction imprévue. A dix-huit ans j’ai vieilli.”

“Que la vida es inmortal mientras se vive, mientras se está con vida. Que la inmortalidad no es una cuestión de más o menos tiempo, que no es una cuestión de inmortalidad, que es una cuestión de otra cosa que permanece ignorada. Que es tan falso decir que carece de principio y de fin como decir que empieza y termina en la vida del alma desde el momento en que participa del alma y de la prosecución del viento. Mirad las arenas muertas del desierto, el cuerpo muerto de los niños: la inmortalidad no pasa por ahí, se detiene y los esquiva.”

“Vous lui dites que vous voulez essayer, essayer plusieurs jours peut-être? Peut-être plusieurs semaines.Peut-être même pendant votre vie. Elle demande : Essayer quoi ?Vous dites : d’aimer”

“Ma... dirlo così... come potrei. Come si può valutare una cosa simile... il disonore?""Non dobbiamo valutare una cosa simile, signora. Deve dirmi che somma le piacerebbe avere.”

“Ellos ríen. Verse reír los vuelve locos de alegría. Ella le pide que la avise cuando un día se lance a amarla y a saberlo, si alguna vez sucede. Después de haber reído, lloran juntos como cada día. Cuando ella se va el sol se precipita, estalla en la habitación. Cuando ella cierra la puerta, la habitación cae en la oscuridad, y el entra ya en la espera de la noche”

“─ No le conozco a usted. Nadie puede conocerle, ponerse en su lugar, usted no tiene lugar, no sabe dónde encontrar un lugar. Por ello le quiero y usted está perdido.”

“Yes, she can remember everyone admiring a rare kind of evening they spoke of as something the ought to save from oblivion to describe to their children later. And that for her part she would have had it hidden, had that late summer evening buried and burned to ashes.”

“I want to write. I've already told my mother: That's what I want to do-write. No answer the first time. Then she asks, Write what? I say, Books, novels. [...] She's against it, it's not worthy, it's not real work, it's nonsense. Later she said, A childish idea.”

“Une gamme en do majeur couvrit la rumeur de la mer.”

“I am dead. I have no desire for you. My body no longer wants the one who doesn’t love.”

“Avant et maintenant c'est l'amour entre toi et moi. Ce sera ce que tu voudrais, toi, que tu sois.”

“It was the men I deceived the most I loved the most.”

“« L'écrit ça arrive comme le vent, c'est nu, c'est de l'encre, c'est l'écrit, et ça passe comme rien d'autre ne passe dans la vie, rien de plus, sauf elle, la vie. »”

“L'hôpital existe à Hiroshima. Comment aurais-je pu éviter de le voir?”

“I often think of the image only I can see now, and of which I’ve never spoken. It’s always there, in the same silence, amazing. It’s the only image of myself I like, the only one in which I recognize myself, in which I delight”

“Women must find their own answer. That’s the important thing. I’m no longer interested in books about women written by men. Even if I could believe in their objectivity, I just can’t find their opinions relevant. Now I will only believe what a woman has to say about women, because even if it’s not entirely true, it’s her struggle and she’s on the way to the answer.Many of you seek masculine approval. Even though you have inside you your way of talking and writing, you have mountains of it inside you, and even though it is enough to begin expressing yourselves so long as it is with your vocabulary, your abstractions, and your own conceptualization, I think you are still afraid of the master: men. Of their judgment. As long as you have this fear, you will not progress. I think the future belongs to women. Men have been completely dethroned. Their rhetoric is stale, used up. We must move on the rhetoric of women, one that is anchored in the organism, in the body.”

“Men like women who write, even though they don't say so. A writer is a foreign country.”

“Even so you have managed to live that love in the only way possible for you. Losing it before it happened.”

“Stormy skies, says Ernesto. He grieved for them. Summer rain. Childhood.”

“Their voices reach out into the empty yard, plunge deep into the hills, go right through the heart.”

“Words don't change their shape, they change their meaning, their function...They don't have a meaning of their own any more, they refer to other words that you don't know, that you've never read or heard...you've never seen their shape, but you feel...you suspect...they correspond to...an empty space inside you...or in the universe...”

“Nunca escrevi julgando fazê-lo nunca amei julgando amar nunca fiz nada senão esperar diante da porta fechada.”

“A prolonged silence ensues. The reason for the silence is our growing interest one for the other. No one is aware of it, no one yet; no one? am I quite sure?”

“He says he’s lonely, horribly lonely because of this love he feels for her. She says she’s lonely too. She doesn’t say why.”

“I know it's not clothes that make women beautiful or otherwise, nor beauty care, nor expensive creams, nor the distinction of costliness of their finery. I know the problem lies elsewhere. I don't know where. I only know it isn't where women think.”

“It has been my face. It's got older still, or course, but less, comparatively, than it would otherwise have done. It's scored with deep, dry wrinkles, the skin is cracked. But my face hasn't collapsed, as some with fine feature have done. It's kept the same contours, but its substance has been laid waste. I have a face laid waste.”

“I meet you. I remember you. Who are you? You’re destroying me. You’re good for me. How could I know this city was tailor-made for love? How could I know you fit my body like a glove? I like you. How unlikely. I like you. How slow all of a sudden. How sweet. You cannot know. You’re destroying me. You’re good for me. You’re destroying me. You’re good for me. I have time. Please, devour me. Deform me to the point of ugliness. Why not you? Why not you in this city and in this night, so like other cities and other nights you can hardly tell the difference? I beg of you.”

“Suddenly, all at once, she knows, knows that he doesn't understand her, that he never will, that he lacks the power to understand such perverseness. And that he can never move fast enough to catch her.”

“No other human being, no woman, no poem or music, book, or painting can replace alcohol in its power to give man the illusion of real creation.”

“Our mothers always remain the strangest, craziest people we've ever met.”

“Banality is sometimes striking.”

“We, her children, are heroic, dersperate.”

“It’s not that you have to achieve anything, it’s that you have to get away from where you are.”

“Years after the war, after marriages, children, divorces, books, he came to Paris with his wife. He phoned her. It's me. She recognized him at once from the voice. He said, I just wanted to hear your voice. She said, it's me, hello. He was nervous, afraid, as before. His voice suddenly trembled. And with the trembling, suddenly, she heard again the voice of China. He knew she'd begun writing books, he'd heard about it through her mother whom he'd met again in Saigon. And about her younger brother, and he'd been grieved for her. Then he didn't know what to say. And then he told her. Told her that it was as before, that he still loved her, he could never stop loving her, that he'd love her until death.”

“People were used to those slow human speeds on both land and sea, to those delays, those waitings on the wind or fair weather, to those expectations of shipwreck, sun, and death. The liners the little white girl knew were among the last mailboats in the world. It was while she was young that the first airlines were started, which were gradually to deprive mankind of journeys across the sea. (The Lover)”

“Listen to me. I know something else. It will begin again. 200,000 dead and 80,000 wounded in nine seconds. Those are the official figures. It will begin again. It will be 10,000 degrees on the earth. Ten thousand suns, people will say. The asphalt will burn. Chaos will prevail. An entire city will be lifted off the ground, and fall back to earth in ashes…I meet you. I remember you. Who are you? You’re destroying me. You’re good for me. How could I know this city was tailor-made for love? How could I know you fit my body like a glove? I like you. How unlikely. I like you. How slow all of a sudden. How sweet. You cannot know. You’re destroying me. You’re good for me. You’re destroying me. You’re good for me. I have time. Please, devour me. Deform me to the point of ugliness. Why not you?”

“We tell each other things that have no relation to the afternoon’s events or the coming night but that relate to God, to his absence that is so present, like the breasts of the young girl, so young before the immensity of what is to come.”

“Fidelity, enforced and unto death, is the price you pay for the kind of love you never want to give up, for someone you want to hold forever, tighter and tighter, whether he's close or far away, someone who becomes dearer to you the more you've sacrificed for his sake. ”

“Pourquoi nier l’évidente nécessité de la mémoire?”

“she can remember everyone admiring a rare kind of evening they spoke of as something they ought to save from oblivion to describe to their children later. And that for her part she would have had it hidden, had that late summer evening buried and burned to ashes.”

“Ese faltar de las mujeres a sí mismas ejercido por ellas mismas siempre lo he considerado un error. No se trataba de atraer el deseo. Estaba en quien lo provoca o no existía. Existía ya desde la primera mirada o no había existido nunca. Era el entendimiento inmediato de la relación sexual o no era nada. Eso también lo sabía antes del experiment.”