Duras Quotes

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

Very early in my life it was too late.

...as long as nothing happens between them, the memory is cursed with what hasn't happened.

I think about you. But I don't say it anymore.

You have to be very fond of men. Very, very fond. You have to be very fond of them to love them. Otherwise they're simply unbearable.

Sed lex, dura lex

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.

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

When it's in a book I don't think it'll hurt any more ...exist any more. One of the things writing does is wipe things out. Replace them.

That she had so completely recovered her sanity was a source of sadness to her. One should never be cured of one's passion.

I've known you for years. Everyone says you were beautiful when you were young, but I want to tell you I think you're more beautiful now than then. Rather than your face as a young woman, I prefer your face as it is now. Ravaged.

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.

She had lived her early years as though she were waiting for something she might, but never did, become.

The solitude of writing is a solitude without which writing could not be produced, or would crumble, drained bloodless by the search for something else to write.

I've forgotten the words with which to tell you. I knew them once, but I've forgotten them, and now I'm talking to you without them.

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

The woman is the home. That's where she used to be, and that's where she still is. You might ask me, What if a man tries to be part of the home -- will the woman let him? I answer yes. Because the he becomes one of the children.

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.

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.

You alone became the outer surface of my life, the side I never see, and you will be that, the unknown part of me, until I die.

The words emerge from her body without her realizing it, as if she were being visited by the memory of a language long forsaken.

She says people ought to learn to live like them, with the body abandoned in a wilderness, and in the mind the memory of a single kiss, a single word, a single look to stand for a whole love.

Sed lex dura lex," said Jace automatically. "The Law is hard, but it is the Law.

When the past is recaptured by the imagination, breath is put back into life.

Life is only lived full-time by women with children.

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

Très vite dans ma vie il a été trop tard.

I'm still there, watching those possessed children, as far away from the mystery now as I was then. I've never written, though I thought I wrote, never loved, though I thought I loved, never done anything but wait outside the closed door.

In a certain state of mind, all trace of feeling is banished. Whenever I remain silent in a certain way, I don't love you, have you noticed that?

To write,” Marguerite Duras remarked, “is also not to speak. It is to keep silent. It is to howl noiselessly.

He laughs. "Put some clothes on so you don't scare poor Kiara with your morning hard-on." I look down at my shorts. Sure enough, I've got la tengo dura in front of Kiara and Tuck. Shit. I reach out for the first thing I can grab and put it in front of me to shield myself from view. It happens to be one of Kiara's stuffed animals, but I don't have much choice right now. "That's Kiara's Mojo," Tuck says, laughing. "Get it? Mojo?

The story of my life doesn’t exist. Does not exist. There’s never any center to it. No path, no line. There are great spaces where you pretend there used to be someone, but it’s not true, there was no one.

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

Sometimes we have to avoid thinking about the problems life presents. Otherwise we'd suffocate." - Hiroshima Mon Amour, Marguerite Duras

I feel a sadness I expected and which comes only from myself. I say I’ve always been sad. That I can see the same sadness in photos of myself when I was small. That today, recognizing it as the sadness I’ve always had, I could almost call it by my own name, it’s so like me.

What she said was always strange. It had happened long ago. It seemed insignificant. And yet it was something you remembered forever. The words as well as the story. The voice as much as the words.

Ese sueño que eres tú todavía dura. Durará siempre, porque siento como que estás dentro de mi sangre y pasas por mi corazón a cada rato.

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.

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.

Finding yourself in a hole, at the bottom of a hole, in almost total solitude, and discovering that only writing can save you. To be without the slightest subject for a book, the slightest idea for a book, is to find yourself, once again, before a book. A vast emptiness. A possible book. Before nothing. Before something like living, naked writing, like something terrible, terrible to overcome.

The thing that's between us is fascination, and the fascination resides in our being alike. Whether you're a man or a woman, the fascination resides in finding out that we're alike.

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

And then, one day, my love, you come out of eternity.

He wanted to pay her; he thought women ought to be paid for keeping men from dying or going out of their minds.

Banality is sometimes striking.

You didn't have to attract desire. Either it was in the woman who aroused it or it didn't exist. Either it was there at first glance or else it had never been.

Hay una dignidad en la derrota que a duras penas le corresponde a la victoria.

I bambini non vedono la Morte. Perché la loro vita dura un giorno, da quando si svegliano a quando vanno a dormire.

You give me a great desire to love.

-Cuando tenga ganas de llorar, hágalo-era la voz de mi tío Tacho-. Y hágalo fuerte, sin pena. Es la única forma de que la tristeza se licue y se nos salga del cuerpo. Porque la tristeza es dura, Panchito, muy dura...

La dura experiencia de la vida nos ha demostrado que no es aconsejable confiar demasiado en la naturaleza humana, en general.

Ho sceso, dandoti il braccio, almeno un milione di scale e ora che non ci sei è il vuoto ad ogni gradino. Anche così è stato breve il nostro lungo viaggio. Il mio dura tuttora, né più mi occorrono le coincidenze, le prenotazioni, le trappole, gli scorni di chi crede che la realtà sia quella che si vede. Ho sceso milioni di scale dandoti il braccio non già perché con quattr'occhi forse si vede di più. Con te le ho scese perché sapevo che di noi due le sole vere pupille, sebbene tanto offuscate, erano le tue.

Because he doesn't know he carries within him a supreme elegance, I say it for him.

In a thousand years time this day will have existed for a thousand years to the day. And the ignorance of the whole world about what they've said today will have a date too.

a writer is a foreign country

Sometimes the newly Marked go into shock. The good news is, if this happens to you, you are unlikely to notice, because you will be in shock.

Pourquoi nier l’évidente nécessité de la mémoire?

Sed lex, dura lex," said Balogh. The latin phrase had been hammered into them from the first day of the Academy, and Simon was comming to hate the sound of it -so often was it used as an excuse for acting like monsters.

¡Libros! ¡Libros! Hace aquí una palabra mágica que equivale a decir: "amor, amor", y que debían los pueblos pedir como piden pan o como anhelan la lluvia para sus sementeras. Cuando el insigne escritor ruso Fedor Dostoyevsky, padre de la revolución rusa mucho más que Lenin estaba prisionero en la Siberia, alejado del mundo, entre cuatro paredes y cercado por desoladas llanuras de nieve infinita; y pedía socorro en carta a su lejana familia, sólo decía: "¡Enviadme libros, libros, muchos libros para que mi alma no muera!". Tenía frío y no pedía fuego, tenía terrible sed y no pedía agua pedía libros, es decir, horizontes, es decir, escaleras para subir la cumbre del espíritu y del corazón. Porque la agonía física, biológica, natural, de un cuerpo por hambre, sed o frío, dura poco, muy poco, pero la agonía del alma insatisfecha dura toda la vida. Ya ha dicho el gran Menéndez Pidal, uno de los sabios más verdaderos de Europa, que el lema de la República debe ser: "Cultura". Cultura porque sólo a través de ella se puede resolver los problemas en que hoy se debate el pueblo lleno de fe, pero falto de luz. Medio pan e un libro. Locución de Federico García Lorca al pueblo de Fuente de Vaqueros (Granada)

Je n'ai jamais écrit, croyant le faire, je n'ai jamais aimé, croyant aimer, je n'ai jamais rien fait qu'attendre devant la porte fermée.

Soon you give up, don't look for her anymore, either in the town or at night or in the daytime. Even so you have managed to live that love in the only way possible for you. Losing it before it happened.

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.

All that remains of that minute is time in all its purity, bone-white time.

Muy pronto en mi vida fue demasiado tarde.

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.

I had the face of pleasure, and yet I had no knowledge of pleasure. There was no mistaking that face.

Don’t be afraid anymore. Not of anyone. Not of anything. Nothing. Ever again. Listen to me: not ever again.

No quería dejar de hablar de amor para hablar de postres. Sólo quería dejar de hablar de amor para hacerlo.

La lectura es aventura, escape, entretenimiento, infinito. La realidad es dura, cruda, asfixiante, cerrada y limitada. ¿Para qué buscar realidad en un libro si ya lidiamos todos los días con ella? Está ahí, dictando que algo azul solo debe ser azul, exigiendo que algo redondo solo sea redondo. ¿Qué pasa si yo quiero que el color sea verde o la forma sea triangular? ¿O qué pasa si yo no quiero que haya color alguno ni forma alguna? No, no hay nada interesante en lo real. Si leo es porque quiero olvidarme durante un rato de esta aburrida y cuadrada humanidad.

We’re in the vanguard of a nameless battle, a battle without arms or bloodshed or glory: we’re in the vanguard of waiting.

When you wept it was just over yourself and not because of the marvelous impossibility of reaching her through the difference that separates you.

I’ve never written, though I thought I wrote, never loved, though I thought I loved, never done anything but wait outside the closed door.

La escritura: la escritura llega como el viento, está desnuda, es la tinta, es lo escrito, y pasa como nada pasa en la vida, nada, excepto eso, la vida.

Oh, how good it is to be with someone, sometimes.

Las manos de los hombres no saben usar máscaras. Los hombres ponen duras las facciones hasta para sentirse guapos, pero las manos siempre los delatan. Cuando unas manos de hombre no te dicen nada, lo más probable es que el fulano sea un pendejito sin carácter.

Very early in my life it was too late. It was already too late when I was eighteen. Between eighteen and twenty-five my face took off in a new direction. I grew old at eighteen. I don't know if it's the same for everyone, I've never asked. But I believe I've heard of the way time can suddenly accelerate on people when they're going through even the most youthful and highly esteemed stages of life. My ageing was very sudden. I saw it spread over my features one by one, changing the relationship between them, making the eyes larger, the expression sadder, the mouth more final, leaving great creases in the forehead. But instead of being dismayed I watched this process with the same sort of interest I might have taken in the reading of a book.

« L'histoire de ma vie n'existe pas. Ça n'existe pas. Il n'y a jamais de centre. Pas de chemin, pas de ligne. Il y a de vastes endroits où l'on fait croire qu'il y avait quelqu'un, ce n'est pas vrai il n'y avait personne. »

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

Among all the other nights upon nights, the girl had spent that one on the boat….when it happened, the burst of Chopin…. There wasn’t a breath of wind and the music spread all over the dark boat, like a heavenly injunction whose import was unknown, like an order from God whose meaning was inscrutable. And the girl started up as if to go and kill herself in her turn, throw herself in her turn into the sea, and afterwards, she wept because she thought of the man from Cholon and suddenly she wasn’t sure she hadn’t loved him with a love she hadn’t seen because it had lost itself in the affair like water in the sand and she rediscovered it only now, through this moment of music.

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.

Pouvoir, au milieu de la folie, redevenir humaine

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

You think of outside your room, of the streets of the town, the lonely little squares over by the station, of those winter Saturdays all alike.

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?

A humanidade começa nos que te rodeiam, e não exatamente em ti. Ser-se pessoa implica a tua mãe, as nossas pessoas, um desconhecido ou a sua expectativa. Sem ninguém no presente nem no futuro, o indivíduo pensa tão sem razão quanto pensam os peixes. Dura pelo engenho que tiver e parece como um tributo indiferenciado do planeta. Parece como uma coisa qualquer.

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...

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.

My memory of men is never lit up and illuminated like my memory of women.

Some people are like that - closed - they can't learn from anyone. Us, for example, we can't learn anything, neither I from you nor you from me, nor from anyone, nor from anything, nor from what happens.

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.

Why is one compelled to write? To set oneself apart, cocooned, rapt in solitude, despite the wants of others. Virginia Woolf had her room. Proust his shuttered windows. Marguerite Duras her muted house. Dylan Thomas his modest shed. All seeking an emptiness to imbue with words. The words that will penetrate virgin territory, crack unclaimed combinations, articulate the infinite. The words that formed Lolita, The Lover, Our Lady of the Flowers.

Quise decirle muchas cosas a la ladrona de libros, sobre la belleza y la crueldad, pero ¿qué podía contarle sobre todo eso que ella no supiera? Quise explicarle que no dejo de sobreestimar e infravalorar a la raza humana, que pocas veces me limito únicamente a valoraría. Quise preguntarle cómo un mismo hecho puede ser espléndido y terrible a la vez, y una misma palabra, dura y sublime. Sin embargo, no abrí la boca. Sólo conseguí hablar para confiarle a Liesel Meminger la única verdad que hago mía. Se lo dije a la ladrona de libros, y ahora te lo digo a ti. ÚLTIMA NOTA DE LA NARRADORA Los humanos me acechan.

Paradoxically, the freedom of Paris is associated with a persistent belief that nothing ever changes. Paris, they say, is the city that changes least. After an absence of twenty or thirty years, one still recognizes it." (Tourists in Paris)

It's while it's being lived that life is immortal, while it's still alive. Immortality is not a matter of more or less time, its not really a question of immortality but of something else that remains unknown. It's as untrue to say it's without beginning or end as to say it begins and ends with the life of the spirit, since it partakes both of the spirit and of the pursuit of the void.

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.

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?

Sem a loucura que é o homem Mais que a besta sadia, Cadáver adiado que procria?" O sonho é ver as formas invisíveis Da distância imprecisa, e, com sensíveis Movimentos da esp'rança e da vontade, Buscar na linha fria do horizonte A árvore, a praia, a flor, a ave, a fonte - Os beijos merecidos da Verdade. " (...)Tudo vale a pena Se a alma não é pequena. Quem quere passar além do Bojador Tem que passar além da dor. " Triste de quem é feliz! Vive porque a vida dura. Nada na alma lhe diz Mais que a lição da raiz - Ter por vida a sepultura." Ser descontente é ser homem. " Tenho meus olhos quentes de água. " 'Screvo meu livro à beira-mágoa. " Quando, meu Sonho e meu Senhor?

I can't really remember the days. The light of the sun blurred and annihilated all color. But the nights, I remember them. The blue was more distant than the sky, beyond all depths, covering the bounds of the world. The sky, for me, was the stretch of pure brilliance crossing the blue, that cold coalescence beyond all color. Sometimes, it was in Vinh Long, when my mother was sad she'd order the gig and we'd drive out into the country to see the nighta s it was in the dry season. I had that good fortune- those nights, that mother. The light fell from the sky in cataracts of pure transparency, in torrents of silence and immobility. The air was blue, you could hold it in your hand. Blue. The sky was the continual throbbing of the brilliance of the light. The night lit up everything, all the country on either bank of the river as far as the eye could reach. Every night was different, each one had a name as long as it lasted. Their sound was that of the dogs, the country dogs baying at mystery. They answered on another from village to village, until the time and space of the night were utterly consumed.

... no tuvieron que hacer ningún `pacto de amistad´, como suelen los muchachos de su edad, cuando organizan solemnes ritos ridículos, llenos de pasión exagerada, al aparecer la primera pasión en ellos- de una forma inconsciente y desfigurada-, al pretender por primera vez apropiarse del cuerpo y del alma del otro, sacándole del mundo para poseerlo en exclusiva. Esto y sólo esto es el sentido del amor y de la amistad. La amistad entre los dos muchachos era tan seria y tan callada como cualquier sentimiento importante que dura toda una vida. Y como todos los sentimientos grandiosos, también contenía elementos de pudor y de culpa. Uno no puede apropiarse de una persona y alejarla de todos los demás sin tener remordimientos. Ellos supieron, desde el primer momento, que su encuentro prevalecería durante toda su vida.

Hélène Lagonelle’s body is heavy, innocent still, her skin’s as soft as that of certain fruits, you almost can’t grasp her, she’s almost illusory, it’s too much. She makes you want to kill her, she conjures up a marvelous dream of putting her to death with your own hands. Those flour-white shapes, she bears them unknowingly, and offers them for hands to knead, for lips to eat, without holding them back, without any knowledge of them and without any knowledge of their fabulous power. I’d like to eat Hélène Lagonelle’s breasts as he eats mine in the room in the Chinese town where I go every night to increase my knowledge of God. I’d like to devour and be devoured by those flour-white breasts of hers. I am worn out with desire for Hélène Lagonelle. I am worn out with desire. I want to take Hélène Lagonelle with me to where every evening, my eyes shut, I have imparted to me the pleasure that makes you cry out. I’d like to give Hélène Lagonelle to the man who does that to me, so he may do it in turn to her. I want it to happen in my presence, I want her to do it as I wish, I want her to give herself where I give myself. It’s via Hélène Lagonelle’s body, through it, that the ultimate pleasure would pass from him to me. A pleasure unto death.