Download Hiroshima Mon Amour Books Online

List Books To Hiroshima Mon Amour

Original Title:	Hiroshima mon amour
ISBN:	8432216941 (ISBN13: 9788432216947)
Edition Language:	Spanish
Setting:	Japan

Hiroshima Mon Amour

Marguerite Duras

Paperback | Pages: 160 pages

Rating: 3.9 | 3858 Users | 207 Reviews

Be Specific About Based On Books Hiroshima Mon Amour

Title	:	Hiroshima Mon Amour
Author	:	Marguerite Duras
Book Format	:	Paperback
Book Edition	:	Booket
Pages	:	Pages: 160 pages
Published	:	October 1st 2005 by Planeta (first published 1959)
Categories	:	Fiction. Cultural. France. Classics. Plays. European Literature. French Literature. Culture. Film

Narration Supposing Books Hiroshima Mon Amour

Duras, who was rightly nominated for a Oscar (Best Screenplay), for Alain Resnais's 1959 film, has produced a Painful, haunting and unforgettable piece of writing, exploring themes she has always held close to her heart, that being love and reminiscence. A Japanese architect and a French actress form the basis of this celebrated short novel, set in Hiroshima, which, essentially is a metaphor for one's inability to forget the wounds of history, during the aftermath of the Second world war. The single couple make up the story where lovers turned friends spend considerable time pondering on previous romances and life experiences. They intertwine their memories on the past, whilst trying to come to terms with the devastation caused by the atomic bomb, and what lies ahead. Sombre in tone and minimal in it's approach, the delicate, sparse narrative is a classic example of how to write about love, striping away all the melodramatic nonsense that clogs up so many other love stories, laying itself down bare, with sorrow and tenderness. Less of a novel, more a work of art. 5/5

Rating Based On Books Hiroshima Mon Amour

Ratings: 3.9 From 3858 Users | 207 Reviews

Evaluation Based On Books Hiroshima Mon Amour

Aaah la Duras!

Not much happens, watch the film

After watching and utterly falling for Alain Resnais's and Marguerite Duras's 1959 film Hiroshima mon amour back in March, I was so enamored of the languagesparse, yet compelling enough that I recited phrases from the film to myself for weeks after watching itthat I had to search out Duras's original screenplay and spend some time absorbing the words at a slower-than-speech pace. Doing so only increased my admiration for Duras's work here, while at the same time helping me realize how much the

"Like you, I wanted to have an inconsolable memory, a memory of shadows and stone.""I'll think of this adventure as the horror of oblivion. I already know it."This is the screenplay of one of the finest films ever made. It is a delicate, poignant, slight and tender thing, but it probes the mysteries of love, forgetfulness, memory, time and oblivion in a way that few films have, within the framework of a nimble narrative that understands how the human brain processes and thinks about time --

I haven't had a huge amount of exposure to nouvelle vague films, but what I've seen is so great. On one level it's totally wacked, but on another it's so beautiful and deep and profound and it's all about love and life and living and loving and it's... wow. Just wow."SHE: ... I meet you.I remember you.Who are you?You destroy me.You're so good for me.How could I have known that you were made to the size of my body?You're great. How wonderful. You're great.How slow all of a sudden.And how sweet.

A hopeless love [...] therefore already relegated to oblivion. Therefore eternal.[...] Just as in love this illusion exists, this illusion of being able never to forget [...] Like you, I know what it is to forget. [...] Like you, I have a memory. I know what it is to forget. [...] Like you, I too have tried with all my might not to forget. Like you, I forgot. Like you, I wanted to have an inconsolable memory, a memory of shadows and stone.

Duras at her best. A rich, beautiful tapestry of passion amidst the resurgence of personal turmoil. A non-linear example of traumatic experiences searing themselves into the layers of the present, so much so that they construct and blind people to happiness and love, allowing only fragmented pieces of obsession or desire to shine through. Such incredible dialogue and scenario that it transcends a dramatic work and becomes a visceral phantasmagoria juxtaposing the horror of war with the human