"The Slut of the Normandy Beach" reads both as biography and as a forward to a book - exploring the process of writing within the context of her relationship with Yann. In typical Duras style, she cuts words and images down to sparse, evocative prose, an extreme economy or words lying bare the emotions of the characters. "The Atlantic Man" shares the exonomy of words. This "writing" (her perferred term) reads like a director of a film explaining to an actor how she envisions the scene. The "understory" is that of a broken relationship, of absence. One does not read Duras for lavish verbal pictures, complex plots or savvy dialogue; rather read her for an illustration of how "less can be more." The emotions are highlighted when all else is stripped away. The interview by Moix is interesting in its presentation of Duras' attitude toward literary prizes, alcohol, and the genre of her writing. The afterward by Manguel touches on the relationship between the two works presented in this volume.
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