Cinema Station

Marguerite Duras | August 5, 2010

Marguertie Duras

A preface

I have been reading the works of M. Duras for as long as I can remember. I don’t know when it began but I was already quite grown up and well into my twenties when I started. And it was before Resnais’ film Hiroshima Mon Amour (1959 ) came out, for which she wrote the script. What was it about her work that attracted me? I don’t know. I just know that over the years I have bought and read everything by her that has been translated into English.  I have read several bios and studies of her work as well. And after all this, how do I feel about her work? According to my mood and the particular work I’m reading I find her engrossing, impenetrable, confusing, irritating, contradictory, narcissistic, opinionated, wrongheaded, repetitive, sometimes obscure and obtuse but always interesting because it is written by her. True love can never be explained. It’s too irrational, too mysterious, too illogical and too absurd. I feel this way about Madame Duras and her work so I can only guess that I am somehow in love. There is no other explanation for it.

The Gospel According to Marguerite Duras

(As created by Gus Edwards after reading virtually everything she has written.)

Use all mediums available be it film, literature, stage, TV or audio.

Make the work important, not necessarily to an audience but to yourself, then insist that it be taken seriously by all.

Work in any length that suits you (the artist) and your subject matter and your mood of the moment.

Be daring, it’s your world not theirs (the critics and the audience) so you are free to create and manipulate it as you please.

When you work in film, video or the stage, work your own way in terms of content or technique. Create a new form if you must, and don’t ever feel the need to do things their way or the way things are generally done.

Being coherent or being understood is not very important. Being truthful to yourself and your vision is.

Every work you do should get some sort of public exposure. Nothing is so unimportant that it shouldn’t be seen or read.

The writer is the personality behind the work. Make sure the public knows who the writer is.

Some books are “day” books meant to entertain, pass the time or elicit an emotion. Some books are “night” books just meant to exist because they are living things because it is at night when we are most alive. Write “night” books, make “night” films and so on.



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