Her husband was deported to Buchenwald, the notorious concentration camp-an experience she later drew on for her work The War. During World War II, she was a member of the Communist Party and of the French Resistance, alongside François Mitterrand (who later became President of France). Best known for The Lover (a hybrid work that is best described as fictionalised autobiography, which won the 1984 Prix Goncourt), her oeuvre is distinctive, addressing themes of desire, loss, and death, in a style that can be repetitive, sparse, but striking all the same.ĭuras enjoys a certain infamy as a public figure in France-born in French Indochina (modern-day Vietnam) in 1914, she moved to her parents’ native France at aged seventeen. One writer I turn to again and again to help navigate the complex threads tying together reading and writing-both so key to a sustainable translation practice-is Marguerite Duras, the celebrated French writer and experimental film-maker. After all, what is writing but the translation of ideas, experience, and memory onto the page? As writer-translators, we might seek guidance and models to follow-a way out of the text to be translated, or a way through. Writers become translators, and translators become writers.
Writing and translating could be described as sister arts.
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