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Alexandria Quartet (Boxed), by Lawrence DURRELL
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A boxed set of 4 paperbacks in a hardback slipcover.
- Sales Rank: #1506834 in Books
- Published on: 1975
- Ingredients: Example Ingredients
- Original language: English
- Number of items: 1
- Dimensions: 5.00" h x 1.00" w x 7.00" l,
- Binding: Paperback
- 1109 pages
Most helpful customer reviews
184 of 189 people found the following review helpful.
A Lushness of Imagery and Character
By Big Bad John
I would have to be a far better writer than I am to do justice to a work like this, and it seems distinctly odd to be writing only the second review of this classic for Amazon. I first read it as a teen and missed nearly everything there was to delight me as a grownup. This is not a book for those who like linear literature or concise prose.
Durrell's prose is some of the lushest in my acquaintance. Almost every chapter begins with a word-picture that sucked me in and seduced me with a strong sense of place. Throughout the work, there are phrases, sentences, and paragraphs that jump off the page and insist on being read aloud to whoever is nearby.
His characters are colorful and deep, but their depths are not accessible at a glance any more than with real people. Durrell used a fascinating technique that reminds me of Pointilism and Cubism combined. He puts thousands of dots of color on the canvas until you begin to see a picture in depth. But just when you think you've got it, he shifts perspective and you see new dimensions in the characters that were unsuspected by narrator and reader alike.
The adjective "painterly" occurs to me in connection with Durrell, as in 'This is a writerly book!' It connects with literature as diverse as Cavafy, Forster, Parachelsus, de Sade, Freud, and traditional Arab folklore, and echoes of Durrell are heard in works by the generations of writers who followed him. Also it is a book for writers and for artists of all stripes, as many of its characters are aspiring, successful, or failed artists.
This is also a study of "love" in all its forms. Of sexual entanglements there are plenty: incest, rape, prostitution, May-December romance, and adultery by the carload... but also loves of place, of friends, of service, of status, of ideals and traditions... and all the frustrations and tragedies that attend these loves.
I strongly recommend the Alexandria Quartet to those who have the vocabulary, patience, and love of elegant language necessary to the appreciation of a literary masterpiece.
210 of 223 people found the following review helpful.
Problems, Problems...
By Critical "I"
First of all let me say that "The Alexandria Quartet" was one of the most moving books I've ever read, when I read it years ago, and so I was looking forward to putting it on my Kindle to have it to read over what is promising to be a really hot summer here in Chicago (this book really reads well during hot weather, I think).
Here's the problem. In the first page or three of the actual book, Durrell throws in a note. It is marked with an asterisk, and you have to turn to about the last page of the book to read the note. On the next page, Durrell does the same thing, an asterisk, and off you go to the back of the book again. There are around ten such notes in the first book "Justine". They are all on a page of notes and referenced by the page number on which the asterisk occurs. This is not a great way to do footnotes (end notes, really) but it works if there aren't a lot of them. However, whoever created this Kindle edition didn't make the footnotes active. DOH! AND there is no active table of contents. DOH! again! That means the reader is going to have to figure out by trial and error where the notes occur. Now, if you have bought each book seperately. This is a minor hassle (although I would argue there shouldn't be ANY hassle when you are paying full price for a Kindle book). You just use the menu to "go to the end" and then page backward until you hit the notes. BUT, if you have bought the one volume edition, does this approach still work? Or do you have to hunt for the one quarter mark of the whole thing and then hunt around some more to find the end of Justine, and then hunt around some more for the notes page? No way do I have time and patience for that.
It may just be me, but it seems to me that if a publisher is going to charge almost $14.00 for a Kindle edition, they ought to make the table of contents active AND make the notes active. There is simply no excuse for not doing at least the latter thing.
So, sadly, I have returned this (citing quality issues) and will simply read the quartet in paperback next time. Too bad!
321 of 346 people found the following review helpful.
A Frustrating Mix of Wonderful and Boring
By A Customer
This quartet is a frustrating mixture of wonderful writing and boring passages. I read it once a decade ago and a second time recently. To decide whether you'll like it, consider the following.
Structure: Durrell is writing spatially as well as sequentially. The first book, Justine, leaves gaps in the reader's knowledge to reflect the gaps in the narrator's knowledge. The second book, Balthazar, retraces the same material and fills in some of the gaps as the narrator learns more. The third book, Mountolive, tells the story in the form of a traditional novel (third person) and fills in most of the gaps. The fourth book, Clea, is set later in time; it once again leaves gaps to reflect what the narrator doesn't know. This is a fascinating approach, but to enjoy it, you must be willing to endure unanswered questions that reflect the narrator's lack of knowledge (including some, in Clea, that will never be answered).
Introspection: The characters spend a great deal of time looking within themselves, trying to understand their motives and desires. This can be interesting to those who like psychology. But the characters spend so much time introspecting that it becomes annoying. They are so self-centered, so hung up on everything they themselves do and wondering why they do it, that after a while one longs for a character who is more interested in someone else than in him/herself, more interested in action than in endless thought.
Style: Durrell is a wonderful wordsmith. Some of his sentences will stay with you for a long time. And he paints vivid word pictures of Alexandria. But that is also a problem: he paints, and paints, and paints. After a while, even readers who much prefer character-driven fiction to slam-bang potboilers will long fervently for something to happen.
Characters: If you like detailed descriptions and analyses of secondary characters, you may find characters such as Scobie enjoyable. If you don't, the extended time spent on such characters will become a tedious digression that slows down the story to a snail's pace.
Plot and philosophy: If you've spent a a fair amount of time wondering what love is, why some lovers are manipulative, why some love is destructive to the lovers, why and how people destroy their own loving affairs because they don't understand themselves and their motivations, this quartet will provide you with considerable food for thought. But if you regard love more as something to experience and feel than to analyze and interpret, if you believe that you're pretty much in control of your emotions and won't fall in love with someone who's bad for you, if you regard love as something fairly straightfoward and relatively easy to understand rather than as something highly complicated and abstruse, the lengthy reflections and ponderings of the characters will probably drive you up the wall.
Culture: World War II Alexandria is of course far different from the contemporary United States. If you like exploring different cultures and peoples, you'll like this aspect of the quartet. But if you like to identify with the characters in a novel as a way of getting into the story and better understanding yourself, you may find that these characters and locales are too different for you to do so.
Overall impact: Tbe book reads like a lesiurely and luxurious immersion in words, words, words. This can be sensuous and enticing. It can also leave the reader with the feeling of watching a craftsman put on a show that, ultimately, has little lasting impact.
There is much in the quartet to admire. But there are also serious negatives. For me, the considerable effort hasn't been justified by sufficient rewards. Which is not to say that I won't go back some day and try it for the third time.
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