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24 pages 48 minutes read

Marguerite Duras

The Lover

Fiction | Novel | Adult | Published in 1984

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Sections 1-3Chapter Summaries & Analyses

Section 1, Pages 3-17 Summary

The narrator describes a significant moment in her life: Crossing the ferry in Saigon to return to her French boarding school. The narrator is fifteen. An adult Chinese man approaches her. The image she has of herself at this time is her favorite; it occurs before her face matures at eighteen. After that, the narrator believes she resembles a much older woman with a face that “has been laid waste” by her experiences (5). The narrator is the only one of her siblings to continue her education into high school; her mother wants her to obtain a math degree. The narrator has always wanted to become a writer. She reflects upon how she has never—until now—written about this period of her life.

Though her mother is the headmistress of Sadec’s French school, the family lives in near poverty and struggles to maintain an estate her mother purchased. Still, the family does not have to sacrifice having a staff of servants; their white privilege among the native Vietnamese allows them class-based luxuries.

The narrator describes herself on the ferry. She wears secondhand clothes and makeup, including a man’s hat of which she is fond. The narrator compares the image to a photograph she has of her son in which her son is assuming the attitude of who he wants to be: “It’s this photograph that comes closest to the one never taken of the girl on the ferry” (13). She describes another photograph of her mother and questions the intense and fluctuating depressive moods that her mother experienced her entire life.

As the ferry docks, the narrator notices a man inside of a limousine watching her. At first, she doesn’t consider his watching important; she is used to men watching her as a young white girl in the colony. 

Section 2, Pages 18-32 Summary

The narrator believes that her beauty is not like other women’s, and that she can appear as she desires to anyone: “What I want to seem, I do seem, beautiful too if that’s what people want me to be” (18). She compares herself to the other women living in the colony with disdain. She understands her developing sexuality in relation to the appearances that these women put on. The narrator regards her mother as separate from the general group of women living in the colony. She is both intensely ashamed and protective of her mother; she describes leaving her mother as an “escape” and “obsession.” The narrator claims to have written about her childhood before; she struggles to remember what she might have left out, in particular the contradictory love and hatred for her mother.

When the narrator eventually leaves Vietnam for France, she becomes distanced from her family. Her younger brother dies in December of 1942, some years since the narrator has been in Saigon; this event marks the narrator’s separation from her mother. Though her mother visits the narrator and the narrator’s son in France in 1949, the narrator remarks that: “There was nothing left to reunite” (29). The narrator’s elder brother’s control over their mother, his inability to support himself, and his abuse contribute to their mother’s eventual death, which the narrator aims to separate herself from.

The family’s poverty in Vietnam encourages the narrator to pursue money as an absolute goal and to “divert the interest people take in her to the interest she takes in money” (24). On the morning of the ferry and meeting her lover, the narrator’s mother expresses pride at the narrator’s appearance and frugality of dress.

Section 3, Pages 33-48 Summary

On the ferry, the narrator watches as the man from the limousine approaches her on the ferry deck. He seems nervous, which the narrator attributes to the fact that he is Chinese, from Fushun: “There’s the difference of race, he’s not white, he has to get the better of it, that’s why he’s trembling” (32). They talk and the man says that he knows her mother, the headmistress at Sadec, known for purchasing an estate with poor land. He has just returned from studying in Paris. The man offers to drive her to the boarding school. He is 27 years old.

In the car, the narrator is pleased to think that she can manipulate the man into loving her: she will no longer have to take the bus to school but can be driven around Saigon in his limousine. The man describes his father, a wealthy man whom the narrator immediately suspects won’t allow his son to marry a young white girl. The narrator considers her act of getting into the man’s car as her first act of independence: “she’s excluded from the family for the first time and forever” (35).

Each day the man drives her from the boarding school to the French high school. On a Thursday, when she has a half-day, he brings her back to his impressive, affluent home. She anticipates what he desires and is prepared to become his lover, as the relationship is “also what had to happen especially to her” (36). Once at his house, he confesses that he loves her to distraction and accepts that she can never love him in the same way. She begs him to treat her like the other women he brings to his home. Though momentarily shy, he makes loves to her, and afterward they talk about the near poverty her family lives in. She confesses to desiring him because of his money and that having finally achieved her mother’s worst expectation for her is a relief. They go to an expensive Chinese restaurant in the city and eat dinner.

Sections 1-3 Analysis

The narrator’s image of herself at the opening of the novel—the moment before she meets her lover—signifies the last moments of her childhood and innocence. After, she asserts an independence from her family. Her youthful appearance, which contrasts with her aged face later on, reflects her inner emotional state—that of innocence. After she and her lover begin and end their relationship, the narrator’s face ages to that of a grown woman, corresponding with internal emotional growth.

The narrator’s “threadbare” dress and shoes reflect her family’s poor financial state and validate her need to take a wealthy lover. Her man’s hat suggests that the narrator, at this moment, is already under the influence of male sexuality, of an association between the female body and monetary value. The narrator is proud of this link between her body and the money she receives from her lover. She sees herself fulfilling a role for which she is suitably and economically compensated.

The narrator discusses her family’s near poverty in relation to the poverty experienced by Vietnamese natives living in the same city. The narrator’s white privilege as a colonizer allows her and her family to still have food and servants despite being unable to afford new clothes. Their lives are never threatened by their lack of money; it is their social status that is at stake and which the narrator attempts to rectify by taking a wealthy lover.

The novel features the theme of writing. We see this when the narrator tells her mother that she wants to become a novelist rather use a degree in math. The narrator writes her story from a future perspective. This allows her to question why she hasn’t already written about these events, and what it means to write them now: “I’m talking about the hidden stretches of that same youth, of certain facts, feelings, events that I buried” (8).

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