[In The Woman in the Dunes, a man comes to a] village, each of whose houses is set in a deep pit in the dunes to protect it from the weather. He stays overnight in a house with a woman. In the morning no ladder is lowered for him. He is kept prisoner: to help shovel sand into buckets, to keep the house from being buried and, incited by proximity, to beget children with the woman. Thus he is impressed into the survival and continuity of the village.
The plot, which is what it must be called, is designed as a framework for symbolisms of freedom, love, tenacity, stupidity, hope. There is no inherent demerit in such a plot but there is inherent risk. As soon as the shape becomes clear, the reader becomes aware of a blueprint being slowly followed. Unless the author is able to keep us concentrated on the present moment with interest of character and richness of texture, we become impatient. This is too often true of Abé's book. (p. 21)
Stanley Kauffmann, "Novels from Abroad: 'The Woman in the Dunes'," in The New York Review of Books (reprinted with permission from The New York Review of Books; copyright © 1964 Nyrev, Inc.), Vol. III, No. 2, January 14, 1964, pp. 20-1.
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