When Darley settles down with Clea to live happily ever after, the reader is more likely to sigh in disappointment than in satisfaction: we had thought there was more to [the Alexandria Quartet] than that, and indeed there was. The last volumes escape all too successfully from the baffling relativity which was the chief interest of the first two.
A mechanical but genuine source of power in the early books was multiple points of view. Quite apart from tacit transitions from one narrative eye to another, events were watched and recorded by three professional authors—Arnauti, Darley, and Pursewarden—in addition to diarists, letter-writers, and commentators, all of whose work was conveniently made available to the scribe…. In addition, we saw Darley at a variety of different stages in his career, and information was filtered into the novels from a number of different and competing intelligence agencies. All this made for an ingeniously interwoven fabric of times, places, and points of view, across which the reader's studious eye wandered in search of patterns and ever-deeper patterns. One part of the book called another into question; the various novelists circled around the problems of complex personalities in complex situations, throwing off ideas for novels which might or might not apply to the present one. All this uncertainty was more potent fictional stuff than any conceivable resolutions of it could be: especially since Durrell, though his characters are all erotically obsessed, and he himself proposes eros as an ultimate form of cognition, skimps actual erotic scenes and any definition of the knowledge gained from them as primly as any Victorian novelist…. (pp. 162-63)
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