In the following essay, Chester examines colonialism and autobiographical representation in The Lover and The Sea Wall.

In the following essay, Martin examines power in The Lover as it is used by and against the narrator.

In the following essay, Brooks analyzes what he considers Duras's subversive techniques of dealing with the problem of the visual in The Lover.

In the following essay, Cohen explores Duras's “inter-genre” use of visual imagery in The Lover.

In the following essay, Hellerstein suggests that the father's death in The Lover “deprives all the members of the family of a source of emotional, economic, and sexual definition.”

In the following essay, Morgan discusses the autobiographical significance of the silences in The Lover.

In the following essay, Hirsch provides a psychoanalytic reading of the relationship between the narrator and her mother in The Lover.

In the following essay, originally published in the Boston Phoenix in 1985, Birkerts discusses the minimalistic prose of The Lover.

In the following review of The Lover, Annan examines Duras's motivations in the writing of the novella, as well as the book's phenomenal popular success.

In the following review of the English translation of L'amant and Whole Days in the Trees, Gunn finds similarities between the two books despite the thirty years between their publications.

In the following excerpt, Riding remarks on Duras's life and literature.

In the following review, Otten deems The Lover a “parable of French colonialism.”