"I see journalists as the manual workers, the laborers of the word. Journalism can only be literature when it is passionate"
About this Quote
Duras hands journalists a compliment that lands like a provocation. Calling them “manual workers” and “laborers of the word” yanks writing down from the salon and back into the factory: journalism isn’t ethereal inspiration, it’s shift work. The romance of the byline dissolves into repetitive motion, deadlines, and the gritty competence of producing copy that has to hold up under pressure. It’s a class metaphor with teeth, and it’s also a quiet defense of craft: labor is not lesser; it’s how language gets built.
Then she draws a hard, almost unfair border: “Journalism can only be literature when it is passionate.” Not “accurate,” not “beautiful,” not “important” - passionate. The subtext is Duras at her most suspicious of neutrality. She’s insisting that what turns reportage into something that survives the news cycle isn’t polish but heat: obsession, risk, a writer willing to be implicated in what she sees. It’s a rebuke to the myth of objective distance, and a warning about the alternative - journalism as mere transcription, language as clerical work.
Context matters here. Duras moved between novels, political engagement, and journalism, writing with a style that treated “facts” as emotionally charged material. Her line catches a mid-century French literary sensibility where reportage, testimony, and the novel were constantly borrowing each other’s clothes. Passion, for Duras, isn’t sentiment; it’s intensity that exposes power, desire, and violence. She’s arguing that the only journalism worth calling literature is the kind that refuses to be safely professional.
Then she draws a hard, almost unfair border: “Journalism can only be literature when it is passionate.” Not “accurate,” not “beautiful,” not “important” - passionate. The subtext is Duras at her most suspicious of neutrality. She’s insisting that what turns reportage into something that survives the news cycle isn’t polish but heat: obsession, risk, a writer willing to be implicated in what she sees. It’s a rebuke to the myth of objective distance, and a warning about the alternative - journalism as mere transcription, language as clerical work.
Context matters here. Duras moved between novels, political engagement, and journalism, writing with a style that treated “facts” as emotionally charged material. Her line catches a mid-century French literary sensibility where reportage, testimony, and the novel were constantly borrowing each other’s clothes. Passion, for Duras, isn’t sentiment; it’s intensity that exposes power, desire, and violence. She’s arguing that the only journalism worth calling literature is the kind that refuses to be safely professional.
Quote Details
| Topic | Writing |
|---|---|
| Source | Help us find the source |
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