Dalloway), Cunningham’s The Hours tells three stories that are seemingly distanced in geographical space and historical time. Dalloway ( The Hours is the working title that Woolf gave the draft version of Mrs. I argue that the narrative structure of both Cunningham’s The Hours and the subsequent film adaptation use a consistent hailing of various material objects to emphasize the text as grappling within a displaced sense of the past that creeps through to the present. The immeasurability of time is certainly something we all grapple with when routines are upended or when every day becomes a repetition of the last.

Cunningham’s 1998 Pulitzer Prize winning novel, and Daldry’s Oscar winning 2002 film are 22 and 18 years removed from our current moment respectively, and yet the conceptualization of the “then” explored in both the novel and the film are just as relevant to our now, exactly because both address the possibility of simultaneous existences, as well as time as being a concept that is incapable of measurement.

Henri Bergson’s conceptualization and understanding of durée becomes a valuable overarching framework for an exploration of Michael Cunningham’s The Hours, and the film adaptation directed by Stephen Daldry. There are topics that are certainly more embodied than others this is especially true when the topic is time, or more specifically durée or simultaneity.

The hours cunningham