Focusing on the political commitments of three French writers who collaborated with the Vichy Regime and Nazi Germany during World War II, and on those of three leading French intellectuals of the 1990s whose misplaced political idealism led them to support xenophobic, authoritarian regimes and dangerous historical revisionisms, Richard J. Golsan reexamines the notion of political commitment or engagement in two difficult periods in modern French history. Discussing the fiction, essays, and journalism of Henry de Montherlant, Jean Giono, and Alphonse de Châteaubriant, Golsan explores the complexity of artistic and intellectual collaboration during the German Occupation. He demonstrates that, in this context, complicity with political evil often derived from "nonpolitical" motives including sexual orientation, antimodern aesthetics, and dangerously skewed religious beliefs. Turning to the post–cold war era of the 1990s, Golsan examines the philosopher Alain Finkielkraut's support for Croatian independence, the "mediologist" Régis Debray's pro-Serb stance during the bombing of Kosovo, and the historian Stéphane Courtois's revisionist comparison of Nazi and Communist crimes during the 1997 debate surrounding the publication of The Black Book of Communism. In these three cases, laudable motives—and misguided historical comparisons with Vichy, Nazism, and the Occupation period that marked the political and intellectual discourses of France in the 1990s—resulted, paradoxically, in antidemocratic engagements profoundly at odds with the original motivations behind these intellectuals' commitments. In each of these case studies, political complicity derives from a combination of passions and ideals—whether positive or negative, emotional or intellectual—as well as a desire to make the present conform to a particular and generally skewed vision of the past. The full implications of these involvements are neither fully grasped nor understood by their authors, either through lack of objectivity, rationality, or imagination or through willful ignorance. The results are always unfortunate and often disastrous. Considered together, these six intellectuals serve as sobering reminders that political commitments are never as simple or straightforward as they seem and that admirable motives for political involvement can have dangerous and destructive consequences in historical practice.

Since World War II, French and Francophone literature and film have repeatedly sought not to singularize the Holocaust as the paradigm of historical trauma but rather to connect its memory with other memories of violence, namely that of colonialism. These works produced what Debarati Sanyal calls a “memory-in-complicity” attuned to the gray zones that implicate different regimes of violence across history as well as those of different subject positions such as victim, perpetrator, witness, and reader/spectator. Examining a range of works from Albert Camus, Primo Levi, Alain Resnais, and Jean-Paul Sartre to Jonathan Littell, Assia Djebar, Giorgio Agamben, and Boualem Sansal, Memory and Complicity develops an inquiry into the political force and ethical dangers of such implications, contrasting them with contemporary models for thinking about trauma and violence and offering an extended meditation on the role of aesthetic form, especially allegory, within acts of transhistorical remembrance. What are the political benefits and ethical risks of invoking the memory of one history in order to address another? What is the role of complicity in making these connections? How does complicity, rather than affect based discourses of trauma, shame and melancholy, open a critical engagement with the violence of history? What is it about literature and film that have made them such powerful vehicles for this kind of connective memory work? As it offers new readings of some of the most celebrated and controversial novelists, filmmakers, and playwrights from the French-speaking world, Memory and Complicity addresses these questions in order to reframe the way we think about historical memory and its political uses today.

A startling and superbly researched book demythologizing the North’s role in American slavery “The hardest question is what to do when human rights give way to profits. . . . Complicity is a story of the skeletons that remain in this nation’s closet.”—San Francisco Chronicle The North’s profit from—indeed, dependence on—slavery has mostly been a shameful and well-kept secret . . . until now. Complicity reveals the cruel truth about the lucrative Triangle Trade of molasses, rum, and slaves that linked the North to the West Indies and Africa. It also discloses the reality of Northern empires built on tainted profits—run, in some cases, by abolitionists—and exposes the thousand-acre plantations that existed in towns such as Salem, Connecticut. Here, too, are eye-opening accounts of the individuals who profited directly from slavery far from the Mason-Dixon line. Culled from long-ignored documents and reports—and bolstered by rarely seen photos, publications, maps, and period drawings—Complicity is a fascinating and sobering work that actually does what so many books pretend to do: shed light on America’s past.

Throughout his career, Henri Matisse used imagery as a means of engaging critically with poetry and prose by a diverse range of authors. Kathryn Brown offers a groundbreaking account of Matisse's position in the literary cross-currents of 20th-century France and explores ways in which reading influenced the artist's work in a range of media. This study argues that the livre d'artiste became the privileged means by which Matisse enfolded literature into his own idiom and demonstrated the centrality of his aesthetic to modernist debates about authorship and creativity. By tracing the compositional and interpretive choices that Matisse made as a painter, print maker, and reader in the field of book production, this study offers a new theoretical account of visual art's capacity to function as a form of literary criticism and extends debates about the gendering of 20th-century bibliophilia. Brown also demonstrates the importance of Matisse's self-placement in relation to the French literary canon in the charged political climate of the Second World War and its aftermath. Through a combination of archival resources, art history, and literary criticism, this study offers a new interpretation of Matisse's artist's books and will be of interest to art historians, literary scholars, and researchers in book history and modernism.

In 1963, French-Spanish writer Jorge Semprun published Le Grand Voyage (The Long Voyage), a fictional account of his deportation to Buchenwald. Later, Semprun became an Academy Award-nominated screenwriter and served as Spain's minister of culture. This volume of the Yale French Studies series constitutes an overall assessment of his work, spanning his broad range of genres and traditions. Including both new perspectives and pieces by authors who have written widely on Semprun, this volume is a refreshing and dynamic look at one of the twentieth-century's most interesting literary voices.

The fiftieth anniversary of the Adolf Eichmann trial may have come and gone but in many countries around the world there is a renewed focus on the trial, Eichmann himself, and the nature of his crimes. This increased attention also stimulates scrutiny of Hannah Arendt’s influential and controversial work, Eichmann in Jerusalem. The contributors gathered together by Richard J. Golsan and Sarah M. Misemer in The Trial That Never Ends assess the contested legacy of Hannah Arendt’s famous book and the issues she raised: the "banality of evil", the possibility of justice in the aftermath of monstrous crimes, the right of Israel to kidnap and judge Eichmann, and the agency and role of victims. The contributors also interrogate Arendt’s own ambivalent attitudes towards race and critically interpret the nature of the crimes Eichmann committed in light of newly discovered Nazi documents. The Trial That Never Ends responds to new scholarship by Deborah Lipstadt, Bettina Stangneth, and Shoshana Felman and offers rich new ground for historical, legal, philosophical, and psychological speculation.

In Renegotiating French Identity, Jane Fulcher addresses the question of cultural resistance to the German occupation and Vichy regime during the Second World War. Nazi Germany famously stressed music as a marker of national identity and cultural achievement, but so too did Vichy. From the opera to the symphony, music did not only serve the interests of Vichy and German propaganda: it also helped to reveal the motives behind them, and to awaken resistance among those growing disillusioned by the regime. Using unexplored Resistance documents, from both the clandestine press and the French National Archives, Fulcher looks at the responses of specific artists and their means of resistance, addressing in turn Pierre Schaeffer, Arthur Honegger, Francis Poulenc, and Olivier Messiaen, among others. This book investigates the role that music played in fostering a profound awareness of the cultural and political differences between conflicting French ideological positions, as criticism of Vichy and its policies mounted.

Reader's Digest Endowed Book Fund.

Based on detailed archival research and site visits, Scarred Landscapes is the first environmental history of Vichy France. From mountains and marshlands to foresters and resisters, it examines the intricate and often surprising connections between war, history, and the 'natural' environment during these turbulent years.

The Third Republic of France was characterized by weak and short-term governments. This book is a study of three writers, Georges Sorel, Maurice Barres, and Charles Maurras, their writings in the years between 1885 and 1914, and their reactions to the deficiencies they saw in the Third Republic and in the system of French democracy. The study begins in 1885 with the appearance of certain new political factors. It ends in 1914 because the three writers had by this time completed their original contributions to the thought of the country, even if not their total impact on France.A relative position of each of these figures in the French political spectrum is deduced from a combination of attitudes toward a number of issues. These include the extent of economic and social reform, centralization of the power of the state, the nature of the parliamentary system, the desirability of political parties, the relation of Church and State, the responsibility of authority, the use of force or coercion, and national power versus international collaboration. Their views span the political spectrum.Sorel, Barres, and Maurras are important not only because they provided the chief ideological weapons for the attack on the regime but also, in a wider context, because they contribute significantly to understanding of a later period of European political history. In their contemporary significance, all three illustrated the various attitudes of the conservative, the .reactionary, and the moralist. The names and parties may have changed but the same ideas continue to impact French politics and western ideology today. This is a key book for an epoch whose importance lingers in current discourse.