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Loading... Suite Française (2004)by Irène Némirovsky
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Sign up for LibraryThing to find out whether you'll like this book. Some novels leave me almost mute with admiration. This is one such book; I feel I can't possibly do justice to the extraordinary power of this narrative. Written in 1941, not long before Nѐmirovsky was arrested and murdered by the Nazis in Auschwitz, Suite Francaise depicts the realities for people living in France under occupation. Of course, one of the things which make it so extraordinary is that it was written while these events were taking place. It is for me, every bit a chronicle of those desperate, frightening times, as it is a brilliant novel. Suite Francaise is made up of two novellas – linked very slightly – the only two completed parts of a projected four part sequence that Nѐmirovsky had planned to write. The first – Storm in June – is the brilliant depiction of the flight of a disparate group of Parisians on the eve of the German invasion. The second part – Dolce is set in a small French provincial town, occupied by German soldiers who take up residence in the homes of the people they are now the conquerors of. "Paris had its sweetest smell, the smell of chestnut trees in bloom and of petrol with a few grains of dust that crack under your teeth like pepper. In the darkness the danger seemed to grow. You could smell the suffering in the air, in the silence. Everyone looked at their house and thought, "Tomorrow it will be in ruins, tomorrow I'll have nothing left." In the opening section of Suite Francaise, the citizens of Paris are under threat, the Germans are advancing and the air is thick with rumour and pessimism. The Pѐricands are an old, traditional family, cultivated Catholics, the eldest of their five children is a priest. They are a family used to a certain way of life, and Madame Pѐricand is quite proud of their position, though suspicious of France's government. While their son Father Phillippe Pѐricand accompanies a group of troubled, teenage, orphan boys out of the city, the rest of the Pѐricand family leave by car. Gabriel Corte is a writer, a cruel, selfish womaniser, determined to preserve his manuscripts, and get out of the city with his mistress Florence. parisexodusThe Michauds are a middle aged couple both employed by the same bank, they live in a small apartment, although they aren't wealthy, they are loyal employees, devoted to each other, their only son Jean-Marie is away at the front. When their employer promises to take them with him, by car, to Tours to new bank premises, they are relieved. However their employer's mistress demands a seat in the car, and the Michauds are left to take their chance on alternative arrangements. With the Paris streets emptying fast, obtaining a seat on a train is no easy task, and so the Michauds join the scores of people leaving on foot. Charles Langelet is a wealthy man with a heart condition, an art collector he is surrounded by beautiful things, things he is loath to leave behind. Langelet also takes to the road out of Paris, joining the hoards already crowding the roads out of Paris. Each of these people face changing fortunes and through their exodus we see the selfishness', fears and compromises that are brought about by extreme and unusual circumstances. Everyone is revealed in their very humanness, for good or ill. "He hated the war; it threatened much more than his lifestyle or peace of mind. It continually destroyed the world of the imagination, the only world where he felt happy." In the second section – Dolce, the small town of Bussy await the arrival of their conquerors. There is grief and humiliation at France's defeat, everything is changing and yet so much remains the same. Life must go on, food must be bought and cooked, babies fed, and farms continue to be managed as of old. In the Angellier household Lucile Angellier – wife of a prisoner of war and her bitter, grieving mother-in-law await the officer who will be staying in their home – they have no say in the matter. Theirs is the best house in Bussy and so they will be playing host to the commander. Lucile has not been happy with her unfaithful husband, and her mother-in-law – certain her daughter-in-law in unworthy of her beloved son – resents any pleasure Lucile might find in anything, wanting her to grieve and suffer as she does. When he arrives, Bruno von Falk is young, handsome, an accomplished musician, Lucile recognises that he is a man – like any other, he misses his home and his wife, longs for his overdue leave like any other soldier. Lucile is drawn to von Falk – trying to shield her blooming friendship from the stern and disapproving gaze of her mother-in-law. Nearby lives Madeleine Sabarie – a young married woman with a young baby, her husband Benoît an escaped prisoner of war, is back working on their farm. Madeleine can't forget Jean-Marie Michaud the handsome, cultured young man that had hid out at the farm for several weeks before her marriage. She still smooths out the sheets on the bed where he had slept; her husband is nothing like him. The Sabaries too, are to play host to a German officer, and when Bonnet arrives Madeleine is not averse to playing up a bit to the attention he pays her. Benoît is a jealous, unsophisticated man, trouble is sure to follow. In the midst of war and under occupation, love and friendship can be found in surprising places, and when Benoît Sabarie acts recklessly and murderously, it is to Lucile Angellier that his wife turns to for help. This Dolce section ends in 1941 with the German invasion of The Soviet Union, the German soldiers who have lived among the town's inhabitants for three months move out, and there is a brief lull as the town await new men who will take their place. "They're going! For several days they had been waiting for the Germans to leave. The soldiers themselves had announced it: they were being sent to Russia. When the French heard the news, they looked at them with curiosity ('Are they happy? Worried? Will they win or lose?'). As for the Germans, they tried to work out what the French were thinking: Were they happy to see them go? Did they secretly wish they'd all get killed? Did anyone feel sorry for them? Would they miss them? Of course they wouldn't be missed as Germans, as conquerors (they weren't naïve enough to think that), but would the French miss these Pauls, Siegfreds, Oswalds who had lived under their roofs for three months, showed them pictures of their wives and mothers, shared more than one bottle of wine with them? But both the French and the Germans remained inscrutable; they were polite, careful of what they said – 'Well, that's war… We can't do anything about it…right?" One of the most astonishing things for me is that despite what was happening around her, and presumably knowing that she was under threat herself, Nemirovsky was capable of seeing the German soldier as a human being, a man, not just the enemy. She understood the strains put upon people under unparalleled circumstances, and the differences and sympathies that inevitably exist between two groups of people, even when one group is the conquered and one the conqueror. It is one of the miracles of publishing that this novel came to be published at all – apparently lost – lying unread in a notebook belonging to Irene Nѐmirovsky in her eldest daughter's possession. This edition contains in Appendixes – Nѐmirovsky's notes for the remainder of the sequence that she tragically didn't live to write. A ridiculous, sentimental cover for an unsentimental novel that was published posthumously. Nemirovsky's voice is surprisingly witty and tough as nails; heartbreaking that she would never have a chance to finish her French suite-- she died in Auschwitz at the age of 39. This is the most honest book I've read that looks at the lives of women during wartime. Nemirovsky romanticizes nothing. 41. Suite Française by Irène Némirovsky (397 page e-book, Read July 9-22) Instead of the book in mind I have the introduction from the French edition by Myriam Anissimov (which is at the very end in my Kindle Edition), and then the journal notes Nemirovsky wrote as she wrote the book, where, somewhat awkwardly, we read things she almost certainly never intended to share, her private thoughts on how the book would evolve, including the parts she was never able to write. But before all that I read the terrific first two parts of a projected four or five part, 1000 page novel, one Nemirovsky saw as an effort toward a masterpiece. With vivid, and often hysterical characters, she chastises all ranks of Parisians for what is exposed as they flee Paris in front of the German invasion in 1939. This is easy reading, but fun and striking. In the second section she writes of occupation with the same penetrating depth of observation, but with a sincerity that rises above the humor. I wonder what to make of the sum total, this window in France under German occupation, unfinished because the author was exterminated. This is not a political work. There is nothing Jewish in the novel, and there is nothing inhumane about the Germans. They are merely flawed young men, soldiers. It is a very human book, and it does, as she hoped it would, reach something timeless. This book is as good now as it would have been in 1942, or will be to one who, in some future somewhere, won't have any clear notion of this world war. I wanted to like this, but found the audio wasn't holding my attention or interest. I stuck with it for a bit and got a little over halfway through before giving up. This is one that I've been wanting to read for years, and I might try it again with the actual book. But for now, the audio goes on the gave up shelf. What a beautiful book and how sad that it wasn't finished. This unfinished novel was published in 2006 but was written by Nemirovsky during WWII. Nemirovsky was a Russian Jew who had converted to Catholicism and lived her whole adult life in France after her family fled the Bolshevik revolution. She was arrested and ended up being taken to Auschwitz and killed there. The manuscript for this book was saved by her daughter who was hidden by family friends during the war. The book is two complete parts of a novel that was intended to be 4 or 5 parts in total. I was afraid that the back story of this novel would overshadow any merits of the writing, but I didn't find this to be the case. I really loved the characters, writing, and description of events. The first part is about the arrival of the Germans in France and the fleeing of the French. The second part explores the occupation and relationships between the French and the German soldiers in one small country village. Unfortunately, the two sections deal mainly with a different set of characters that are only partially connected. You can see how she intended to draw them all together, but it is in no way a completed work. This 369 page book should be a highly readable 1000 page novel. I thought is was pretty amazing that she was writing this as events were unfolding. When you read her diary entries that are included in an appendix, they drive home the point that this woman didn't know how the war would end while she was writing the book. It's hard to remember that since we know Germany lost in the end, but when she was writing this living in occupied France, that must have seemed hard to imagine.
Irène Némirovsky wanted Suite Française to be a five-book cycle about the occupation of France, but only completed a draft of two books before the Nazis sent her to Auschwitz, and to the gas chambers, in 1942. Her manuscript was lost in a basement for sixty years until her daughter, who had been pursued by Nazis through the French countryside as a child, discovered and published it. And now, impossibly, we can read the two books of Suite Française. Less a Wheel than a Wave French critics hailed "Suite Française" as a masterpiece when it was first published there in 2004. They weren't exaggerating. The writing is accomplished, the plotting sure, and the fact that Némirovsky could write about events like the fall of Paris with such assurance and irony just weeks after they occurred is nothing short of astonishing. THIS stunning book contains two narratives, one fictional and the other a fragmentary, factual account of how the fiction came into being. "Suite Française" itself consists of two novellas portraying life in France from June 4, 1940, as German forces prepare to invade Paris, through July 1, 1941, when some of Hitler's occupying troops leave France to join the assault on the Soviet Union.
References to this work on external resources. Wikipedia in English (3)Amazon.com Product Description (ISBN 0099488787, Paperback)In 1941, Irene Nemirovsky sat down to write a book that would convey the magnitude of what she was living through by evoking the domestic lives and personal trials of the ordinary citizens of France. Nemirovsky's death in Auschwitz in 1942 prevented her from seeing the day, sixty-five years later, that the existing two sections of her planned novel sequence, Suite Francaise, would be rediscovered and hailed as a masterpiece. Set during the year that France fell to the Nazis, Suite Francaise falls into two parts. The first is a brilliant depiction of a group of Parisians as they flee the Nazi invasion; the second follows the inhabitants of a small rural community under occupation. Suite Francaise is a novel that teems with wonderful characters struggling with the new regime. However, amidst the mess of defeat, and all the hypocrisy and compromise, there is hope. True nobility and love exist, but often in surprising places.(retrieved from Amazon Mon, 30 Sep 2013 13:26:01 -0400) Beginning in Paris on the eve of the Nazi occupation in 1940, this books tells the remarkable story of men and women thrown together in circumstances beyond their control. As Parisians flee the city, human folly surfaces in every imaginable way; a wealthy mother searches for sweets in a town without food, a couple is terrified at the thought of losing their jobs, even as their world begins to fall apart. Moving on to a provincial village now occupied by German soldiers, the locals must learn to coexist with the enemy -- in their town, their homes, even in their hearts. -- Back Cover… (more) |
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Overwhelmingly for?Submitted by Drew Barfield (not verified) on Fri, 03/09/2012 - 8:17am.
According to: The population of Wrightsville Beach in 2009 was 2,652. So (200+400)/2652 = 0.226244344 or 22.6% in favor of the ban. That's not overwhelming support is it?? Not even a quarter of the population? »
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Rural areas still waiting for broadbandFederal government is divvying out $7.2 billion in the coming weeks to extend broadband in rural areas across the U.S. The problem is, the government needs four times that amount to cover everyone who's asking for high-speed internet.
Disclaimer: Comments posted on this, or any story are opinions of those people posting them, and not the views or opinions of WWAY NewsChannel 3, its management or employees. »Reply |


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Im a berklee college of music alumnus im a very outgoing, fun,
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Poetics and Poetry Discussion
Poetry Hound
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Good to see all the Anne Sexton poems posted. I am not as familiar with her as Lamont is, but some of these appear to be her later poems. One in particular, 'Angels of the Love Affair, ' I highly recommend. It's too long to post the whole thing, but here is one section:
Angel of beach houses and picnics, do you know solitaire?
Fifty-two reds and blacks and only myself to blame.
My blood buzzes like a hornet's nest. I sit in a kitchen chair
at a table set for one. The silverware is the same
and the glass and the sugar bowl. I hear my lungs fill and expel
as in an operation. But I have no one left to tell.
Once I was a couple. I was my own king and queen
with cheese and bread and rosé on the rocks of Rockport.
Once I sunbathed in the buff, all brown and lean,
watching the toy sloops go by, holding court
for busloads of tourists. Once I called breakfast the sexiest
meal of the day. Once I invited arrest
at the peace march in Washington. Once I was young and bold
and left hundreds of unmatched people out in the cold. -
***** *****
Post reply
Miss. or mister Yodel.. VERY unoriginal.
***** *****
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I see we are back to shouting on the forum again. Now who is this new yodellor?
Replies for this message:-
Herbert Nehrlich1
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Sonja, you should come down from your cold North and meet me in the Alps near Neuschwanstein Castle so I can show you (auditorily) what yodelling can be like. I might even get you an Edelweiss while ... more
Herbert Nehrlich1
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Poetry Snob (aka Jefferson Carter)
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Mr. Shephed, Thanks for your clear and touching review of your poetic eduction. I really liked your comment re 'poetry you couldnt quite understand but knew it was worth the effort.' That is my idea of good poetry. P-Snob
Poetry Snob (aka Jefferson Carter)
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Ive revised my poem 'Market Forces.' For those of you kind enough to respond originally, do you think its improved? Thanks for any kind of response. P-Snob
Michael Shepherd
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Our British introduction to poetry is so different, that I thought to recall my own 'poetic history'.
I had very 'modern' parents who'd read the child-rearing books, (no baby-talk etc) so I was spared all forms of cutesie-wootsie.
Age 5: started with Longfellow's 'Hiawatha' at school. Not a bad start - adult writer but musical rhythms for children. then I think Browning's poems for children, which I didn't take to. Otherwise not much poetry if any. But as 'poetic prose', my mother passed on her favourite Gene Stratton-Porters of the Limberlost, and I read through the family Dickens.
Age 9-13: poetry meant mostly school prizes, Kipling and standard good selections from English poetry, so all the classics got read for pleasure.
Age 13-18: busy being trained as a scientist, but I remember the music master encouraging me to read Mrs Sackville-West's 'The Land' as a great poem; and writing an intense essay on Arnold's poetry - teenage melancholia had struck. And more school poetry prizes.
Age 18-20: taught boys 11-12 English. Some had their own home fvourites already; some were very sophisticated (Kit Lambert who launched The Who...) but what went down well was the Penguin Book of Animal Poems. Observant poems written by decent poets which caught their attention better than the classics. They loved and I loved reading to them, D H Lawrence's 'The Snake' which I still seek to emulate for its sincerity.
Meanwhile, those late teenage years of 'who am I? '... the love of words was mostly satisfied by prose writers, copies down so carefully in my 'I would like to have written this' book: Proust in translation, Virginia Woolf, E M Forster for his worldly wisdom so finely expressed, Katharine Mansfield.
The first precious books of poetry I actually bought for myself: TS Eliot's Collected Poems which came out in 1938 and thus included the first only of the Four Quartets, which was, with Rilke's poems in translation and especially the Orpheus poems, the 'real stuff' - poetry you couldn't quite understand, but knew it was worth the continued effort. Arthur Waley's and Lin Yutang's translations from the Chinese showed what could come through in the poetic thought. But above all - W B Yeats, read over and over again aloud in a pseudo-Irish voice for its extra Irish vowels, and imitated. And a fascination with the wordsmithing of Gertrude Stein.
But the chief delight of those years was words'n'music - the wit and skill of Johnny Mercer, Cole Porter, the Gershwins, and brilliant settings of Edith Sitwell's Rio Grande (by Kit Lambert's father) and Facade (William Walton) . And the haunting songs with 'real' words of the French, such as Jacques Prevert, as sung by Juliette Greco in existentialist black.. and of course what Sinatra did with all those standards.
Age 20-22: switch from factual, black and white science to Eng. Lit. at university, and a shameful skimming of all English poetry to keep up with essay-writing and learning Anglo-Saxon like a native, with Latin and French thrown in... Beowulf with Christopher Tolkien, for whom all was written... and the lovely sad elegaics of A-S poetry, and the gentle advice and love in Middle English writings. There was a Verse Drama Society, and memorable, mentally searing performance of Eliot's Sweeney Agonistes, and later, his Cocktail Party, to assimilate. Found Dylan Thomas patronising in Under Milk Wood (the drama all the rugger players and rowing men approved of) , and didn't take to the rest of his. Wasn't interested in the Hughes-Plath communiques from the battlefield which obscured the poetry. No Oxford Poets much interested, but I did buy Elizabeth Jennings as a potentially relevant poet.
post-21: trying to write poetry, Yeats, Eliot, Rilke the patron saints of European English poetry for most of us. It took a time to 'get' Auden's music.
Then just at the right 'who am I? ' time - the Beats. Total identification. Along with a review copy of On The Road from the Notting Hill book and record shop which also provided Bud Shank and all the West Coast jazz, and the first LPs of King Oliver - I bought my first American poetry book, Lawrence Ferlinghetti's 'Coney Island of the Mind'.. and took out honorary American citiizenship...so when the 1960s arrived, we'd done everything privately and illegally that the hippies were to do so publicly...
Age 25 on: long gap filled 25 hours a day with living and journalism and endless book-reviewing and later, academic research... so only recently became aware that America had been writing poetry at the same time as Europe (sorry guys, I'm not the only one...) .
So starting afresh, buying too many books too soon to read them properly. But respect for working-class Fairchild and Levine. Prime 'dipping books', Pinsky's Favourite Poems Project to help fill the gaps; 'Illinois Voices' with some fine poems by little-known names. Waiting to be read, or half-read: Koch, Ciardi, Pinsky, Ashbery, Wagoner, Kooser, Hoagland, Pastan, Hicok... and others read off this website of course. As for your top four or so - not rated here, if only because not read much. Current Brit heroes? I'd say Tony Harrison (his 'V' is on site here) is our representative late-20th-century 'serious poet' with a common resonance; Brian Patten and the other Liverpool Poets, Heaney and McGough and Henri. I'd say in general that we don't concern ourselves much with form, but go for content. As for the poetry-reading public, the Arts Council has its polite barbed-wire corral, headed by Andrew Motion, Poet Laureate; which leaves Bloodaxe publishers to make the running.
But I'm years behind. I wish Lenchen were here to add to all this (maybe she'll read this anyway): and perhaps the younger Brits here will bring you up to speed? Anyone still reading this? ...hello... hello....
.Replies for this message:-
Max Reif
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Just picked up one of the Pinsky books at the library, ordered another on Amazon.com. Thanks, I'd heard of the project, but was not aware of the books.
Max Reif
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That was beautiful, Michael. Much appreciated. Made me break my Forum silence.
Max Reif
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Michael Shepherd
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What has really surprised and moved me recently has been reading the comments on favourite poems in Robert Pinsky's 'Favourite Poems Project' book. We've had nothing like it over here. And more often than not, it's the 'difficult at first reading' poems that are the most treasured. I do recommend it - it's inspiring and deeply touching. But then, you guys have lived with that project, I guess, so you know all about it? It's high in my 'dip into' pile of books within arms' reach.
Poetry Snob (aka Jefferson Carter)
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Lamont, about people wanting difficult poems, a little mystery to come back to and dig into. I dont bel; eive it. in my experience everyday readers want to get it all on a first reading, look at Maya Angelou and Niki Giovannis popularity and how often you hear I really liked this poem I could understand it right away? Maybe Kooser will slyly introduce poems of more than Silverstienien simplicity into the weekly diet. P-Snob
Meg Ustaleer
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| Read 1 reply
I have just found the little rhyme 'Fuzzy Wuzzy' listed among the poems of Elsa Brooks. According to the entry on Ms Brooks she was born in 1987.
This confuses me, as I have known this rhyme since my childhood in the 1950s.Replies for this message:-
Herbert Nehrlich1
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Don't think plagiarism in this case. I am sure the poet just did not know how to cite the poet on the page. I also did not post Humpty Dumpty for similar reasons. H
Herbert Nehrlich1
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allan james saywell
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poetry snob do a spellcheck on your comments please
Comment of the Day
- A very well constructed poem with perfect rhyming beautifully written
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Junior Member
I was playing as the lich. When I hit level 2, I didn't know what skill I wanted, so I didn't pick right away. I soon leveled to 3 and had two points to spend. However, when I hit the button to level up, both skill points vanished. I had 1 point in Q at level 1. Level 2, I chose nothing. Level three, I put a point in Q again and was out of points.
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Home Page
Welcome to the Kemnay Golf Club web site.
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Kaley Cuoco - Kaley Cuoco 'Moves On From Fiance'
Actress Kaley Cuoco is rumoured to have moved on from her former fiance after she was spotted enjoying a St Patrick's Day (17Mar12) date with a mystery man.
The Big Bang Theory star became engaged to Josh Resnik in October (11), but the couple called off the wedding plans earlier this year (12).
She broke the split news while on the red carpet earlier this month (Mar12), and seems to have swiftly got back on the dating scene.
The blonde was seen at the Bardot club in Los Angeles with a male companion celebrating the day of the Irish patron saint on Saturday, according to People.com.
A source tells the website, "Kaley and the guy were giggling all night in the V.I.P. section, where they were kissing, dancing and even did an impromptu photoshoot, making funny faces together.
"Kaley seemed like she was truly having a good time and was completely being herself."


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