| In Association With... |  |
|
|
|
Suite Francaise | 
 enlarge | Author: Irene Nemirovsky
Creators: Daniel Oreskes, Barbara Rosenblat
Publisher: Highbridge Audio
Category: Book
List Price: $39.95
Buy New: $18.86
You Save: $21.09 (53%)
New (28) from $18.86
Avg. Customer Rating:  343 reviews
Sales Rank: 46206
Format: Audiobook, Unabridged
Media: Audio CD
Edition: Unabridged
Number Of Items: 1
Pages: 12
Shipping Weight (lbs): 0.6
Dimensions (in): 5.9 x 5.1 x 1.2
ISBN: 1598870203
Dewey Decimal Number: 843.912
EAN: 9781598870206
ASIN: 1598870203
Publication Date: April 6, 2006
Availability: Usually ships in 1-2 business days
Shipping: Expedited shipping available
Shipping: International shipping available
Condition: Brand new and factory shrinkwrapped. Official unabridged 11-CD set, exactly as pictured. Not a remainder or cheap import. In stock. Buy from a trusted seller. Check our rating
|
| Editorial Reviews:
Product Description
A lost masterpiece of French literature, this epic novel of life under Nazi occupation was discovered 62 years after the authoras tragic death at Auschwitz. Originally intended to be in five parts, the two that form this work are complete in themselves. Part One, "A Storm in June," is set in the chaos and mayhem of the massive 1940 exodus from Paris on the eve of the Nazi invasion. Part Two, "Dolce," opens in the provincial town of Bussy during the first influx of German soldiers. Each part features a rich cast of charactersapeople who never should have met, but come to form ambiguous relationships as they are forced to endure circumstances beyond their control.
Download Description
Irene Nemirovsky was born in Kiev in 1903 into a wealthy banking family and emigrated to France during the Russian Revolution. After attending the Sorbonne, she began to write and swiftly achieved success with her first novel, David Golder, which was followed by The Ball, The Flies of Autumn, Dogs and Wolves and The Courilof Affair. She died in 1942.
From the Hardcover edition.
|
| Customer Reviews: Read 338 more reviews...
 Vaguely Interesting Yet Rarely Engaging May 1, 2008
Recognizing beforehand that this wouldn't be a complete story arc (as the author died in one of the Holocaust camps), I had to try to approach the book without any prejudice toward it for having a weak ending (i.e., no ending). Unfinished books can be interesting to read to view the storytelling process in the midst of its evolution, but are rarely satisfying as stories in their own right. Nemirovsky's work here is perhaps more polished than a simple draft, but even her notes suggest that the finished chapters and two volumes that were published are not necessarily how they would appear in her final product.
So then, what about what we are given?
It's, well, pretty good. It's not riveting by any means. There is no climax to her first act ("Storm in June") and her second act plays out pretty softly (appropriately enough for a section entitled "Dolce"). While each segment picks up interest in later chapters, both start off at such a slowburn that many readers won't make it past a hundred pages. Character-wise, Nemirovsky doesn't provide the reader with many sympathetic characters either. Not only are almost all the inhabitants of her story arrogant hypocrites, but they are almost universally uninteresting as well.
The first book is a pile of vignettes describing the circumstances of several families and individuals as they flee Paris on the eve of its fall into German hands on 14 June 1940. The narrative is as disorganized and haphazard, perhaps, as was the exodus it chronicles. There are flourishes of course and moments of interest (notably a chapter written from the perspective of a cat in heat), but on the whole it functions better as documentary than as story. The second book is easily superior, but much slower paced. There are more sympathetic characters and much more time for introspection. In a way, book two ("Dolce") could function as some sort of Jane Austen work, only with Nazis and junk.
Back to characters. Reading, Suite Francaise, I first thought that Nemirovsky was an out-and-out misanthrope, despising all humanity, no matter its form or station. Gradually, I came to see that there is a certain class of person whom Nemirovsky bears little ill will and seems to believe at least capable of being both genuine and rational. Those people seem to fit in the lower middle class and be young enough to still see beauty in the world (the Michaud couple are only in their early forties or so, and are an exception to the youthfulness qualification). Her sympathetic characters are the Michauds, Jean-Marie Michaud, Lucile, the young engaged couple fleeing from Paris on their wedding day, Bruno (the German soldier staying with Lucille's family), Madeleine (to some extent), and Hubert (after he rejects the hypocrisy and privilege of his class).
I should note I really did appreciate Nemirovsky's ability to describe the hypocrisies of her characters through the various perspectives of her other characters. This actually makes it a little more difficult to pin down the author's own feelings toward others.
I'd be curious to read Nemirovsky's other works to see how she paints the classes as a general rule, but if they're not more interesting books than Suite Francaise, I think I'll skip.
 Suite Francaise: A Collage April 18, 2008
Suite Francaise by Irene Nemirovsky blurs well defined categories of genre and presents real life in a creative collage. The unfinished work consists of two novellas and two appendixes. The manuscript had been kept by Nemirovsky's daughter who had refused to read it for years, because her mother had died in Auschwitz, and the daughter didn't want to revisit the painful memories.
The first novella, "Storm in June," narrates the evacuation from Paris of multiple families fleeing the Germans in 1940. Nemirovsky uses the Olympian eye to see the large picture while combining multiple tales simultaneously. She follows the Pericand family, the Cortez couple, the Michauds and their son Jean-Marie as they pack and prepare to depart for safer climes. Petty preoccupations and emotional ties are explored as each family leaves the city. With the eye of a cinematographer and the insight of a psychologist as Nemirovsky delves into the lives of her characters. Each story deals with life and death decisions superimposed on mundane needs and egocentric vanities.
The second novella, "Dolce" deals with German occupation in France. Nemirovsky shows war in real time. Not every minute is horrible. Seen primarily through the eyes of the French, the Germans are sometimes perceived as human; and the French are sometimes inhumane. People are people and hatred and combat are not the only experience in wartime.
Both novellas follow a linear movement toward conflict and death, a straight line toward the unknown. Is this not what life is about, Nemirovsky asks? But she deftly includes another movement. Underneath the linear progress is a comforting cyclical movement, nature's cycles, repetitious twenty-four hour days, the pattern of seasons, the biological mating instinct--all ordinary patterns continuing in spite of war.
The appendixes consist of the Nemirovsky's notes on her work in progress allowing the reader to get inside the mind of the writer. She asks: "Which of the scenes deserve to be passed on to posterity?" (p.374). She struggles with objectivity: "My idea is for it to unravel like a film, but at times the temptation is great, and I've given in with brief descriptions or in the episode that follows the meeting at the schoolboy giving my own point of view. Should I mercilessly pursue this?" (p. 376).
Nemirovsky writes while fleeing Paris. All lives are upset; all priorities must be reassessed. Suite Francaise, a Novel stands alone as art without tapping the biography of the author, but once the reader understands circumstances of Nemirovsky's writing, which is that she is writing fiction about events she is experiencing in real time, immediacy and poignancy is added to this work. In Nemirovsky's own story, which is not a part of this novel, she dies in Auschwitz. Her journal entries tell the reader she understands she may die. Her tragic end prevented the completion of the work as she had envisioned it. Reading the uncompleted novellas with the appendixes make the total work a revealing story of Irene Nemirovsky's life told with consciousness that moves the story beyond individual experience to the universal experience of war. Genres merge. Is this fiction, autobiography, memoir, documentary? The collection of texts in this work creates a new genre, a collage, a scrapbook of life. It is real, it is human, and it makes us understand more about the human condition.
A fascinating and touching book April 13, 2008
I finished reading "Suite Francaise", a thoroughly absorbing book. How I would like to write like Neimerovsky! Usually I want to plow through description and flowery words and get to the plot. I think that is the male way. In this book, however, the descriptions are more than dressing; they are part of the meaning and must be read. They also add to the beauty of the prose and take you to the far away place the author wants you to go. Once there, she allows the plot and dialogue to flow. The dialogue is sparse, but even so great meaning is extracted from the characters.
Our civilization is built upon such flimsy foundations. The beauty we revere in art and happiness from possessions are jettisoned once one is hungry and without shelter. Our motives become baser as our survival needs go unmet. Those who want the least, like the priest, tend to be the happiest and can make do. As civilization crumbles, we learn that skills as a poet, banker, or artist become worthless. The man that can grow food, raise horses fares better. Women live by their wits, using looks to survive; an age old option justified for self preservation.
In "Suite", security is paramount. It's once one takes for granted or is completely secure in his basic needs can he move on to gratifying other wants: love, ambition, material possessions.
The most despicable people in the novel are those who feel entitled to their perch and do not realize that they are flabby pink shallow beasts surviving on a largesse they did not earn. These people inherited their wealth or gained it in endeavours that mean little in the new world of occupation.
The saddest characters are those that have passion, but no one to love. Lucille and Bruno, you really feel for them.
 Saintly German soldiers and despicable French citizens April 11, 2008
0 out of 1 found this review helpful
Nemirovsky depicts the German soldiers who occupy a French farming village as noble, handsome, blond, decent, refined, educated, having impeccable manners and bearing, gallant in their elegant uniforms and on their beautiful mounts, respectful of French property, and anxious not to tweak the resentment or hurt the feelings of the defeated local population. We're to shed bitter tears for the young lads as they march off at the end of the book, dispatched to the Russian front.
The only less-than-noble German soldier is the base commander's emotionally erratic translator. Lieutenant Bonnet exhibits momentary flashes of sadism. However, we soon learn he's not really German -- he's of French descent and is marked with a name of French origin.
In contrast to the noble Nazi -- excuse me, German -- soldiers, the French villagers are mostly petty, vulgar (the farmers) or pompous (the aristocrats), money-grubbing, and hateful collaborators. The sole exception is the beautiful, blond Lucille. ("Blond" seems to be a marker for an admirable person.) She's married to an absent, boorish husband held captive in a German prisoner of war camp. The lonely, affection-starved Lucille has a dashing German cavalry officer as a border; he's been billeted to her grand manse, the most beautiful house in the village. There's no avoiding that Nemirovsky has here set up the plot-line of a trite bodice ripper.
The rather far-fetched back story of SUITE FRANCAISE is that the manuscript remained unread in a suitcase owned by Nemirovsky's daughter since 1942 and was only recently rediscovered and reclaimed. However, it's more reasonable to surmise that the book was far too pro-German and anti-French to have been released earlier. It's no longer impossible in polite society to mention sympathetically the suffering of the German people during World War II and to consider that, yes, they were victims too. It's hard to know how far the pendulum will swing in this direction, but it currently has quite a bit of momentum. Take, for instance, Nicholson Baker's HUMAN SMOKE (2008), which puts the Allies and the Nazis on the same moral plane.
Nemirovsky says 2 million Frenchmen surrendered to the Germans but few died defending their families and homeland. In fact, in the two-months-long Battle of France, 90,000 French soldiers were killed and 200,000 were wounded, or roughly as many casualties as America suffered over the entire Second World War, proportionate to our greater population (40,500,000 versus 132,000,000).
Why the blatantly pro-Nazi, anti-French stance of SUITE FRANCAISE didn't arouse critical comment when the book was published in France -- not to mention anger and censure -- is a mystery to me. One possible explanation is that we have a weakness for imbuing victims with saintly characteristics. The Nazis murdered Nemirovsky at Auschwitz, so she must have been holy, blameless and above reproach. Her book acquired an aura of goodness that blinds readers to its actual contents.
The omniscient narrator of SUITE FRANCAISE (probably Nemirovsky herself) writes on page 291: "What separates or unites people is not their language, their laws, their customs, their principles, but the way they hold their knife and fork." Nemirovsky probably did not entirely forget she was a Jew but her primary identity was with the aristocracy of her birth and upbringing in the Russian royal court, before the Bolsheviks ended that society of extreme privilege. Had she self-identified as a Jew, she most likely would have fled to Switzerland with her husband and two daughters when they had the opportunity. Instead, she seems to have felt closer kinship with the groups persecuting Jews, never imagining they'd turn on her too. On page 334, Nemirovsky writes: "Who dared predict the future? Although that's all people did... and always in vain."
Suite Francaise April 6, 2008
1 out of 1 found this review helpful
The style of writting is so unique, so individual. Not your common style of writting. & the story so convincing too.
At the end, reading the author's notes also made it all so real too. I really felt for her
|
|
|
Powered by Associate-O-Matic
| |
