PERHAPS it was a false memory, but I was certain that I'd once read a review of Irène Némirovsky's Suite Française that laid out a convincing and damning argument for the alleged strain of anti-semitism that ran through her writing. But the magazine in which I thought I'd read it — Harper's — held only one review of the book in its flawed but mostly searchable online archives, and the author who I vaguely recalled as having written it — female, I think; Jennifer something? Jessica? — was nowhere near the byline.[1]
And so I recently approached the book, many years after its appearance as something of a literary sensation, prejudiced by this influential phantom review. Before my eyes had even scanned the first paragraph, I'd long developed a dislike of the author, who, I was convinced, was nothing more than a toadying, resentful, opportunistic turncoat. I was prepared to come across loathsome Jewish characters of hers that perpetuated the nasty stereotype on which the Nazi propagandists capitalized during their feverish attempts to exterminate the one race of people that has done more than any other to raise humanity out of its crude barbarism.
But over the course of the novel's 350 pages I found nothing that I was expecting to find. In fact, in the opening movement, "Storm in June," all the characters are equally base and contemptible in their author's eyes, and none of them, so far as I could tell, was explicitly Jewish. The second movement, "Dolce," views, as the name suggests, its principal characters through a somewhat softer and more forgiving lens; and again, none was painted with the broad brush of the Jewish stereotype. While one could argue that it is the conspicuous absence of Jews and their treatment during German occupation that makes Suite Française suspect, the only real piece of evidence to support these half-recalled accusations of anti-semitism were relegated to the appendix, in which Némirovsky's doomed husband, Michael Epstein, in a desperate and ultimately futile bid to free her from the concentration camp, writes to the German ambassador Otto Abetz:
In none of her books (which moreover have not been banned by the occupying authorities) will you find a single word against Germany and, even though my wife is of Jewish descent, she does not speak of the Jews with any affection whatsoever in her works. [... I]t seems to me both unjust and illogical that the Germans should imprison a woman who, despite being of Jewish descent, has no sympathy whatsoever — all her books prove this — either for Judaism or the Bolshevik regime.
Under similar circumstances, I have to say that I would be just as quick to dissociate myself from my Presbyterian upbringing and Italian ancestry, both of which I regard as incidental details to my existence and neither of which am I particularly attached to as an essential piece of my identity. Few, I should hope, would label me anti-Presbyterian or anti-Italian on account of it. Why, then, when such a thing is written under duress on behalf of a non-practicing Jew (and later convert to Catholicism), would the action open itself to the charge of the subject's own anti-semitism? Or if I were to read Némirovsky's David Golder, purported to be rife with Shylock characters, would it all suddenly make sense? And would, say, an American author's use of negative caricatures of his compatriots in his writing therefore automatically make him anti-American?
The author's purported politics and antipathies aside, from a purely technical standpoint, Suite Française as a novel is rather good, though not much more than that. Némirovsky is a deft hand at the sneering aside that cuts through her characters' grandiosity and self-deception, but it has the unwelcome effect of making them so many pins to be knocked down. Although the author's merciless gaze throughout "Storm" was refreshingly honest in many respects, the complexities and ambivalence of "Dolce" made for better reading and more credible characters. In this regard, Suite Française was a victim of its hype as well as its controversy; very few novels could have measured up to the giddy welcome like the one it received upon its first English-language publication in 2004.
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