Suite Francaise (豆瓣)

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作者: Irene Nemirovsky

ISBN: 9781400096275
页数: 448 页
定价: USD 15.00
出版社: Vintage
装帧: Paperback
出版年: 2007-04-10

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简介 · · · · · ·

　　《法兰西组曲》（《六月的风暴》）创作于历史的战火之中，它以白描的方式描绘了1940年的巴黎大逃亡，法国几乎所有的家庭都卷入了这悲剧性的混乱之中。伊莱娜•内米洛夫斯基没有放过逃亡中不计其数的怯懦，同样也没有放过人民在这场逃亡中所显现出的团结一致的微弱火花。画面中有被情人抛弃的情妇，有被粗俗平民恶心坏了的大资产阶级，有堵塞了法国各条公路、在突如其来的轰炸中受伤而被丢弃在农庄的伤者……接着，敌人占领了这块麻木而惊恐的土地。和其他很多地方一样，布西小镇不得不迎来德军的进驻。占领军的出现激化了社会矛盾和居民的挫败感，人们醒来了……
　　在这样一个读者几乎已经忘记古典小说家魅力的时代，内米洛夫斯基用她生命最后几年的痛苦和光彩夺目的才华，以虚构世界的方式为我们呈现了那个曾经的过去：人物、事件和背景。
　　卓越亚马逊为您带来英文原版的《六月的风暴》，带您重... (展开全部) 　　《法兰西组曲》（《六月的风暴》）创作于历史的战火之中，它以白描的方式描绘了1940年的巴黎大逃亡，法国几乎所有的家庭都卷入了这悲剧性的混乱之中。伊莱娜•内米洛夫斯基没有放过逃亡中不计其数的怯懦，同样也没有放过人民在这场逃亡中所显现出的团结一致的微弱火花。画面中有被情人抛弃的情妇，有被粗俗平民恶心坏了的大资产阶级，有堵塞了法国各条公路、在突如其来的轰炸中受伤而被丢弃在农庄的伤者……接着，敌人占领了这块麻木而惊恐的土地。和其他很多地方一样，布西小镇不得不迎来德军的进驻。占领军的出现激化了社会矛盾和居民的挫败感，人们醒来了……
　　在这样一个读者几乎已经忘记古典小说家魅力的时代，内米洛夫斯基用她生命最后几年的痛苦和光彩夺目的才华，以虚构世界的方式为我们呈现了那个曾经的过去：人物、事件和背景。
　　卓越亚马逊为您带来英文原版的《六月的风暴》，带您重新回到那个战火纷飞的曾经与过去。
　　
　　 Celebrated in pre-WWII France for her bestselling fiction, the Jewish Russian-born Némirovsky was shipped to Auschwitz in the summer of 1942, months after this long-lost masterwork was composed. Némirovsky, a convert to Catholicism, began a planned five-novel cycle as Nazi forces overran northern France in 1940. This gripping "suite," collecting the first two unpolished but wondrously literary sections of a work cut short, have surfaced more than six decades after her death. The first, "Storm in June," chronicles the connecting lives of a disparate clutch of Parisians, among them a snobbish author, a venal banker, a noble priest shepherding churlish orphans, a foppish aesthete and a loving lower-class couple, all fleeing city comforts for the chaotic countryside, mere hours ahead of the advancing Germans. The second, "Dolce," set in 1941 in a farming village under German occupation, tells how peasant farmers, their pretty daughters and petit bourgeois collaborationists coexisted with their Nazi rulers. In a workbook entry penned just weeks before her arrest, Némirovsky noted that her goal was to describe "daily life, the emotional life and especially the comedy it provides." This heroic work does just that, by focusing—with compassion and clarity—on individual human dramas. (Apr. 18)
　　
　　 This extraordinary work of fiction about the German occupation of France is embedded in a real story as gripping and complex as the invented one. Composed in 1941-42 by an accomplished writer who had published several well-received novels, Suite Fran?aise, her last work, was written under the tremendous pressure of a constant danger that was to catch up with her and kill her before she had finished.
　　 Irène Némirovsky was a Jewish, Russian immigrant from a wealthy family who had fled the Bolsheviks as a teenager. She spent her adult life in France, wrote in French but preserved the detachment and cool distance of the outsider. She and her husband were deported to Auschwitz in 1942, where he was gassed upon arrival and she died in the infirmary at the age of 39. Her manuscript, in minuscule and barely readable handwriting, was preserved by her daughters, who, ignorant of the fact that these notebooks contained a full-fledged masterpiece, left it unread until 60 years later. Once published, with an appendix that illuminates the circumstances of its origin and the author's plan for its completion, it quickly became a bestseller in France. It is hard to imagine a reader who will not be wholly engrossed and moved by this book.
　　 Némirovsky's plan consisted of five parts. She completed only the first two before she was murdered. Yet they are not fragmentary; they read like polished novellas. The first, "Storm in June," gives us a cross section of the population during the initial exodus from the capital, when a battle for Paris was expected and people fled helter-skelter south, so that the roads were clogged with refugees of all classes. Némirovsky shows how much caste and money continued to matter, how the nation was not united in the face of danger and a common enemy. In her account, the well-to-do continue to be especially egotistical and petty. And yet a deep, unsentimental sympathy pervades this panorama. Looking up to the sky at enemy planes overhead, the refugees who have to sleep on the street or in their cars "lacked both courage and hope. This was how animals waited to die. It was the way fish caught in a net watch the shadow of the fisherman moving back and forth above them." I can't think of a more chilling and concise image to convey the helplessness of civilians in an air raid.
　　 Not being French herself but steeped in French culture may have made it easier for Némirovsky to achieve her penetrating insights with Flaubertian objectivity. She gives us startling, steely etched sketches of both collaboration and resistance among people motivated by personal loyalties and grievances that date from before the war.
　　 The second part, "Dolce" (the title -- Italian for "sweet" -- derives from Némirovsky's plan to give the work a musical structure), covers the occupation by the Germans of a small village, from the so-called armistice in June 1940 to the Soviet Union's entry into the war a year later. One can forget that there was a period after the defeat of France when World War II could be seen simply as a war between Germany and Britain. The villagers yearn for peace, and many are indifferent as to who wins, England or Germany, as long as their own men come home. Némirovsky is superb in describing how fraternization comes about, including French girls and women giving in to the attractions of the handsome German occupants -- there are no other men around, most of the French men having been taken prisoner. But the unnatural situation also breeds fierce feelings of resentment and humiliation. Némirovsky embodies this conflict in the story of a woman who falls in love with a German officer and at the same time hides a villager wanted for the murder of another German -- a murder motivated partly by patriotic hatred and partly by marital jealousy.
　　 One puzzling omission from the spectrum of conquered and cowering French society is the Jews -- the one group that was more endangered than any other, as Némirovsky knew only too well. Perhaps she wanted to save the fate of the Jews for the next part, which was to be entitled "Captivity." Even so, when one thinks of the threat the Jewish population endured even at this early stage of persecution, one feels the significant gap here.
　　 Still, this is an incomparable book, in some ways sui generis. While diaries give us a day-to-day record, their very inclusiveness can lead to tedium; memoirs, on the other hand, written at a later date, search for highlights and illuminate the past from the vantage point of the present. In Némirovsky's Suite Fran?aise we have the perfect mixture: a gifted novelist's account of a foreign occupation, written while it was taking place, with history and imagination jointly evoking a bitter time, correcting and enriching our memory.
　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　Reviewed by Ruth Kluger
　　
　　 Nemirovsky, a young Russian Jewish emigre, became a celebrated novelist in Paris at age 26 in 1929. She wrote eight more novels; then, even though she was certain that she wouldn't survive Germany's occupation of France, she embarked on a grandly symphonic, courageous, and scathing work about France's collaboration with the Nazis. She completed two of five planned movements before she was sent to Auschwitz, a heart-wrenching story meticulously documented in a supplemental section. As for Nemirovsky's masterpiece, it begins with the tumultuous "Storm in June," in which diverse Parisians frantically evacuate Paris during the June 1940 German invasion. Nemirovsky's gift for combining the panoramic with the intimate, high emotion with stinging wit, is reminiscent of Turgenev, Babel, and Berberova. Acutely sensitive to class differences, and mordantly scornful of hypocrisy, she orchestrates a veritable carnival of cowardice, lies, larceny, and murder as a panicked populace drops all pretense of civilization. The second movement, "Dolce," evokes the eye of the storm in the village of Bussy, where German officers are billeted in French homes, and life and love resume. Suite Francaise is a magnificent novel of the insidious devastation of occupation, and Nemirovsky is brilliant and heroic, summoning up profound empathy for all, including regretful German soldiers. Everything about this transcendent novel is miraculous.
　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　Donna Seaman
　　
　　 These recently rediscovered opening sections of a planned five-part novel by Irene Nemirovsky, who died in Auschwitz in 1942, are cause for rejoicing and for deep mourning for what was lost. Daniel Oreskes reads the first novella, a bleak human comedy of Parisians fleeing the city in chaos, rather pointlessly, it turns out, as the Wehrmacht arrives. Barbara Rosenblat performs the second, in which many characters from the first reappear, about the sometimes subtle, sometimes violent tensions in a French farm village under German occupation, as conquerors and conquered, aristocrats and peasants interact in unaccustomed ways. This is complex, polished, and moving work by Nemirovsky, who must have written at breakneck speed, and by two incomparable actors, a virtually flawless production that will repay multiple listenings. B.G. Winner of AudioFile Earphones Award
　　
　　 Némirovsky wrote Suite Fran?aise as the events that inspired them unfolded simultaneously; that alone makes the work remarkable. The first two novels came to light in 2004 (and were published to great acclaim in France) after Némirovsky's daughters revealed the existence of their mother's notebooks. With the author's notes about her next three novels (Captivity, Battles, and Peace?) included, it's clear that Némirovsky intended to write a sort of War and Peace. Even without Némirovsky's astonishing perspective, critics agree that the novels' witty characterizations, mesmerizing prose, cinematic scenes, and insightful observations make these novels short masterpieces. The New York Times expressed concern over characterization, and Newsday noted the absence of discussion about Jews. Still, Suite Fran?aise may be considered "the last great fiction of the war" (Pittsburgh Post-Gazette).
　　
　　 Beginning in Paris on the eve of the Nazi occupation in 1940. Suite Fran?aise 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.
　　 When Irène Némirovsky began working on Suite Fran?aise, she was already a highly successful writer living in Paris. But she was also a Jew, and in 1942 she was arrested and deported to Auschwitz, where she died. For sixty-four years, this novel remained hidden and unknown.　　

作者简介 · · · · · ·

　　伊莱娜·内米洛夫斯基，1903年出生于俄国基辅的一个乌克兰犹太银行家家庭，十月革命后，她移居巴黎，凭借其处女作小说《大卫·格德尔》（1929年）迎来了文学上的成功，紧接着，她又创作了小说《舞会》（1930年）。第二次世界大战的巴黎大逃亡之后，她躲在摩万的一个小镇里，后遭法国宪兵逮捕，1942年夏被杀害于奥斯维辛集中营。当时，她在十三岁的长女德尼斯带着一口箱子东躲西藏，箱子装着承载着痛苦的圣物：母亲的遗稿——直至今天才出版的《法兰西组曲》。

豆瓣成员常用的标签(共6个) · · · · · ·

Literature&Fiction(2) 文学(2) 法国(2) 外国文学(1) 小说(1) 英文原版(1)

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她是一个女作家。
环玥(要想富，先修路。)

二十岁以前，我可以直视别人的双眼，理直气壮地说：难道人生来不就是平等的吗？当我们在一样的天空下，坐在一样的大学课堂听同一个老师的声音，我们接收到的讯息都是一样的吧，尤其大多数人都有那样的一个从小一起到大的朋友，你们看上去旗鼓相当，身份相等。我现在当然已经过了二十岁，深深地知道人生来不平等的道理。所谓...... (51回应)

2007-02-05 118/126有用来自人民文学出版社2006版

现在,就是跳一支舞也是好的
黎戈(性痴则志凝，故书痴文必工)

看了《法兰西组曲》的第二部《柔板》，很久没有被激起这样的阅读兴奋了。打从现代派兴起之后，满目皆是支离破碎的结构，东一榔头西一棒的叙事，歇斯底里的即兴对话。这次看到这么传统笔法的小说，那根绷紧的阅读神经，马上就被按摩松弛了。清晰的叙事线，扎实的细节功夫，丰腴甜美的景语，人物场景情节，交代的工工整整，纹丝不乱，稍微做点整理...... (9回应)

2007-05-06 26/29有用来自人民文学出版社2006版

在逃亡中想起的爱
于是

六月的巴黎，听上去很美。但运送炸弹的飞机正在逼近，这便是二战时的那个六月的巴黎。文字将我们从和平盛世拽进那段恐慌，作者伊莱娜留下这篇未曾结束的著作，和无数犹太人一样，死于集中营。这部手稿能幸存于世，本身就是个传奇故事。她的两个孩子寸步不离地守着这部手稿，继续父辈的逃亡，她们能幸存，只是靠战争仅存的那么点漏网般的希望。 ...... (6回应)

2006-06-07 25/27有用来自人民文学出版社2006版

煌煌巨著的构思和精致小品的现实
洛

在我的笔记本上，写着这样三段话，没有出处，没有作者。世上有这样三种书：第一种是精致的书，有学问，有才情，书卷气很浓。这样的书一般来讲并没有巨大的格局，但却写得纯洁高雅。深远的意境，优美洗练的文笔，奠定了它典雅、严谨的品格，给人以很大的滋养，让人懂得保持心灵的洁净。精致的书一般都写得诗情荡漾，有独到的......

2007-09-01 14/15有用来自人民文学出版社2006版

前人叙说，后人展读
moyin

犹太女作家伊莱娜•内米诺夫斯基开始写《法兰西组曲》，是在风雨飘摇的一九四一年。那年她三十八岁。一九四二年七月，她被法国宪兵带走，从此没有回到她和丈夫及两个女儿的家。十月，她的丈夫也被带走了。才十三岁和五岁的两个孩子带着母亲完成了五分之二的手稿东躲西藏，战争结束了，她们没有勇气打开箱子，直到二零零四年这本书面世并...... (4回应)

2007-11-25 16/17有用来自人民文学出版社2006版

风暴中，那些人的画像
夏朵

很久以前，有人问我这样一个问题，早晨醒来，身边熟悉的面孔消失，生活不复往昔，日常秩序紊乱，你将怎么办？啊，我将怎么办？说实话，还没有细想。当时，大概觉得问题过于虚无缥缈：无非是一个不切实际的遥远预想。退一步讲，即使在人类生存、不断前进的过程中，每一种“可能”都有存在的理由(结局不可测)。但是，对平和生活的惯性适...... (1回应)

2009-01-19 7/8有用来自人民文学出版社2006版

> 更多书评(共37条)

残酷的真实
花钿

每一次看伊莱娜的作品都会让我感觉被一种深深的绝望压迫着,这种感觉在这一次更是久久无法散去。每一个伊莱娜笔下的人都有着被生活所扭曲后的真实，她可以将人性深处那种自私放大后以一种让人感觉无奈的方式呈现出来，就如同一件被磨破了美丽外衣的物件，将其内底的粗糙坦露在你面前，而这一点粗糙与其近于完美的外表着差如此大。这是一本什......

2009-11-03 9/9有用来自人民文学出版社2006版

人性的证明
左岸人生

既然是组曲，会由许多不同的章节，音符构成。大气磅礴的逃亡、战争是组曲的一个从始至终的背景音乐。在低沉的忧戚的环境下，逃亡后的生活，才是人性化的演示。我读此书，不再关注战争的残酷描写，关注的是人的感觉，感兴趣的是，那日常的人性是否泯灭？还有没有复活的迹象？因为人类的遭遇千年不变，自然和人为地杀戮时刻都存在。人间给予的东西......

2009-08-31 来自人民文学出版社2006版

电影和小说中的二战
歌者(低回得失声)

还是关于二战的著作。关于此的著作已经非常多，还有那么多相关的电影。有朋友抱怨，不明白他们为什么总在回忆那些事，甚至有主观渲染的嫌疑。我们始终不能借此体味战争的创伤，当然也不是在玩味炮火与离别的壮丽凄美。但是，我在艰涩的西方学术著作中获得内心的通达。在那些艰涩的历史学或政治学、社会学著作中，反复强调的是“保守”，......

2009-07-15 来自人民文学出版社2006版

深深的秘密
iiyi

对于内米,我实在写不出评论.实际上,我实在没办法把它看完,一切关于二战的,我现在看了都头大.因为上学的缘故,我买了一卷11本关于二战的历史,作者是伦敦政治经济学院的汤因比教授,但是我只看第一本就几度晕乎乎要睡过去,尽管它披露了许多不为人知的知识和细节,非常重要的.之后又预演了许多二战中国抗战的电影.内米和纳博都是从俄罗......

2009-06-18 来自人民文学出版社2006版

2006.7.16
大桃子。。(花の色は移りにけりな)

昨天开始看《法兰西组曲》，出乎意料的吸引人，欲罢不能。伊莱娜是个天才，用女性才有的精准、意会的文字描摹出二战法国沦陷时期的众生相。语言时而冷酷，时而充满柔情，更多的时候是克制、不动声色的描写。收藏家突如其来充满讽刺意味的死亡;雅克琳娜的宠物小猫，在陌生的农村找到了与生俱来的野性本能;露西尔和德国中尉戛然而止的爱情....... (4回应)

2009-04-28 来自人民文学出版社2006版