A useful biographical portrait of an intriguing writer.



A literature scholar investigates the Jewish identity of novelist Irène Némirovsky (1903-1942).

Drawing on biographical and historical evidence, Suleiman (Civilization of France, Comparative Literature/Harvard Univ.; Crises of Memory and the Second World War, 2006, etc.) homes in on a question that has disturbed some critics and readers: whether Némirovsky was a self-hating Jew. In responding to that question, Suleiman creates a nuanced portrait of a secular, assimilated Jew, a woman who identified most strongly as a member of the French intelligentsia. Born into a Ukrainian Jewish family, Némirovsky immigrated with them to France in 1919. Ten years later, married and a mother, she published her first novel, David Golder, to exuberant acclaim. The book became a bestseller and, writes Suleiman, “made her, virtually overnight, into a famous writer as well as a highly respected one.” Two novels quickly followed, and David Golder was made into a play and a film. Némirovsky’s prominence fueled her ambitions to join France’s literary establishment, and she coveted the prestigious Prix Goncourt. That honor, however, could be awarded only to a French citizen, but for reasons Suleiman cannot explain, Némirovsky and her husband put off applying for citizenship. As foreign Jews, the couple became increasingly aware of their perilous state, which likely impelled them, in 1939, to convert to Catholicism and have their daughters baptized. Both daughters later said that security was their parents’ primary reason for conversion. Critics who question Némirovsky’s connection to Judaism cite her creation of some stereotypical Jewish characters and, more damning, her continued publication in a journal that spewed anti-Semitism. Suleiman maintains, however, that the journal’s political views were separate from their literary selections; furthermore, at the time, Némirovsky desperately needed money, especially after her husband was fired from his job because he was Jewish. Besides research in published and archival sources and close readings of the writer’s works, Suleiman draws on interviews with Némirovsky’s surviving family members to offer an intimate, perceptive portrait of a complex woman and her times.

A useful biographical portrait of an intriguing writer.

Pub Date: Nov. 22, 2016

ISBN: 978-0-300-17196-9

Page Count: 392

Publisher: Yale Univ.

Review Posted Online: Sept. 6, 2016

Kirkus Reviews Issue: Sept. 15, 2016

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If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.


The authors have created a sort of anti-Book of Virtues in this encyclopedic compendium of the ways and means of power.

Everyone wants power and everyone is in a constant duplicitous game to gain more power at the expense of others, according to Greene, a screenwriter and former editor at Esquire (Elffers, a book packager, designed the volume, with its attractive marginalia). We live today as courtiers once did in royal courts: we must appear civil while attempting to crush all those around us. This power game can be played well or poorly, and in these 48 laws culled from the history and wisdom of the world’s greatest power players are the rules that must be followed to win. These laws boil down to being as ruthless, selfish, manipulative, and deceitful as possible. Each law, however, gets its own chapter: “Conceal Your Intentions,” “Always Say Less Than Necessary,” “Pose as a Friend, Work as a Spy,” and so on. Each chapter is conveniently broken down into sections on what happened to those who transgressed or observed the particular law, the key elements in this law, and ways to defensively reverse this law when it’s used against you. Quotations in the margins amplify the lesson being taught. While compelling in the way an auto accident might be, the book is simply nonsense. Rules often contradict each other. We are told, for instance, to “be conspicuous at all cost,” then told to “behave like others.” More seriously, Greene never really defines “power,” and he merely asserts, rather than offers evidence for, the Hobbesian world of all against all in which he insists we live. The world may be like this at times, but often it isn’t. To ask why this is so would be a far more useful project.

If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.

Pub Date: Sept. 1, 1998

ISBN: 0-670-88146-5

Page Count: 430

Publisher: Viking

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 15, 1998

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The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...


Elie Wiesel spent his early years in a small Transylvanian town as one of four children. 

He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions. 

The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the sphere of suffering shared, and in this case extended to the death march itself, there is no spiritual or emotional legacy here to offset any reader reluctance.

Pub Date: Jan. 16, 2006

ISBN: 0374500010

Page Count: 120

Publisher: Hill & Wang

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: Jan. 15, 2006

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