Wartime New York was the city where French Symbolism — Maurice Maeterlinck — came to live out its last productive years; where French surrealism — André Breton — came to survive; and where French structuralism — Claude Lévi-Strauss — came to be born. From the largely forgotten prewar visit to the city of Pétain and Laval to the seizing, burning, and capsizing of the Normandie, France’s floating museum, in the Hudson River, Jeffrey Mehlman evokes the writerly world of French Manhattan, its achievements and feuds, presenting a series of surprising and expertly etched portraits against the backdrop of an overriding irony: the United States, the world’s principal hope in the battle against Hitler’s barbarism, was for the most part more eager to deal with Pétain’s collaborationist regime than with what Secretary of State Cordell Hull called de Gaulle’s "so-called Free French" movement. “One of modern European history’s great stories. Jeffrey Mehlman tells the tale appealingly and persuasively... The individual stories — not least the symbolism of the ocean liner Normandie’s tragic burning and capsizing... — would be plenty to go on with, but Mr. Mehlman’s theme is a larger one. He finds the French intellectuals in World War II New York not very different from the French aristocrats who found refuge in Koblenz in the last decade of the 18th century, hoping for a reversal of the Revolution and restoration of the ancien regime.” — Colin Walters, Washington Times “Subtle, erudite, and often humorous. Previous attempts by literature professors to tackle culture have not always resulted in works as mind-stretching and entertaining as this account.” — Stanley Hoffman, Foreign Affairs “A series of elegant essays of cultural criticism.” — Kim Munholland, American Historical Review “Jeffrey Mehlman has written an intriguing, highly original work... [He] has succeeded in achieving a personal, yet erudite, series of insights about intellectual production of French writers and philosophers exiled in New York during the Second World War... Mehlman deftly and sometime humorously brings to life this motley cast of characters.” — Jonathan Gosnell, French Review “Mehlman’s insightful book on French exiles in wartime New York City enriches the understanding of how very diverse political exiles reacted to the traumatic suffering of their homelands and other countries occupied by the Nazis.” — Edmund J. Campion,Magill’s Literary Annual “Mehlman’s greatest achievement... is neither the history he’s opened up nor the reputations he’s reclaimed. It is the quality of the close reading that is most admirable, tracing words and themes as they echo and resonate from one text to another.” — David Herman, Jewish Quarterly “Mehlman has written a brilliant, original, and challenging work. There is quite simply no other work like it, because Mehlman works on two levels at once, historical and metaphysical. It should find an eager audience among scholars working in the fields of twentieth-century French literature, the history of French thought, and the history of France in World War II.” — Arthur Goldhammer, Center for European Studies,Harvard University

This book examines the role played by the international circulation of literature in constructing cultural memories of the Second World War. War writing has rarely been read from the point of view of translation even though war is by definition a multilingual event, and knowledge of the Second World War and the Holocaust is mediated through translated texts. Here, the author opens up this field of research through analysis of several important works of French war fiction and their English translations. The book examines the wartime publishing structures which facilitated literary exchanges across national borders, the strategies adopted by translators of war fiction, the relationships between translated war fiction and dominant national memories of the war, and questions of multilingualism in war writing. In doing so, it sheds new light on the political and ethical questions that arise when the trauma of war is represented in fiction and through translation. This engaging work will appeal to students and scholars of translation, cultural memory, war fiction and Holocaust writing.

In this invaluable reference work, the world’s foremost authorities on France’s political, social, cultural, and intellectual history explore the history and meaning of the French Republic and the challenges it has faced. Founded in 1792, the French Republic has been defined and redefined by a succession of regimes and institutions, a multiplicity of symbols, and a plurality of meanings, ideas, and values. Although constantly in flux, the Republic has nonetheless produced a set of core ideals and practices fundamental to modern France's political culture and democratic life. Based on the influential Dictionnaire critique de la république, published in France in 2002, The French Republic provides an encyclopedic survey of French republicanism since the Enlightenment. Divided into three sections—Time and History, Principles and Values, and Dilemmas and Debates—The French Republic begins by examining each of France’s five Republics and its two authoritarian interludes, the Second Empire and Vichy. It then offers thematic essays on such topics as Liberty, Equality, and Fraternity; laicity; citizenship; the press; immigration; decolonization; anti-Semitism; gender; the family; cultural policy; and the Muslim headscarf debates. Each essay includes a brief guide to further reading. This volume features updated translations of some of the most important essays from the French edition, as well as twenty-two newly commissioned English-language essays, for a total of forty entries. Taken together, they provide a state-of-the art appraisal of French republicanism and its role in shaping contemporary France’s public and private life.

In the 1930s, the rise of Hitler and World War II would send some of Europe's most talented men and women to America's shores, vastly enriching the fields of science, architecture, film, and arts and letters--the list includes Albert Einstein, Erwin Panofsky, Walter Gropius, George Grosz, André Kertész, Robert Capa, Thomas Mann, Hannah Arendt, Vladimir Nabokov, and John Lukacs. Reid draws a portrait of the frenzied, creative energy of a bohemian Greenwich Village, from the taverns to the salons. Revolutionaries, socialists, and intelligentsia in the 1910s were drawn to the highly provocative monthly magazine The Masses, which attracted the era's greatest talent, from John Reed to Sherwood Anderson, Djuna Barnes, John Sloan, and Stuart Davis. And summoned up is a chorus of witnesses to the ever-changing landscape of bohemia, from Malcolm Cowley to Anaïs Nin.

In the stirring signature number from the 1944 Broadway musical On the Town, three sailors on a 24-hour search for love in wartime Manhattan sing, "New York, New York, a helluva town." The Navy boys’ race against time mirrored the very real frenzy in the city that played host to 3 million servicemen, then shipped them out from its magnificent port to an uncertain destiny. This was a time when soldiers and sailors on their final flings jammed the Times Square movie houses featuring lavish stage shows as well as the nightclubs like the Latin Quarter and the Copacabana; a time when bobby-soxers swooned at the Paramount over Frank Sinatra, a sexy, skinny substitute for the boys who had gone to war. Richard Goldstein’s Helluva Town is a kaleidoscopic and compelling social history that captures the youthful electricity of wartime and recounts the important role New York played in the national war effort. This is a book that will prove irresistible to anyone who loves New York and its relentlessly fascinating saga. Wartime Broadway lives again in these pages through the plays of Lillian Hellman, Robert Sherwood, Maxwell Anderson, and John Steinbeck championing the democratic cause; Irving Berlin’s This Is the Army and Moss Hart’s Winged Victory with their all-servicemen casts; Rodgers and Hammerstein’s Oklahoma! hailing American optimism; the Leonard Bernstein–Jerome Robbins production of On the Town; and the Stage Door Canteen. And these were the days when the Brooklyn Navy Yard turned out battleships and aircraft carriers, when troopships bound for Europe departed from the great Manhattan piers where glamorous ocean liners once docked, where the most beautiful liner of them all, the Normandie, caught fire and capsized during its conversion to a troopship. Here, too, is an unseen New York: physicists who fled Hitler’s Europe spawning the atomic bomb, the FBI chasing after Nazi spies, the Navy enlisting the Mafia to safeguard the port against sabotage, British agents mounting a vast intelligence operation. This is the city that served as a magnet for European artists and intellectuals, whose creative presence contributed mightily to New York’s boisterous cosmopolitanism. Long before 9/11, New York felt vulnerable to a foreign foe. Helluva Town recalls how 400,000 New Yorkers served as air-raid wardens while antiaircraft guns ringed the city in anticipation of a German bombing raid. Finally, this is the story of New York’s emergence as the power and glory of the world stage in the wake of V-J Day, underlined when the newly created United Nations arose beside the East River, climaxing a storied chapter in the history of the world’s greatest city.

In the early years of World War II, thousands of political refugees traveled from France to Vichy-controlled Martinique in the French Caribbean, en route to what they hoped would be safer shores in North, Central, and South America. While awaiting transfer from the colony, the exiles formed influential ties—with one another and with local black dissidents. Escape from Vichy recounts this flight from the refugees’ perspectives, using novels, unpublished diaries, archives, memoirs, artwork, and other materials to explore the unlikely encounters that fueled an anti-fascist artistic and intellectual movement. The refugees included Spanish Republicans, anti-Nazi Germans and Austrians, anti-fascist Italians, Jews from across Europe, and others fleeing violence and repression. They were met with hostility by the Vichy government and rejection by the nations where they hoped to settle. Martinique, however, provided a site propitious for creative ferment, where the revolutionary Victor Serge conversed with the anthropologist Claude Lévi-Strauss, and the Surrealist André Breton met Negritude thinkers René Ménil and Aimé and Suzanne Césaire. As Eric T. Jennings shows, these interactions gave rise to a rich current of thought celebrating blackness and rejecting racism. What began as expulsion became a kind of rescue, cut short by Washington’s fears that wolves might be posing in sheep’s clothing.

What does it mean to be Jewish? What is an anti-Semite? Why does the enigmatic identity of the men who founded the first monotheistic religion arouse such passions? We need to return to the Jewish question. We need, first, to distinguish between the anti-Judaism of medieval times, which persecuted the Jews, and the anti-Judaism of the Enlightenment, which emancipated them while being critical of their religion. It is a mistake to confuse the two and see everyone from Voltaire to Hitler as anti-Semitic in the same way. Then we need to focus on the development of anti-Semitism in Europe, especially Vienna and Paris, where the Zionist idea was born. Finally, we need to investigate the reception of Zionism both in the Arab countries and within the Diaspora. Re-examining the Jewish question in the light of these distinctions and investigations, Roudinesco shows that there is a permanent tension between the figures of the ‘universal Jew’ and the ‘territorial Jew’. Freud and Jung split partly over this issue, which gained added intensity after the creation of the State of Israel in 1948 and the Eichmann trial in 1961. Finally, Roudinesco turns to the Holocaust deniers, who started to suggest that the Jews had invented the genocide that befell their people, and to the increasing number of intellectual and literary figures who have been accused of anti-Semitism. This thorough re-examination of the Jewish question will be of interest to students and scholars of modern history and contemporary thought and to a wide readership interested in anti-Semitism and the history of the Jews.