Here are 100 books that The Collaborator fans have personally recommended if you like
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Born in Budapest, Hungary, Susan Rubin Suleiman emigrated to the U.S. as a child with her parents. She has had a distinguished career as a professor of French and comparative literature at Harvard, publishing more than a dozen books and over 100 scholarly articles. Her acclaimed memoir about returning to Budapest, Budapest Diary: In Search of the Motherbook, appeared in 1996; in 2023, she published Daughter of History: Traces of an Immigrant Girlhood, a memoir of immigration which was a finalist for a 2024 National Jewish Book Award. She has been awarded many honors, including the Radcliffe Medal for Distinguished Achievement in 1990 and France’s highest honor, the Légion d’Honneur, in 2018.
First published in the 1980s, this is a classic in memory studies, tracing the evolution of public memory in France regarding the Vichy regime over a forty-year period. Rousso shows how the first narrative about “everyone resisted,” promoted by Charles de Gaulle, was gradually replaced by a more realistic version of the past, including recognition of Vichy’s collaboration with the Nazis in rounding up Jews and members of the Resistance.
From the Liberation purges to the Barbie trial, France has struggled with the memory of the Vichy experience: a memory of defeat, occupation, and repression. In this provocative study, Henry Rousso examines how this proud nation-a nation where reality and myth commingle to confound understanding-has dealt with les annees noires. Specifically, he studies what the French have chosen to remember-and to conceal.
I’m a poet, literary critic, translator, and biographer, and I grew up partly in France. I became obsessed with Max Jacob when I was twenty. Max Jacob—mystic, poet, painter, and suffering lover—took hold of me, and I found myself writing poems to him, in his voice, in my sketchbooks. They were among my first published poems: he redirected my life. A few years later I stumbled into writing his biography, never imagining that it would take thirty-five years: it came out from W. W. Norton in 2020, along with my most recent book of poems So Forth. I teach Comparative Literature in the Committee on Social Thought at the University of Chicago.
A perpetually useful and inspiring book. Shattuck’s study of modern art in France came out in 1955 and remains a lively source for understanding how key artists—Alfred Jarry, Henri Rousseau, Erik Satie, and Guillaume Apollinaire—absorbed and reshaped traditions in writing, painting, and music, and launched the ethos of avant-garde aesthetics in the 20th century. A master storyteller, Shattuck situates his artists in their time, place, and culture with novelistic flair.
I’m a poet, literary critic, translator, and biographer, and I grew up partly in France. I became obsessed with Max Jacob when I was twenty. Max Jacob—mystic, poet, painter, and suffering lover—took hold of me, and I found myself writing poems to him, in his voice, in my sketchbooks. They were among my first published poems: he redirected my life. A few years later I stumbled into writing his biography, never imagining that it would take thirty-five years: it came out from W. W. Norton in 2020, along with my most recent book of poems So Forth. I teach Comparative Literature in the Committee on Social Thought at the University of Chicago.
One of the most moving accounts I know of how literary creation takes place. With extraordinary sensitivity, Steegmuller reveals the mind and soul of the perturbed young bourgeois, Gustave Flaubert, and shows him growing, bit by bit, page by page, into the writer who set new terms for the art of the novel for the next hundred years. Art remains a mystery, but Steegmuller brings us uncannily close to the heart of it.
Francis Steegmuller's beautifully executed double portrait of Madame Bovary and her maker is a remarkable and unusual biographical study, a sensitive and detailed account of how an unpromising young man turns himself into one of the world's greatest novelists. Steegmuller starts with the young Flaubert, prone to mysterious fits, hypochondriacal, at odds with and yet dependent on his bourgeois family. Then, drawing on Flaubert's voluminous correspondence, Steegmuller tracks his subject through friendships and love affairs, a trip to the Orient, nervous breakdown and tenuous recovery, and finally into the study, where a mind at once restless and jaded finds a…
I’m a poet, literary critic, translator, and biographer, and I grew up partly in France. I became obsessed with Max Jacob when I was twenty. Max Jacob—mystic, poet, painter, and suffering lover—took hold of me, and I found myself writing poems to him, in his voice, in my sketchbooks. They were among my first published poems: he redirected my life. A few years later I stumbled into writing his biography, never imagining that it would take thirty-five years: it came out from W. W. Norton in 2020, along with my most recent book of poems So Forth. I teach Comparative Literature in the Committee on Social Thought at the University of Chicago.
Rimbaud is the inescapable, volcanically talented, revolutionary poet of late 19th century France, the boy who had mastered the classical idioms and forms of the art by the time he was fifteen, and by age eighteen was reinventing poetic language both in the prose poems of Illuminations and in visionary irregular lyrics. He stopped writing poetry at age twenty, but the poems he left behind helped to open the door to modern poetry around the world.
A new translation of the best and most provocative work by France's infamous rebel poet.
Poet, prodigy, precursor, punk: the short, precocious, uncompromisingly rebellious career of the poet Arthur Rimbaud is one of the legends of modern literature. By the time he was twenty, Rimbaud had written a series of poems that are not only masterpieces in themselves but that forever transformed the idea of what poetry is. Without him, surrealism is inconceivable, and his influence is palpable in artists as diverse as Henry Miller, John Ashbery, Bob Dylan, and Patti Smith. In this essential volume, renowned translator Mark Polizzotti…
In Egypt, we did not have our own Arab comics, but different worlds came to us from translated comics, American (Disney and superheroes), and French comics. I did not like superhero comics, I loved Disney comics and French comics, and n addition to my passion for reading history, some French series combine this, such as the Alix series. I would have loved to have a historical background to the events that prompted me to read more about them and get to know the real characters, how they lived, and how they ended.
This comic book is one of the best-selling books in France, and it has won several awards.
Here we will find more historical facts than fiction. The book tells about the life of Joseph Joanovici, a Jew of Romanian origin who immigrated to France, became one of the wealthy, and experienced one of the darkest periods.
French history, which is the Nazi invasion of France, and in order to survive the horrors of this period, he had to deal with everyone, friends and enemies, until people were confused in judging him, was he loyal to his people or was he a traitor.
What I liked about this book is the wonderful scenario and the cinematic style, this series consists of five parts that you will never forget after you finish reading it.
Based on a true story, Once Upon a Time in France follows the life of Joseph Joanovici, a Romanian Jew who immigrated to France in the 1920s and became one of the richest men in Europe as a scrap-metal magnate. During the German occupation of France, he thought his influence could keep his family safe, but he soon finds that the only way to stay one step ahead of the Nazis is to keep his friends close and his enemies closer. Though he plays both sides of the fence as…
I started conducting primary research about the Holocaust in the 1990s, when I spent a week interviewing my grandfather, a Holocaust survivor and a pious Hasid, about his life. Fascinated with the survival of his faith, I applied for and received a grant from the Religion News Service to explore spiritual aspects of the Holocaust. I also sought to answer my saba’s question: How did Israelis end up fighting their 1948 War of Independence with Nazi weapons such as the Mauser he had received? I answered it in the 2015 PBS documentary I directed and produced, A Wing and a Prayer, and the 2020 nonfiction book I wrote, Saving Israel.
Making Cojot, a documentary about a Parisian business consultant who hunted down former Gestapo commander Klaus Barbie, prompted me to closely examine Vichy. This French national administration went out of its way to appease its Nazi occupiers during World War II. But the more answers I dug up, the more questions I had. Verdict on Vichy filled in many of the gaps. For instance, it provided a possible explanation as to why the judges presiding over Barbie’s 1987 trial in Lyon granted his request to sit out the proceedings, thus depriving his victims’ families the opportunity to look him in the eyes as they recounted some of his crimes against humanity. The judges might have pounced at the chance to hide Barbie, who was reportedly ready to spill the beans about French leaders such as then-President François Mitterrand who collaborated with the Nazis. Michael Curtis went to great lengths…
This masterful book is the first comprehensive reappraisal of the Vichy France regime for over 20 years. France was occupied by Nazi Germany between 1940 and 1944, and the exact nature of France's role in the Vichy years is only now beginning to come to light. One of the main reasons that the Vichy history is difficult to tell is that some of France's most prominent politicians, including President Mitterand, have been implicated in the regime. This has meant that public access to key documents has been denied and it is only now that an objective analysis is possible. The…
As a child in New York, I was interested in history to the point where by third grade I had memorized the list of U.S. presidents beginning with George Washington. The world was more Eurocentric than now, and I was taken by what I saw as the richness of European history. Surrounded later by Leftist academics, I became interested in the Right. Why were so many, especially among the lower middle classes, drawn to the Right and fascism during the first half of the twentieth century? This led to my interviewing and studying World War II pro-Nazi French collaborators. Later I branched into food history and the history of tourism.
Whereas historians and others in postwar France focused on French resistance to Nazi Germany during their Second World War occupation (1940-1944) relatively few in wartime France did in fact actively resist the Germans. Instead, while some in France either collaborated with the Germans after France’s defeat in 1940, many and arguably the majority chose a more passive accommodation to German supremacy. Especially in the early years of the occupation, French civilians often found the German soldiers more polite and seemingly respectful of the country they had just conquered than had been France’s British allies. Many in France, artists, intellectuals, business, and labor leaders, as well as military and clergy, were quite willing to accept German rule. Some hoped that German occupation would lead toward a more authoritarian French state, more in line with those of Germany and Italy at the time. Anti-Semitism was prevalent in France, where local people often…
From 1940 to 1944, the French people adapted in a variety of ways to life under the domination of Nazi Germany. France under the Germans is the definitive study of the choices made by ordinary French citizens during that turbulent historical period, exposing for the first time the degree of their complicity with the Nazis. Acclaimed Swiss historian Philippe Burrin makes use of a wide variety of newly discovered sources: the records of businesses, industrial organizations, and banks; police files; and reports on mail censorship and telephone conversations. France under the Germans is an extraordinary analysis of the ways in…
I’m a historian who wrote a book on antifascism. In a way, I decided to write a book on the history of antifascism because I thought it was a good way to make sense of the history of fascism. Something along the lines of: Nobody knows you like your worst enemies. But I also thought that more books on the history of antifascism itself would be a good thing. There are many books on fascism and relatively few on anti-fascism. Ultimately, I decided to write Everything Is Possible because I thought that the first antifascists had useful lessons to share about how to turn the world toward something better than the one you’ve been given.
Ask some historians of fascism what book in English they recommend as an introduction to the subject, and, I’d guess, most will recommend Robert O. Paxton’s classic 2004 book-length essay, The Anatomy of Fascism.
Fair enough, but to my mind it is Paxton’s earlier monograph French Peasant Fascismthat is his outright masterpiece of historical writing.If you’ve read The Anatomy of Fascism, there’s also the joy of seeing Paxton, in French Peasant Fascism, working out the ideas and themes that animate the later, better-known book. To understand the rightwing Depression-era French farmers known as the Greenshirts, Paxton argues, don’t focus so much on their official programs and doctrinal declarations, but rather watch them in action.
Watch them as they act out their ideology, at the market-day rally or when the taxman comes.
French Peasant Fascism is the first account of the Greenshirts, a militant right-wing peasant movement in 1930s France that sought to transform the Republic into an authoritarian, agrarian state. Author Robert Paxton examines the Greenshirts in five case studies, throwing new light on French rural society and institutions during the Depression and on the emergence of a new rural leadership of authentic farmers. Paxton points out that fascism remained weak in the French countryside because the French state protected landowners more effectively than did those of Weimar Germany and Italy, and because French rural notables were so firmly embedded in…
I’ve always been fascinated by the failed revolutions of the 19th century and by the romantic socialists, democrats, and nationalists who made these revolutions. I think I have a better understanding of their world and the forces that brought them down than I have of the world I live in. But I do find in their writings remarkable echoes of my own fears and hopes about the future of democracy today.
This book is both an attempt to reclaim the legacy of the Paris Commune for our time and a rich and stimulating investigation of the Commune as “a working laboratory of political invention.” The focus is not on the traditional narrative culminating with the slaughter of Bloody Week. It is on the efforts of individuals—some far removed from the Communards’ Paris—to imagine a world marked by the inversion of longstanding hierarchies and divisions.
What makes the book especially compelling is Ross’s ability to “think with” both Communards like Elisabeth Dmitrieff and Elisée Reclus and outsiders like Kropotkin and Marx as they “open up the field of the possible” in reflecting on the Commune.
Kristin Ross's new work on the thought and culture of the Communard uprising of 1871 resonates with the motivations and actions of contemporary protest, which has found its most powerful expression in the reclamation of public space. Today's concerns-internationalism, education, the future of labor, the status of art, and ecological theory and practice-frame and inform her carefully researched restaging of the words and actions of individual Communards. This original analysis of an event and its centrifugal effects brings to life the workers in Paris who became revolutionaries, the significance they attributed to their struggle, and the elaboration and continuation of…
In 2005 I realised that society was gradually, inexorably, headed off a cliff. So I quit a job I loved – a great decision! – and followed John Michael Greer's advice to “collapse now and avoid the rush”. Through that I’ve written a film, books, and peer-reviewed articles, co-founded organisations and movements, been arrested for direct action, advised governments, and come to live at a money-free pub! And now lead the ‘Surviving the Future: Conversations for Our Time’ online program, through Vermont’s Sterling College. I haven’t learned to change the course of history, but have discovered the ‘dark optimism’ of meaningful – even joyous – paths through such times, with eyes wide open.
I first heard Isabelle and Jay speak in 2021, and found myself literally gripping the arms of my chair with fascination.
They told the 40-year-long story of their home at ‘the ZAD’, 4,000 acres of wild wetlands and forest that the French state intended for an international airport. Community-building and collective resistance in the face of intense and repeated police assault – the footage of which is astonishing to witness – eventually saw off the planned devastation, and has inspired numerous other ZADs around France and the world.
We Are ‘Nature’ Defending Itself weaves together captivating theory and hard-fought practice in telling the kind of true story our world desperately needs more of. Pure distilled inspiration for those pondering their path, as centralised power structures weaken.
In 2008, as the storms of the financial crash blew, Isabelle Fremeaux and Jay Jordan deserted the metropolis and their academic jobs, traveling across Europe in search of post-capitalist utopias. They wanted their art activism to no longer be uprooted.
They arrived at a place French politicians had declared lost to the republic, otherwise know as the zad (the zone to defend): a messy but extraordinary canvas of commoning, illegally occupying 4,000 acres of wetlands where an international airport was planned. In 2018, the 40-year-long struggle snatched an incredible victory, defeating the airport expansion project through a powerful cocktail that…
