Consider the oddly juxtaposed eminence of those in attendance:
Wartime New York was the city where French Symbolism, in the person
of Maurice Maeterlinck, came to live out its last productive years;
where French surrealism, in the person of AndrA(c) Breton, came to
survive; and where French structuralism, in the person of Claude
LA(c)vi-Strauss, came to be born. From the largely forgotten prewar
visit to the city of PA(c)tain 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, during one of the most vexed
periods of French history.
In EmigrA(c) New York, a series of surprising and expertly
etched portraits emerge 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 PA(c)tain's collaborationist regime than with what
Secretary of State Cordell Hull called de Gaulle's "so-called Free
French" movement.
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