All in all, it's only the initial shock that counts. People get used to everything, everything that happens in the occupied zone: ma.s.sacres, persecution, organised pillaging, are like arrows shot into mire! . . . the mire of our hearts.

They're trying to make us believe we live in the age of the "community," when the individual must perish so that society may live, and we don't want to see that it is society that is dying so the tyrants can live.

This age that believes itself to be the age of the "community" is more individualistic than the Renaissance or the era of the great feudal lords. Everything is happening as if there were a fixed amount of freedom and power in the world that is sometimes divided between millions of people and sometimes between one single person one single person and the other millions. "Have my leftovers," the dictators say. So please don't talk to me about the spirit of the community. I'm prepared to die but as a French citizen and I insist there be a valid reason for my death, and I, Jean-Marie Michaud, and the other millions. "Have my leftovers," the dictators say. So please don't talk to me about the spirit of the community. I'm prepared to die but as a French citizen and I insist there be a valid reason for my death, and I, Jean-Marie Michaud,*10 I am dying for P. Henriot and P. Laval and other lords, just as a chicken has its throat slit to be served to these traitors for dinner. And I maintain, yes, I do, that the chicken is worth more than the people who will eat it. I know that I am more intelligent, superior, more valuable where goodness is concerned than those men. They are strong but their strength is temporary and an illusion. It will be drained from them by time, defeat, the hand of fate, illness (as was the case with Napoleon). And everyone will be dumbfounded. "But how?" people will say. "They were the ones we were afraid of!" I will truly have a communal spirit if I defend my share and everyone else's share against their greed. The individual only has worth if he is sensitive to others, that goes without saying. But just so long as it is "all other men" and not "one man." Dictatorship is built around this confusion. Napoleon said he only desired the greatness of France, but he proclaimed to Metternich, I am dying for P. Henriot and P. Laval and other lords, just as a chicken has its throat slit to be served to these traitors for dinner. And I maintain, yes, I do, that the chicken is worth more than the people who will eat it. I know that I am more intelligent, superior, more valuable where goodness is concerned than those men. They are strong but their strength is temporary and an illusion. It will be drained from them by time, defeat, the hand of fate, illness (as was the case with Napoleon). And everyone will be dumbfounded. "But how?" people will say. "They were the ones we were afraid of!" I will truly have a communal spirit if I defend my share and everyone else's share against their greed. The individual only has worth if he is sensitive to others, that goes without saying. But just so long as it is "all other men" and not "one man." Dictatorship is built around this confusion. Napoleon said he only desired the greatness of France, but he proclaimed to Metternich,*11 "I don't give a d.a.m.n if millions of men live or die." "I don't give a d.a.m.n if millions of men live or die."

Hitler: FOR STORM IN JUNE:.

What I need to have: 1An extremely detailed map of France or Michelin Guide 1An extremely detailed map of France or Michelin Guide 2The complete collection of several French and foreign newspapers between 1 June and 1 July 2The complete collection of several French and foreign newspapers between 1 June and 1 July 3A work on porcelain 3A work on porcelain 4June birds, their names and songs 4June birds, their names and songs 5A mystical book (belonging to the G.o.dfather) Father Brechard 5A mystical book (belonging to the G.o.dfather) Father Brechard

Comments on what's already been written: 1Will-He talks for too long. 1Will-He talks for too long. 2Death of the priest-schmaltzy. 2Death of the priest-schmaltzy. 3Nimes? Why not Toulouse which I know? 3Nimes? Why not Toulouse which I know? 4In general, not enough simplicity! 4In general, not enough simplicity!

[In Russian, Irene Nemirovsky added: "in general, they are often characters who have too high a social standing."]

April 1942. Need to have Storm, Dolce, Captivity Storm, Dolce, Captivity follow on from one another. Replace the Desjours farm by the Mounain farm. I want to place it in Montferroux. Dual advantage: links follow on from one another. Replace the Desjours farm by the Mounain farm. I want to place it in Montferroux. Dual advantage: links Storm Storm to to Dolce Dolce and cuts out what is unpleasant in the Desjours household. I must create something great and stop wondering if there's any point. and cuts out what is unpleasant in the Desjours household. I must create something great and stop wondering if there's any point.

Have no illusions: this is not for now. So mustn't hold back, must strike with a vengeance wherever I want.

For Captivity: Captivity: the changing att.i.tudes of Corte: national revolution, necessity of having a leader. Sacrifice (everyone agrees about the necessity of sacrifice just as long as it's your neighbour's), then the lapidary phrase the changing att.i.tudes of Corte: national revolution, necessity of having a leader. Sacrifice (everyone agrees about the necessity of sacrifice just as long as it's your neighbour's), then the lapidary phrase*12 which makes him famous, for in the beginning Corte is rather frowned upon: he takes an att.i.tude that is too French but he realises through subtle and menacing signs that this is not what he should do. Yes, he is patriotic but only afterwards: today the Rhine is flowing over the Ural mountains, he has a moment of hesitation but, after all, that is understandable given all the geographical fantasies which have become realities these past few years-the English border is at the Rhine and to top it all off the Maginot Line which makes him famous, for in the beginning Corte is rather frowned upon: he takes an att.i.tude that is too French but he realises through subtle and menacing signs that this is not what he should do. Yes, he is patriotic but only afterwards: today the Rhine is flowing over the Ural mountains, he has a moment of hesitation but, after all, that is understandable given all the geographical fantasies which have become realities these past few years-the English border is at the Rhine and to top it all off the Maginot Line*13 and the Siegfried Line and the Siegfried Line*14 are both in Russia, Horace's final creation ( are both in Russia, Horace's final creation (down him*15).

On L.:*16 It must be him because he is a crook. And in the times we are living in, a crook is worth more than an honest man. It must be him because he is a crook. And in the times we are living in, a crook is worth more than an honest man.

Captivity-keep it simple. Tell what happens to people and that's all.

Today, 24 April, a little calm for the first time in a very long time, convince yourself that the sequences in Storm, Storm, if I may say so, must be, are a masterpiece. Work on it tirelessly. if I may say so, must be, are a masterpiece. Work on it tirelessly.

Corte is one of those writers whose usefulness will become glaringly obvious in the years following the defeat; he has no equal when it comes to finding euphemisms to guard against disagreeable realities. E.g.: the French army was not beaten back, it withdrew! If people kiss the Germans' boots it is because they have a sense of reality. Having a communal spirit means h.o.a.rding food supplies for the exclusive use of the few.

I think I should replace the strawberries with forget-me-nots. It seems impossible to bring cherry trees in blossom and ripe strawberries together in the same season.

Find a way to link Lucile to Storm Storm. When the Michauds stop to rest one night during their journey, this oasis and the breakfast and everything that must seem so wonderful-the porcelain cups, the dewy roses in thick bouquets on the table (roses with black centres), the coffee pot giving off bluish steam etc.

Send up the so-called writers. E.g. A. C., the A. R. who wrote an article "Is the Tristesse d'Olympio Tristesse d'Olympio*17 a masterpiece?" No one has ever sent up certain so-called writers like A. B. etc. (there is honour among thieves). a masterpiece?" No one has ever sent up certain so-called writers like A. B. etc. (there is honour among thieves).

To sum up, chapters already finished by 13 May 1942: (1) Arrival (2) Madeleine (3) Madeleine and her husband (4) vespers (5) the house (6) the Germans in the village (7) the private school (8) the garden and the Viscountess's visit (9) the kitchen (10) departure of Mme Angellier. First look at the Perrins' garden (11) the day it rains.

TO DO:.

(12) the German ill (13) the Maie woods (14) the Perrin ladies (15) the Perrins' garden (16) Madeleine's family (17) the Viscountess and Benoit (18) the denunciation? (19) the night (20) the catastrophe at Benoit's place (21) Madeleine at Lucile's house (22) the celebration at the lake (23) the de[parture].

Still to do: 12, half of 13, 16, 17, and the rest.

Madeleine at Lucile's house-Lucile in Mme Angellier's room-Lucile and the German-celebration at the lake-the departure.

FOR CAPTIVITY CAPTIVITY FOR THE CONCENTRATION CAMP THE BLASPHEMY OF THE BAPTISED JEWS "MAY G.o.d FORGIVE US OUR TRESPa.s.sES AS WE FORGIVE YOU YOURS"-Obviously, martyrs would not have said that. FOR THE CONCENTRATION CAMP THE BLASPHEMY OF THE BAPTISED JEWS "MAY G.o.d FORGIVE US OUR TRESPa.s.sES AS WE FORGIVE YOU YOURS"-Obviously, martyrs would not have said that.

To do it well, need to make 5 parts:

1 Storm Storm 2 Dolce Dolce 3 Captivity Captivity 4 Battles Battles?

5 Peace Peace?

General t.i.tle: Storm Storm or or Storms Storms and the first part could be called and the first part could be called Shipwreck. Shipwreck.

In spite of everything, the thing that links all these people together is our times, solely our times. Is that really enough? I mean: is this link sufficiently felt?

Therefore Benoit, after having killed (or trying to kill) Bonnet (for I still have to decide if it might not be better to let him live for the future), Benoit escapes; he first hides in the Maie woods, then, since Madeleine is afraid of being followed when she goes to bring him food, at Lucile's house. Finally, in Paris, at the Michauds' where Lucile sends him. Pursued, he escapes in time, but the Gestapo search the Michauds' house, find notes made by Jean-Marie for a future book, think they are political tracts and arrest him. He meets Hubert there [in prison] who had got himself arrested for some stupidity or other. Hubert would have no trouble getting out, because his powerful family who are total collaborators can pull strings, but out of childishness, his taste for adventure stories etc., he prefers risking his life by escaping with Jean-Marie. Benoit and his friends help them. Later, much later, because in the meantime Jean-Marie and Lucile have to fall in love, they escape and flee France. That should end Captivity Captivity and as I've already said: and as I've already said:

-Benoit

Communist -Jean-Marie

Middle cla.s.s

Jean-Marie dies heroically. But how? And what is heroism these days? Parallel to this death, must show the death of the German in Russia, the two full of sorrowful n.o.bility.

Adagio: Must rediscover all these musical terms (presto, prestissimo, adagio, andante, con amore, etc.) etc.) Music: Adagio from Op. 106, that immense poem of solitude-the twentieth variation on the theme of Diabelli, the sphinx with the dark eyebrows who contemplates the abyss-the Benedictus of the Missa Solemnis Missa Solemnis and the final scenes of and the final scenes of Parsifal Parsifal.

He [Hubert] gets out: those who truly love each other are Lucile and Jean-Marie. What should I do with Hubert? Vague plan: Benoit escapes after killing Bonnet. He's hidden at Lucile's. After the Germans leave, Lucile is afraid to have him stay in the village and suddenly thinks of the Michauds.

On the other hand, I want J. Marie and Hubert to be thrown in jail by the Germans for different reasons. That way it would be possible to have the German die afterwards. Lucile could think of going to him to save J. Marie? All this is very vague. Think about it.

On the one hand, I would like a kind of general idea. On the other . . . Tolstoy, for example, with one idea spoils everything. Must have people, human reactions, and that's all . . .

Let's make do with important businessmen and famous writers. After all, they are the real kings.

For Dolce, Dolce, a woman of honour can admit without shame "these unexpected emotions that reason can tame," as Pauline would say (Corneille). a woman of honour can admit without shame "these unexpected emotions that reason can tame," as Pauline would say (Corneille).

2 June 1942. Never forget that the war will be over and that the entire historical side will fade away. Try to create as much as possible: things, debates . . . that will interest people in 1952 or 2052. Reread Tolstoy. Inimitable descriptions but not historical. Insist on that. For example in Dolce, Dolce, the Germans in the village. In the Germans in the village. In Captivity, Captivity, Jacqueline's First Communion and Arlette Corail's party. Jacqueline's First Communion and Arlette Corail's party.

2 June 1942. Starting to worry about the shape this novel will have when finished! Consider that I haven't yet finished the second part, and I see the third? But that the fourth and fifth are in limbo and what limbo! It's really in the lap of the G.o.ds since it depends on what happens. And the G.o.ds could find it amusing to wait a hundred or even a thousand years, as the saying goes*18: and I'll be far away. But the G.o.ds wouldn't do that to me. I'm also counting a lot on the prophecy of Nostradamus.

1944-Oh, G.o.d!*19 While waiting to see the shape . . . or rather I should say the rhythm: the rhythm in the cinematic sense . . . how the parts relate to each other. Storm, Dolce, Storm, Dolce, gentleness and tragedy. gentleness and tragedy. Captivity Captivity? Something m.u.f.fled, stifled, as vicious as possible. After that I don't know.

What's important-the relationship between different parts of the work. If I had a better knowledge of music, I suppose that would help me. Since I don't know music, then what is called rhythm in films. All in all, make sure to have variety on one hand and harmony on the other. In the cinema, a film must have unity, tone, a style. E.g.: those street scenes in American films where you always have skysc.r.a.pers, where you can sense the hot, m.u.f.fled, muggy atmosphere of New York. So unity for the film as a whole but variety between the parts. Pursuit-people in love-laughter, tears etc. It's this type of rhythm I want to achieve.

Now for a more basic question and one to which I cannot find an answer: won't people forget the heroes from one book to the next? It is to avoid this problem that I would like to create one large volume of 1,000 pages rather than a work made up of several volumes.

3 July 1942. Definitely,*20 unless things drag on and get worse as they go! But please let it be over one way or the other! unless things drag on and get worse as they go! But please let it be over one way or the other!

Only need four movements. In the third, Captivity, Captivity, collective destiny and personal destiny are strongly linked. In the fourth, whatever the result may be! (I UNDERSTAND WHAT I MEAN!), personal destiny is extricated from the other. On one side, the fate of the nation, on the other, Jean-Marie and Lucile, their love, the German's music etc. collective destiny and personal destiny are strongly linked. In the fourth, whatever the result may be! (I UNDERSTAND WHAT I MEAN!), personal destiny is extricated from the other. On one side, the fate of the nation, on the other, Jean-Marie and Lucile, their love, the German's music etc.

Now, here is what I pictured:

1Benoit is killed in a revolution or fight or an attempt at resisting, according to what seems realistic. 2Corte. I think this might be good. Corte was very afraid of the Bolsheviks. He is extremely collaborationist but, following an attack on one of his friends or out of wounded pride, he gets the idea that the Germans are finished. He wants to commit himself to the extreme left! He first thinks of Jules Blanc, but after seeing him, he finds him [illegible word in Russian], he turns resolutely to a young activist group, that has formed . . . [unfinished sentence]. 2Corte. I think this might be good. Corte was very afraid of the Bolsheviks. He is extremely collaborationist but, following an attack on one of his friends or out of wounded pride, he gets the idea that the Germans are finished. He wants to commit himself to the extreme left! He first thinks of Jules Blanc, but after seeing him, he finds him [illegible word in Russian], he turns resolutely to a young activist group, that has formed . . . [unfinished sentence].

For Captivity: Captivity: Begin with: Corte, Jules Blanc visiting Corte.

Then a contrast: Lucile perhaps at the Michauds'.

Then: the Pericands.

As many meetings as possible but not historical, rather the ma.s.ses, social events or battles in the streets or something like that!

Arrival Morning Departure These three episodes must be stressed even more. The movement of the ma.s.ses must give the book its worth.

In the fourth part, I only know the death of the German in Russia.

Yes, to do it well, should have five parts of 200 pages each. A 1,000-page book. Ah, G.o.d!*21 Remark. The theft of Corte's dinner by the proletarians must have, for the future, a great influence. Normally, Corte should become extremely pro-n.a.z.i, but I could also if I want, if I need to, do it in such a way that he says to himself: "There's no point kidding myself; that's where the future lies, the future belongs to this brutal force which stole my food from me. Two possible positions then: fight against it or, the opposite, from now on be a leader of the movement. Let himself be carried along by the wave, but on the front line? Even better, try to lead it? The official writer of the party. The great man of the Party, ha, ha, ha!" even more so since Germany is on good terms with the USSR and will come to tolerate it more and more. As long as the war lasts, this in fact will be madness on the part of Germany etc. Later on, it will be different . . . But later on people will see. They'll fly to the aid of the strongest.

Could someone like Corte have such cynical ideas? Of course, at certain times. When he's been drinking or after making love his favourite way, a way that a mere mortal could barely begin to understand, and even if he did understand, it would cause only amazement and panic. The difficulty here is, as ever, the practical side of things. A newspaper, a kind of radio. Freedom, the Germans secretly paying him a subsidy.*22 We'll see. We'll see.

All action is a battle, the only business is peace.*23 The pattern, is it less*24 a wheel than a wave that rises and falls, and sometimes on its crest appears a seagull, sometimes the Spirit of Evil and sometimes a dead rat. Accurately reality, a wheel than a wave that rises and falls, and sometimes on its crest appears a seagull, sometimes the Spirit of Evil and sometimes a dead rat. Accurately reality, our our reality (there's nothing to be proud about there!). reality (there's nothing to be proud about there!).

The rhythm must be here in the movements of the ma.s.ses, everywhere where the crowds appear in the first volume, the exodus, the refugees, the arrival of the Germans in the village.

In Dolce: Dolce: the arrival of the Germans, but it must be re-examined, the morning, the departure. In the arrival of the Germans, but it must be re-examined, the morning, the departure. In Captivity, Captivity, the First Communion, a demonstration (the one that happened on 11 November '41), a fight? We'll see. I haven't got there yet and I'll approach it realistically. the First Communion, a demonstration (the one that happened on 11 November '41), a fight? We'll see. I haven't got there yet and I'll approach it realistically.

If I show people who "influence" events, that would be unacceptable. If I show people act, that is certainly more realistic, but at the expense of keeping it interesting. Nevertheless, must limit myself to that.

It's quite fair (though ba.n.a.l, but let's admire and embrace ba.n.a.lity), what Percy says-that the historical scenes are the best (see War and Peace War and Peace), the ones that are seen from the perspective of the characters. I tried to do the same thing in Storm, Storm, but in but in Dolce, Dolce, everything to do with the Germans, all that can and must be separate. everything to do with the Germans, all that can and must be separate.

What would be good all in all (but is it doable?) is to always always show the advance of the German army in the scenes not seen from the perspective of the characters. It would therefore be necessary to begin show the advance of the German army in the scenes not seen from the perspective of the characters. It would therefore be necessary to begin Storm Storm with an image of people rushing around in France. with an image of people rushing around in France.

Difficult.

I think that what gives War and Peace War and Peace the expansion Forster the expansion Forster*25 talks about, is quite simply the fact that in Tolstoy's mind, talks about, is quite simply the fact that in Tolstoy's mind, War and Peace War and Peace is only the first volume that was to be followed by is only the first volume that was to be followed by The Decembrists, The Decembrists, but what he did unconsciously (perhaps, for naturally I really don't know, I'm imagining), in the end what he did consciously or unconsciously is very important to do in a book like but what he did unconsciously (perhaps, for naturally I really don't know, I'm imagining), in the end what he did consciously or unconsciously is very important to do in a book like Storm Storm etc., even if certain characters are wrapped up, the book itself must give the impression of only being one episode . . . which is really what is happening in our times, as in all times of course. etc., even if certain characters are wrapped up, the book itself must give the impression of only being one episode . . . which is really what is happening in our times, as in all times of course.

22 June 1942. I discovered, a while ago, a technique that has been really useful to me-the indirect method. On absolutely every occasion when I encounter a problem in how to deal with something, this method saves me, gives freshness and strength to the entire story. I use it in Dolce Dolce every time Mme Angellier is in a scene. But this method of showing something that I haven't used systematically is open to infinite development. every time Mme Angellier is in a scene. But this method of showing something that I haven't used systematically is open to infinite development.