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Les Bienveillantes (French Edition) Customer reviews


Les Bienveillantes (French Edition) Review by James Gollin

Les Bienveillantes is for the brave reader. Written by the American Jonathan Littell, son of the veteran thriller writer Robert Littell, Les Bienveillantes -- the term is roughly translated as "The Kindly Ones," the terrifying cognomen for the Erinyes, the vengeful Furies who pursue the blood-guilty in Greek myth and drama -- is the memoirs of one Max Aue, who joined the Nazi SS as a young man and served in it diligently through the twelve years of Adolf Hitler's supposed Thousand Year Reich. The book is a brilliantly researched blend of history, nightmarish picaresque adventure and Gothic horror tale. Aue is, by his own account, a monster. Haunted by but unable to escape his role in the methodical slaughter of the Jews of Eastern Europe, Aue is also a successful careerist eager for advancement and a psychically crippled sexual misfit.
And it must be added that Littell has given his Aue a sense of humor.
It's disquieting to read a book about the Nazi terror written in a fluent, compelling but somehow Americanized French. The unease, I think, is intended. We are not meant to believe that the horrors of totalitarian statism and Holocaust are the exclusive property of any one nation. They are not. Les Bienveillantes has won the Prix Goncourt. Reading it, I wondered if the melodrama wasn't too heavyhanded and the portrait of Max Aue too overdrawn. But I don't think they are. The book deserved its prize.


Les Bienveillantes (French Edition) Review by M. Georgius (Amsterdam)

Just finished the dutch translation...The holocaust from the perspective of a SS officer. Very impressive achievement. Historical it seems to check out as well. Not for the faint of heart, though. Would give it 6 stars, eventhough the end of the books is a bit dissapointing,if the rate would allow :)


Les Bienveillantes (French Edition) Review by Juan-Pablo Caceres

This very controversial book has already been reviewed a lot, so I won't comment on the details. I would just add that, in my opinion, this book has a lots of possible readings, and wanted to develop mine. Daniel Mendelsohn, in The New York Review of Books, has a very good article on it.

I agree with the main theses of that reviewer, that there are two superimposed structural elements in The Kindle Ones; the first is a Docudrama, with a methodical account the the years 1941-45 from a perspective of one of the perpetrators with the intended "humanization" of this process; the second is the superimposition of the Furies (Les Bienveillantes) mythology on top of the chronology. What I don't agree with is that the second structural element (the mythology) clashes and ends up by destroying any possible humanization of the "monster-main-character" as a proxy of thousands of SS and Third Reich "employees".

After finishing "Allemandes I and II" (the second long chapter) it was hard to get the point of the endless descriptions of massacres and coprophagy of the Maximilien Aue. However, as the book progresses, all this makes sense as a way of really position the memoir in the historical and moral context, a kind of necessary realism. As said earlier, the homosexual, incestuous, coprophagous, patricidal Aue (all this elements taken from the Furies mythology) has discourage many readers of any possible identification and humanization of this main character; he keeps being the "other". However this elements, as other more explicit in the novel, can also be read as an allegory, a symbol, a superimposition of a sort of spiritual chronology on top of an historical one. This does not justify the atrocities, on the contrary, it renders its huge spiritual and moral toll. The question of whether the people that committed this atrocious crimes are "normal" is only, in my opinion, marginally important. Movies like "The Reader" take on this question explicitly and have also a more simple answer.

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Les Bienveillantes (French Edition) Description


En fait, j'aurais tout aussi bien pu ne pas écrire. Après tout, ce n'est pas une obligation. Depuis la guerre, je suis resté un homme discret ; grâce à Dieu, je n'ai jamais eu besoin, comme certains de mes anciens collègues, d'écrire mes Mémoires à fin de justification, car je n'ai rien à justifier, ni dans un but lucratif, car je gagne assez bien ma vie comme ça. Je ne regrette rien : j'ai fait mon travail, voilà tout ; quant à mes histoires de famille, que je raconterai peut-être aussi, elles ne concernent que moi ; et pour le reste, vers la fin, j'ai sans doute forcé la limite, mais là je n'étais plus tout à fait moi-même, je vacillais, le monde entier basculait, je ne fus pas le seul à perdre la tête, reconnaissez-le. Malgré mes travers, et ils ont été nombreux, je suis resté de ceux qui pensent que les seules choses indispensables à la vie humaine sont l'air, le manger, le boire et l'excrétion, et la recherche de la vérité. Le reste est facultatif.

Winner of the 2006 Prix Goncourt


  • Item Dimensions: 7 x 4 x 2 inches; 2 pounds
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