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The list of writers discussed in detail includes Céline, Brasillach, Morand, Malraux, Nizan, Berl, Aragon, Sartre, Beauvoir and many others. [...]Lecarme fuses biographical detail and close textual analysis with discussions of literary institutions, political affiliations, and historical upheavals to provide nothing less than a kind of x-ray of Parisian literary culture and intellectual life from the turn of the century through the Épuration and into the mode rétro of the 1970s. Perhaps a more appropriate metaphor for the kind of image of French literary culture Lecarme produces in his study of Drieu would be an MRI, because he proceeds by deliberately unsettling political, cultural, and ideological valences and idées reçues to achieve his results, in the same way that magnetic resonance imaging stirs sub-atomic particles to produce its image. Both were blinded by their commitments tototalitarian ideologies, Drieu by his commitment to fascism and Nazism and Sartre by his commitment to Stalinism. [...]Drieu's role as editor of the wartime NRF, and his resulting domination of Occupation (and collaborationist) intellectual and literary culture is echoed in Sartre's status in the postwar period as the preeminent intellectual force of his day, largely through his role at Les Temps modernes. [...]in assessing Drieu's literary talent, Lecarme argues that Drieu's short stories are comparable to those of the master Paul Morand, a view most critics would likely contest. [...]Drieu's novels— from Rêveuse bourgeoisie (for Lecarme, the "family novel"par excellence) to Gilles (likewise for the "political novel") to later works like Drieu's evocation of the life of van Gogh,Mémoires de Dirk Raspe and his novel of the political chaos of the Occupation, Les Chiens de paille-are characterizedasrivaling and even surpassing the best works of his contemporaries.