Discussing the fiction, essays, and journalism of Henry de Montherlant, Jean Giono, and Alphonse de Chteaubriant, Golsan explores the complexity of artistic and intellectual collaboration during the German Occupation. He demonstrates that, in this context, complicity with political evil often derived from "nonpolitical" motives including sexual orientation, antimodern aesthetics, and dangerously skewed religious beliefs.

Turning to the post--cold war era of the 1990s, Golsan examines the philosopher Alain Finkielkraut's support for Croatian independence, the "mediologist" Rgis Debray's pro-Serb stance during the bombing of Kosovo, and the historian Stphane Courtois's revisionist comparison of Nazi and Communist crimes during the 1997 debate surrounding the publication of The Black Book of Communism. In these three cases, laudable motives -- and misguided historical comparisons with Vichy, Nazism, and the Occupation period that marked the political and intellectual discourses of France in the 1990s -- resulted, paradoxically, in antidemocratic engagements profoundly at odds with the original motivations behind these intellectuals' commitments.

In each of these case studies, political complicity derives from a combination ofpassions and ideals -- whether positive or negative, emotional or intellectual -- as well as a desire to make the present conform to a particular and generally skewed vision of the past. The full implications of these involvements are neither fully grasped nor understood by th