But, as he recounts the story of his immortal existence over more than six centuries, as she learns of his involvement in some of the most significant events in history and how human hope and love have withered in him, she finally understands the implications for him and for love.

    It is, however, Genet's second novel, having been written in La Santé and Tourelles prisons in 1943, directly after Our Lady of the Flowers. Like that first work, Miracle of the Rose was written in the solitude of a prison cell, on the pieces of white paper the penal authorities furnish the convicts for making paper bags.The work is set in the State prison of Fontevrault. It is the height of the German Occupation and in the prisons of France the convicts, barely subsisting on near-starvation rations, spend their endless days weaving camouflage nets for their German conquerors. Miracle of the Rose is, first of all, an account of life at Fontevrault during that period. But Genet is no realist, and his account of prison life is an extraordinary mixture of dreams and reality, past and present.If Fontevrault is the present of his narrative, the past is the Mettray Reformatory, the almost idyllic, flower-covered "prison colony" for boys to which he was sent for theft as a mere child. It was here at Mettray that he was initiated into the life of confinement, into the world of the criminals and homosexuals in which he was to live for the next twenty-five years. Genet's story moves back and forth between Fontevrault and Mettray almost without the reader's being aware of the transition. Doubtless, in Genet's mind, there is no transition. Both prisons and both times fuse into one immense and erotic dream.The boys at Mettray do not pity or despise the hardened criminals at neighboring Fontevrault; on the contrary, they are the "saints" the boys look up to, the heroes they hope to emulate. More than fifteen years after his precocious arrival at the Mettray Reformatory, Genet finally reaches the Fontevrault Prison. Among the pimps and big shots, the crashers and chickens that form the homosexual hierarchy of the convict criminal society, he finds again many of his former boyhood friends and lovers.Foremost among them is Harcamone, a character notable in the narrative for his off-stage presence. Harcamone has been condemned to death for having killed the only guard at Fontevrault who had ever shown him the least bit of kindness. During the month and a half prior to his execution, his presence from his solitary cell on death row both encompasses and dominates the prison. At one point, as Harcamone passes Genet in the prison corridor, the author has a vision in which he sees the chains that bind Harcamone miraculously flower into a garland of white roses.Miracle of the Rose contains many such visions wherein Genet, taking the dross of "evil'' transmutes it into a work of beauty.

    

    Professor Bellos explains how Balzac challenged prevailing nineteenth-century expectations of what novels should be like.

    Werth was a free-spirited and unclassifiable writer. He is the author of eleven novels, art and dance criticism, acerbic political reporting, and memorable personal essays. He was Jewish, and left Paris in June 1940 to hide out in his wife's country house in Saint-Amour, a small village in the Jura Mountains. His short memoir 33 Days recounts his struggle to get there. Deposition tells of daily life in the village, on nearby farms and towns, and finally back in Paris, where he draws the portrait of a Resistance network in his apartment and writes an eyewitness report of the insurrection that freed the city in August, 1944.From Saint-Amour, we see both the Resistance in the countryside, derailing troop trains, punishing notorious collaborators--and growing repression: arrests, torture, deportation, and executions. Above all, we see how Vichy and the Occupation affect the lives of farmers and villagers and how their often contradictory attitudes evolve from 1940-1944. Werth's ear for dialogue and novelist's gift for creating characters animate the diary: in the markets and in town, we meet real French peasants and shopkeepers, railroad men and the patronne of the cafe at the station, schoolteachers and gendarmes. They come off the page alive, and the countryside and villages come alive with them.With biting irony, Werth records, almost daily, what Vichy-German propaganda was saying on the radio and in the press. We follow the progress of the war as people did then, day by day. These entries make interesting, often amusing reading, a stark contrast with his gripping entries on the persecution and deportation of the Jews. Deposition is a varied and complex piece of living history, and a pleasure to read.