Meaning: The quote you've provided is from Manuel Puig, an Argentine author best known for his novel "Kiss of the Spider Woman." In this quote, Puig expresses his curiosity about the absence of a prominent French novel depicting the German occupation during World War II. He specifically mentions the "nouveau roman" authors, a literary movement in France known for its experimental and unconventional narrative techniques, as being uninterested in exploring this particular historical period.

Puig's observation raises several interesting points about the intersection of literature, history, and cultural memory. The German occupation of France, which lasted from 1940 to 1944, was a deeply traumatic and complex period in French history. It involved not only military and political subjugation but also resistance, collaboration, and the moral ambiguity of everyday life under occupation. Given the profound impact of these events on French society, it is indeed surprising that there isn't a well-known, widely acclaimed novel that directly grapples with this subject matter.

One possible explanation for the absence of a "great French novel" about the German occupation, as Puig suggests, may be related to the literary trends and movements that emerged in the aftermath of World War II. The "nouveau roman" authors, such as Alain Robbe-Grillet and Nathalie Sarraute, sought to challenge traditional narrative forms and explore new modes of storytelling. Their works often focused on themes of perception, language, and the structure of the novel itself, rather than historical or political events. As a result, they may not have been inclined to engage with the explicit representation of the wartime experience.

Another factor to consider is the complexity of representing a historical trauma like the German occupation in literature. Writers may have grappled with the ethical and artistic challenges of depicting such a sensitive and painful period in a way that does justice to the experiences of those who lived through it. The weight of history, memory, and the responsibility to accurately portray the nuances of wartime life could have been daunting for many authors.

It's also worth noting that there have been significant literary works addressing the German occupation of France, albeit not necessarily from the "nouveau roman" movement. For example, Irène Némirovsky's posthumously published novel "Suite Française," written during the war, offers a poignant portrayal of life under occupation. Némirovsky, a Jewish writer who perished in the Holocaust, provides a nuanced depiction of individuals navigating the complexities of love, fear, and survival during a time of upheaval.

In addition to "Suite Française," there are numerous other French novels, memoirs, and works of historical fiction that explore the impact of the German occupation on individuals and society. These literary works offer diverse perspectives on the wartime experience, ranging from tales of resistance and heroism to examinations of collaboration and moral compromise.

In conclusion, Manuel Puig's contemplation about the absence of a prominent French novel about the German occupation raises thought-provoking questions about the intersections of literature, history, and cultural representation. While the "nouveau roman" authors may not have been interested in directly addressing this historical period, there is a rich and complex body of literature that grapples with the enduring legacy of the wartime experience in France. These works continue to contribute to our understanding of the profound impact of the German occupation on French society and the ongoing process of reckoning with the complexities of history.