The novel of ideas was rejected by British-based modernist writers. In the international literary sphere there was less hostility to the fictional representation of philosophical, political and religious ideas, and there was also significant critical discussion of literature as a specific kind of speculative thinking. Outside Britain the representation of ideas and the formal experimentations of the modern novel were not seen as being in conflict with one another. Writers at the forefront of developments in the novel, including Fyodor Dostoevsky, André Gide, Thomas Mann, Rabindranath Tagore and Jean-Paul Sartre were both formally experimental and engaged with the novelistic implications of philosophical, religious or political thought. In this chapter I consider two kinds of modern novels of ideas, the ironic and the dialogistic. I focus on the writing of John Galsworthy in relation to Thomas Mann’s ironic Buddenbrooks and Graham Greene’s The Power and the Glory in relation to André Malraux’s dialogistic La Condition Humaine.

This chapter takes up a half-forgotten novel fragment of 1941-2 by André Malraux based on first-hand accounts from the 1914 War, as well as two, neglected photographs of targeted civilian casualties of poison gas made in a Macedonian town in 1917 by the German Jewish criminologist R. A. Reiss. It moves beyond conventional archives to uncover complex histories, interweaving cultural artifacts with archival material to represent at two distinct moments the experimental poison gas war on the eastern front. Prussic acid -- by 1917, the base for an early form of Zyklon – provides the constant in these episodes. Eastern Europe, an area historically associated with colonialism and post-colonialism, furnished the choice terrain in 1915-17 of poison gas warfare, and so, premonitions of a Nazi continental imperialism which relied on gas, a weapon designed for colonial use, to enforce racial hierarchies. These cultural artifacts –Malraux’s Bolimów/Bolgako and Reiss’s Monástir -- map the head of the “Zyklon trail,” in Lemkin’s phrase. The experimental poison gas war on the eastern front substitutes premonitory vistas for the classic, western battlescapes of Wilfred Owen’s poetry by redrawing the templates and boundaries of the developmental logic of Nazi “scientific violence” amidst occupation, subjugation, and ethnic/racial warfare.

The two decades between the First and Second World Wars were a period of political turbulence and social and cultural change in France. Céline and André Malraux gave voice to right- and left-wing ideologies in their work, while François Mauriac and others offered a religious perspective on contemporary mores. Formal innovations came from Surrealism and modernism, and the voices of female, black and gay writers made themselves heard more boldly than ever before: André Breton, Marcel Proust, André Gide, Colette, Irène Némirovsky and René Maran were significant literary figures of the period. At the same time, cinema and radio challenged the cultural dominance of the novel, and within literature the landscape was changed by the beginnings of the bande dessinée and the burgeoning of mass-market popular fiction, including Delly’s romance novels and Georges Simenon’s crime fiction.