Le Mariage
In the deliciousLe Divorce, Diane Johnson's heroine dipped her American toe into the unfathomably deep waters of French culture.  In Johnson's follow-up,Le Mariage, we plunge right in and swim  among American expatriates and French high society types as they try to navigate relationships with one another. The novel makes references, both overt  and oblique, to one of the great achievements of French culture, Jean  Renoir'sRules of the Game, a film that steps lightly between farce and tragedy.Le Mariagedoes the same.The story centers, likeAnna Karenina, around two couples. Anne-Sophie, abon chic, bon genreParisienne who sells equestrian-themed antiques at the flea market, is engaged to Tim, an American journalist, "one of those large pink-cheeked rugby-player types." Clara, also an American, is a film actress married to her  director, the brilliant Serge Cray. The two lead a reclusive life on the outskirts of Paris until their serenity is broken by a couple of events: following a well-publicized murder, a couple of American tourists drop in on the  Crays and won't leave; and Clara is arrested for desecrating a national  monument, when all she was trying to do was decorate her house.These various settings--the flea market, the director's chateau, even  the jail--allow Johnson ample room for the kind of Francophile fieldwork  for which she is so justly famed. The engaged couple in particular provide lots of scope for details of Paris life: "One particular day, Tim  suddenly knew he had found their apartment, on the Passage de la Visitation--the name itself so charming, the arrondissement so correct.... His heart  lifted with the optimistic sense of the future that only real estate can  bring." Minor characters abound, such as Anne-Sophie's mother, who writes the  sort of hilariously intellectual dirty novels only the French can produce. Johnson delights in identifying such types, and sends them up with relish.As inLe Divorce, Johnson delivers a trumped-up ending--this  time at the Crays' chateau, where the rehearsal dinner for Anne-Sophie and  Tim's wedding turns into a genteel French shootout--or, rather, standoff. The author has earned her finale this time, though. At the beginning,  she asks the question that haunts all innocents-abroad novels: "Perhaps  there are no natural contradictions between the French landscape and the Americans who inhabit it so diffidently, but it often seems that  Americans would do well to stay out of what we do not understand. Or is it we who bring the harm?" This time, more explicitly than ever, Diane Johnson  makes her answer an emphatic yes. And in doing so, she lays claim to the  legacy of Henry James that has been linked with her name sinceLe  Divorce.--Claire Dederer--This text refers to an out of print or unavailable edition of this title.