What the great novel Suite Francaise depicts and what it omits

Finished (re)reading the 2nd and final - the completed project was left unfinished in1942 - section, Dolce, in Irene Nemirovsky's Suite Francaise (left unfinished in 1942, published in 2004, English tr 2006). This second section, as the title itself implies, is not as tense and harrowing as the first section, in which we follow several Parisians leaving all their belongings behind as they feel Paris and the German occupation in 1940. The Dolce section focuses on one community under occupation in 1941, the small and fictional village of Bussy, and in particular IM examines the complex feelings of the villagers - hating and fearing the German soldiers, at least at first, but gradually growing to tolerate the occupation and in some cases to build friendships and romances - at great risk of course. IM is great at examining the complexity of emotions, fear, and guilt among this small set of characters - but it's also astonishing how much is left out from this section. We see little or nothing of the collaboration - French villagers forced (sometimes w/ little resistance) to do the dirty work for the occupying forces (the major, central theme in the great French TV series, A French Village), nothing about the rage of the villagers against women who "consort" with the Germans, only the faintest reference to Hitler, no reference to French resistance, and no reference whatsoever to Jews to the concentration camps. These omissions may be because IM (and many others) were unaware of these social forces and movements, many of which became clear to the world at large much later in the war and in its aftermath. It may also be that IM was writing protectively, with the naive hope that maybe she could publish this work in some postwar period of peace. As all readers of this book know, she was sent to her death in Auschwitz in 1942. Did she consider herself "safe," as a longtime French citizen and a nonpracticing Jew? Or were these themes she'd planned for the 4 unwritten sections of SF? The appendices included in all editions of SF may answer these questions, to the extent the can be answered. In any event, SF remains one of the great novels of the war, one of the last to be published personal narratives of that period, and it remains frightening and moving for what IM depicts and, in part, for what she omits.