Reviews 233 this form of mysticism. Hadley Wood considers spirituality in Mme de Lafayette’s Princesse de Clèves, and sees the novel’s central concern as the tension between virtue and the court. She contends that the Princess’s struggle and its resolution would have a clear religious resonance for Lafayette’s contemporaries. Joanne M. McKeown considers four novels by eighteenth-century female authors, whose characters face overwhelming problems on the domestic front. Those who are able to bear their situation do so by turning to God, either through what McKeown calls ‘home-based spirituality,’or by entering the religious life.These authors thus refute Diderot’s reliance on reason. Kelsey L. Haskett examines two of George Sand’s novels in which religion plays a transformative role in human affairs. She demonstrates Sand’s search for spirituality in Indiana and her quest for social reform in Le compagnon du Tour de France. In another essay, Haskell focuses on the spiritual undercurrents of Marguerite Duras’s works.She observes the longing for spiritual transformation that inhabits many of Duras’s characters, which is manifested in personal transformation and often expressed as identity reversal,death,or metaphorical rebirth.Simone Weil’s writings are often paradoxical: she rejected organized Judeo-Christian religion, but was deeply influenced by Christian mysticism.Anne M.François traces Weil’s endeavor to establish her own theological system, as well as critical reactions to Weil’s writings. Susan Udry focuses on the importance of the domestic sphere in Malika Mokeddem’s La nuit de la lézarde. Mokeddem depicts Nour, the main character of the novel, as a deterritorialized subject and creates a new space for Nour, a domestic space, within which to reshape her identity. Haskett and Nelson’s fine introduction gracefully unifies the diverse collection of writings in this well-conceived volume, which provides some important clues regarding the evolution of spiritual thought in French literary expression. Saint Louis University Kathleen M. Llewellyn Khordoc, Catherine. Tours et détours: le mythe de Babel dans la littérature contemporaine. Ottawa: PU d’Ottawa, 2012. ISBN 978-2-7603-0778-0. Pp. 272. $29,95 Can. This study examines the Babel myth in five works, L’Algarabie (Jorge Semprún), Babel, prise deux ou Nous avons tous découvert l’Amérique (Francine Noël), Ainsi parle la tour CN (Hédi Bouraoui),Babel-Opéra (Monique Bosco),and Tambour-Babel (Ernest Pépin). These texts published in French since 1981 reflect a more general acceleration in the use of the myth in the media, literature, and the arts in recent decades, asserts Catherine Khordoc. She provides many examples in her introduction of explicit and subtle references to the Tower of Babel. The increased interest in the myth manifests a coming to terms with the consequences of global cultural and linguistic plurality in a world that is “postmoderne, postcoloniale et transnationale” (20). Khordoc reviews the mainly pejorative interpretation of the biblical myth as punishment for man’s hubris and/or as the source of linguistic confusion resulting in human disharmony. Despite common manifestations of the myth, Khordoc shows that contemporary usage provides more nuanced versions, including the notion that multiplicity of languages does not necessarily imply a malediction. The novels under scrutiny all rely on specific reference to the Babel myth, and all are products of authors from diverse cultures who use French as a vehicle of expression. Khordoc’s first chapter is devoted to a helpful review of the transformation of the myth from the biblical story in Genesis to contemporary representations. Even if the reader is not familiar with the novels in Khordoc’s study, this chapter offers a comprehensive overview, easily applicable to other texts referencing the Babel myth. Two Babelian references are suggested immediately in the title of Semprún’s novel: translation and confusion. Khordoc explains that agarabía is a Spanish word of Arabic origin, signifying“confusion,”rendered in French form in the novel’s title. This framed novel takes place in Paris, an example, as Khordoc notes, of the metonymic associations of the Tower of Babel with the city or metropolis. The novel’s complicated structure is an example of...