always brings its pain, this time physical suffering, as Christian’s long-anticipated sexual encounter ends in near cardiac arrest for him. Théodore, music critic in Quebec, meets Judith, a married Jewish Parisian violinist. He will follow her back to Paris; in this instance, Judith’s husband’s intervention prevents Théodore’s plan from coming to fruition. Sébastien, the final “cavaleur” holds a position in the external affairs ministry, and is sent from Ottawa to the tundra to oversee the production of Inuit arts and crafts. He leaves with Viviane, who works for the preservation of heritage. Their flirt does not go far, but three years later, they meet again in Geneva, and finish what they started. Sébastien, however, will wonder whether he has been played. The author’s language is simple and direct, except when erotic, or quoting a poet, composer, or writer, or taking the reader on a tour of Paris, New York, Geneva, Montreal, Quebec or Inuit country. Hould’s “womanizers” seem rather lovely, sweet, decent, unlucky and incompetent at courting the fair sex, so much so that not one of them triumphs. They might have had the upper hand in an earlier world, but do not seem to understand the women of today. Santa Rosa Alliance Française (CA) Davida Brautman JOB, ARMEL. Loin des mosquées. Paris: Laffont, 2012. ISBN 978-2-221-12953-1. Pp. 274. 19 a. Job’s latest novel comprises eighteen chapters, each narrated in the first person by one of the four main characters. The first to narrate (and also the last) is René, a forty-nine-year-old Belgian undertaker who has been dragged into his Turkish neighbor Altan’s complicated family affairs. The other three narrators include Altan’s youngest brother, twenty-one-year-old Evren, whose parents have arranged a marriage for him; Derya, Evren’s seventeen-year-old cousin, described by Evren as “vive comme le feu” (43) and even more beautiful when she is wearing her veil; and Yasemin, the sixteen-year-old Turkish farmer to whom Evren is engaged after Derya’s embarrassing refusal of his marriage proposal to her. A fender-bender involving René’s pristinely-kept 1996 hearse occasions telling a story that René is part of only because he was invited to Evren and Yasemin’s wedding after agreeing to let two of Altan’s relatives stay at his house: “Je ne me serais jamais intéressé aux musulmans si je n’avais pas été invité au mariage d’Evren” (21). The novel’s plot hinges on a misunderstanding that arose when Evren saw Derya naked while living at his uncle’s house in Germany to complete an accounting degree. Her beauty (naked or clothed) inspires Evren’s passionate love and he becomes obsessed with the idea of marrying her. Derya, however, believes Evren is acting out of Muslim “respect,” in other words, a Muslim man’s obligatory blindness to woman’s physical features, which only inspire sinful thoughts. Having understood beauty through Renoir’s eyes in his painting Baigneuse assise (1906), Derya rejects Muslim “respect” since its purpose is to prevent her from considering her body “comme mon bien propre, simple, bon, naturel” (75). Thus, she first refuses Evren’s proposal, failing to appreciate his kindness, but reconsiders too late when Evren is to wed the smitten Yasemin instead. Because Evren must refuse in order to honor his engagement to Yasemin, Derya brings dishonor to her family. With her brothers out to kill her, Derya manages to escape to Belgium where the neighbor Altan again enlists René’s 1290 FRENCH REVIEW 86.6 help, this time to hide Derya at his house. Now René falls in love with Derya, for the first time since he suffered humiliating rejection twenty years earlier. The reader is clearly supposed to sympathize with René who was abandoned by a woman and left to care for her handicapped brother. After all, René is aware of his weaknesses: “Derya, était-ce même Derya, et pas plutôt la femme, l’être humain sous sa forme aimable qui réjouissait mes yeux fatiguées des autres formes que leur offraient ma client...
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