MLR, 104.4, 2009 1151 the author's journey to the sources of the Senegal and Gambia rivers in 1818. A naval position enables Mollien to travel to Africa and may also account for his occasional observations on opportunities for colonial expansion or commercial exploitation. Yet, the dominant tone of the text does not echo contemporary, Eu rocentric discourses of alterity, but is rather suggestive of a mode of encounter more readily associated with later travellers writing against colonialist paradigms of intercultural contact. By virtue of travellingwithout a European companion, for example, Mollien's contact with indigenous peoples is unmediated. This disrupts the conventional investment of power and control in the European, forMollien is largely dependent on the hospitality of those he meets for food, shelter, or the right to passage. Only items such as coral or tobacco offer him a commodity with which to bargain. The processes of encounter are thus not unilateral?the white European does not discover the black African?but are based, rather, on ex change. By extension, theEuropean becomes the object of the exotic gaze, regarded with hostility or hilarity, but always curiosity. This curiosity is reciprocated in the textual narrative, but not inways that other' the peoples encountered. Rather, Mollien resists homogenization by reporting in detail the customs, codes, beliefs, and landscapes of each individual tribe, as well as explicitly contesting colonialist stereotypes ofAfricans as cruel and uncivilized. Indeed, Mollien frequently estab lishes commonality between Europeans and Africans. His interpersonal encounters may result inboth celebratory and condemnatory vignettes of individuals, but this coexistence suggests balance, a willingness to look beyond monolithic preconcep tions. The text also offers a captivating tale of adventure, danger, and suspense. It opens with Mollien being shipwrecked on theMeduse and reaches its close with a rapid succession of threats on his life,with a perfidious guide, and grave illness. A highly informative introduction into the history of exploration in West Africa prefaces Mollien's narrative, including such fascinating, but little-known, facts as the Chinese trade in West Africa as early as that of fifteenth-centuryPor tuguese explorers. The availability ofMollien's narrative to a wider audience in the form of this new edition ismost welcome. The textwill be of considerable interest to those working in the fields of travelwriting and colonial/postcolonial studies. Cardiff University Margaret Topping The Classic: Sainte-Beuve and theNineteenth-Century Culture Wars. By Christo pher Prendergast. Oxford: Oxford University Press. 2007. x+3i5pp. ?60. ISBN 978-0-19-921585-0. Many French scholars know by sight the several feet of shelf space occupied by the twenty-nine volumes of Sainte-Beuve's Causeries du lundi and Nouveaux lundis; some have dipped into these volumes in pursuit of a particular article or illumi nating comment; few have examined them in their own right.Moreover, on first reading Christopher Prendergast's introduction, one may indeed wonder why the 1152 Reviews mere fact of saving a set of Lundis, cast offby his college library, should have led him to bother with a writer with whose anti-democratic views he patently feels so little sympathy. Yet, as this study convincingly shows, Sainte-Beuve, though increasingly slippery, reactionary, and sycophantic in his conversations' with his Second Empire newspaper readers, stands nevertheless as amajor cultural figure of nineteenth-century France, reflecting and inflecting the intellectual debates of his day, as he engages in an ultimately vain attempt to shore up the belletrist notion of an elite French-inspired cultural canon against the democratizing German-led discourses of comparative philology, comparative mythology, and ethnography. Discussion of twentyyears' worth of articles (1848-68), covering a huge variety of authors, topics, periods, and places, presents amajor analytical and scholarly chal lenge. Prendergast's clear central argument starts by skilfully steering the reader through Sainte-Beuve's paradoxical conception of the classic as a phenomenon simultaneously universal and specifically French, rooted in the great writers of classical Latinity, notably Virgil, and carried forward through theMiddle Ages and theRenaissance to a new flowering in the great seventeenth-century authors of Le Roi-Soleil. It then considers the nineteenth-century challenges which this comfort ing notion of the classic aims to counter and contain: the intellectual competition...