MLR, 100.2, 2005 509 indeed, according to Compagnon, rupture and discontinuity are a key feature of his poetry as a whole. Compagnon demonstrates that at the heart of the poet's use of allegory is the non sequitur, the interruption. In fact, this fracturing, the fall from unity (the entry into number), is what constitutes the fallen nature of creation, forhow else can the singular conceive of the other?in other words, how could it create? Yet that creation, that harnessing of the power of number, is one that moves ever onwards towards the numberless, that which escapes boundaries and harmony, that which threatens to overwhelm?like the sea. So the modern individual is faced with the crowd that threatens to sweep him away. It is Compagnon's conclusion that the dandy is able to maintain his individuality in the face of the urban multitude and is indeed able to rejoice in it. This is a stimulating study that can be warmly recommended. University of Ulster, Londonderry A. J.McCann Stella. By Camille Flammarion. Ed. by Danielle Chaperon. (Textes de Litte? rature Moderne et Contemporaine, 69) Paris: Champion. 2003. 288 pp. ?40. ISBN 2-7453-0814-9. This reissued edition will be of most interest to scholars of the development of the science-fiction genre and those concerned with the literary representation of science infinde siecle France. The novel's virtues as a literary work are, however, rather slight, foritnow reads as an advertisement for,and extension of,Flammarion's better-known works in the fields of astronomy and popular science. Stella was one of three novels written by this 'vulgarisateur scientifique', the principal task of whose writing was the description of his excitement at the advances of telescopic astronomy as compared with the drier qualities of earlier mathematical astronomy. Flammarion was also well known as the founder of the Revue mensuelle de Vastronomie (1882), the Societe astronomiquede la France (1887), and, of course, as the brother of Ernest Flammarion, whose early successes in publishing came partly through issuing Camille's works. The volume is edited by the author of one of the few major studies of Flammarion (CamilleFlammarion: entreastronomie et literature (Paris: Imago, 1998)) and reprints the original 1897 edition of Stella, which contains twenty-seven chapters, rather than the twenty-four of the 1911 edition. As well as an introductory essay, it also includes attractive photographic reproductions of illustrations fromearly editions, a 'notice biographique ', and a bibliography of Flammarion's works and Flammarion scholarship. The plot ofthe novel ostensibly deals with the arrival ofthe convent-educated Stella into Parisian society, her dissatisfaction with the vacuous qualities of that milieu, her discovery of a world of truth in scientific books, and the fulfilmentof her life through a romance with an astronomer, which grants her 'L'oubli du monde, de ses vanites, de ses mensonges' (p. 185). Her life of eternal happiness then extends beyond her earthly existence, for Flammarion believed that the good would be reincarnated on other planets in their future lives. This tale is interspersed with fairlylong lectures on astronomical subjects, epistolary interludes, and a tabulated section of the text where the 'four ages of man' are compared from scientific and religious viewpoints. There we learn: 'La science avance graduellement. II y a toujours a chercher' (p. 68), while forbelievers in Christianity,' Jesus-Christ a apporte la verite au rnonde, et depuis dixhuit siecles il n'y a plus rien a chercher' (p. 68). Yet while the text offersa critique of organized religion, italso reflectsFlammarion's spiritualism and his interest in 'having it all', in the nineteenth-century sense of wanting to synthesize science, religion, and art, rather than seeing these fields as competing views ofthe world from among which one might have to choose. Such ambiguity (or coherence from Flammarion's point of view) was also expressed through Flammarion's staging of annual summer-solstice festivals at the base of that emblem of modernity, the Tour Eiffel. 510 Reviews Manifold comparisons might be made between the lives of Flammarion and Zola, and, as Danielle Chaperon notes, between Stella and its antecedent, Le Docteur Pas? cal (similarities might also be observed with Le Reve). Both men...