Reviewed by: Chavirer par Lola Lafon William Cloonan Lafon, Lola. Chavirer. Actes Sud, 2020. ISBN 978-2-330-13934-6. Pp. 345. The verb, chavirer, aside from its literal meanings, "to capsize," "to overturn," contains the figurative sense of "to vacillate." For Cléo, the main character in Chavirer, and for women like her coming of age in the 1980s, this is the connotation which matters. Cléo, the product of a petit-bourgeois milieu, wants to be a modern jazz dancer. She is talented, but not a potential star. One day a woman named Cathy approaches the thirteen-year-old on behalf of the Fondation Galatée whose mission is to encourage young talent from underserved communities. The Fondation has several levels of vetting, which Cléo passes through easily. At the final stage, she is invited to an elegant lunch hosted by a number of male judges who praise her achievements and maturity. The moment seems triumphal until one of the judges begins to molest her: "[L]a langue de Jean-Christophe était comme une huître dans sa bouche, morte et vivante, mouillée et visqueuse" (54). Cléo is stunned, and at one point wonders whether the fault was hers since her aggressor called her frigid. In her confusion she briefly works as Cathy's recruiter of prospective boursières for the foundation. The years pass, and Cléo's sporadic efforts to come to grips with her traumatic experience really advance no further than "à default du pardon, laisse venir l'oubli" (276). Eventually she becomes a dancer in places like the Lido where she experiences a different sort of exploitation, one that is more financial than overtly sexual, yet where her body, along with the sequins, feathers and garish make-up, is just one more prop. More attracted to women than to men, Cléo nonetheless marries and has a daughter. Her life seems to have settled into middle-class respectability, except for the occasional frisson her daughter's friends experience when they learn she was once a showgirl. Yet the world was changing and by the 2010s #METOO was having an impact on French women. Two female documentary makers decide to do a film on the not-so-mysterious Fondation Galatée. Their initial efforts to interview individual women, now middle-aged or older, who had been solicited by the Fondation prove fruitless. However, when they announce on line their documentary project and invite former candidates to meet with them in a large hall (a casting call of a very different order), many women respond. Here, Cléo encounters Betty, a woman who was her school mate but also rival for a bourse at that time. Now she is an overweight, charming eccentric whose current passion is saving and protecting animals. Yet the former sœurs ennemies have changed as society has changed, and now they see themselves as mutual victims and potential friends. Neither will ever forgive Galatée, yet their earlier vacillation has disappeared. They will never forget what they endured, and will make it harder for other women to suffer the same fate. [End Page 250] William Cloonan Florida State University, emeritus Copyright © 2021 American Association of Teachers of French