Reviews 189 d’une jeune fille qui pousse son frère à la vendetta.Vénérande tournera-t-elle“le regard loin des tombeaux, loin de l’orgueil borné et du sang inutile, loin de [s]es propres chimères” (217)? Premier roman de Marc Biancarelli rédigé en français, Orphelins de Dieu est un superbe texte au pouvoir d’évocation visuelle étonnant. Villanova University (PA) Étienne Achille Brisac, Geneviève. Dans les yeux des autres. Paris: L’Olivier, 2014. ISBN 978-2-87929861 -0. Pp. 306. 18,50 a. In her eleventh work for adults, Brisac describes a conflicted family from multiple narrative angles. Anna Jacob, an author whose sister Molly took her to court to have her last novel censored for indecency, faces writer’s block as she contemplates her lack of livelihood while staying at Molly’s house. Caught between the roles of guest and housekeeper, she revisits memories of her childhood with Molly interspersed with comments about her present situation, in which she has lost “Déborah Fox,” the nom de plume as well as persona that she had adopted previously as a successful novelist. Depending on the themes of her ideas, she records them in diversely-colored notebooks : blue for happy reminiscences,black for unhappy memories,and red for political ones. Skillful narrative play in Dans les yeux des autres imparts emotional richness to the story. The omniscient narrator directs the reader to be saddened by Anna’s professional and emotional impasse through statements such as: “Que fait Anna qui est restée seule?” and “Où est passé le temps de quand elle était Déborah Fox?” (43). This second rhetorical question provides a transition to first-person narration in which Anna’s feelings of isolation are made known:“Jamais je n’avais imaginé être pauvre et seule, jamais. Sans amant, ni mari, sans amis, sans argent”(43). Following her detailed lament, however, the third-person narrator summarizes concisely, even ironically, her situation:“Telle est la substance de sa plainte”(43), which draws the reader out of any strong sentimental involvement with the text. Not only did Déborah Fox possess the social ease that Anna lacks, the former kept Mélina, the protagonist’s eccentric mother, at a comfortable distance by knowing exactly what to say. Anna, on the other hand, bereft of her authorial persona, merely antagonizes Mélina. If third- to first-person narrative shifts serve to portray Anna’s character in detail, the accounts of Mélina’s, Molly’s, and her boyfriend Boris’s lives remain opaque, since they lack the ongoing, introspective element of Anna’s musings. They nevertheless interest the reader. For example, Anna’s admission of sibling rivalry during her childhood sheds light on Mélina’s favoritism toward her daughter Molly, the doctor. Likewise, through stories about Boris’s ex-wife and Molly’s medical patients, told by the third-person narrator, one glimpses facets of these characters’personalities: Boris’s insecurity and maladjustment to adult life, and Molly’s practiced coldness toward others, including her sister. Despite these figures’ unresolved problems, it is Anna’s very human plight that holds the reader’s attention. Her possible reconciliation with Molly, her renewed attempts at writing fiction, and her tentative efforts to re-embrace life on her own terms inspire one to savor every page of this compelling novel. University of Texas, El Paso Jane E. Evans Carrère, Emmanuel. Le royaume. Paris: P.O.L., 2014. ISBN 978-2-8180-2118-7. Pp. 640. 23,90 a. L’auteur pensait que la religion pourrait résoudre son mal-être et ses inquiétudes métaphysiques. Sous l’influence de sa marraine, catholique quelque peu exaltée, il se croit“touché par la grâce”et se convertit (21). Pour affermir sa foi, il commente chaque jour par écrit quelques versets de l’Évangile selon Saint Jean, lit la Bible et les mystiques, observe assidûment tous les rites de l’Église et ses préceptes. Sa “maladie de foi” dure trois ans jusqu’à ce que survienne la “crise” qui le débarrasse pour toujours du “bourrage de crâne” auquel il s’était volontairement soumis...