Reviewed by: Œuvres complètes. 1846. Isidora. Œuvres complètes by George Sand Rachel Corkle Sand, George. Œuvres complètes. 1846. Isidora. Œuvres complètes sous la direction de Béatrice Didier. Édition critique par Annabelle M. Rea, Honoré Champion, 2018. Pp. 272. ISBN 978-2-7453-4576-9. 42.65€ (papier). Isidora is an exemplary novel in Sand's vast body of work in that it explores many of the themes for which George Sand is known, studied, and admired. It is a novel about women and women's condition and a roman de formation that explicitly addresses educational disparities between boys and girls, men and women. In Isidora, the reader sees how George Sand was a child of her beloved eighteenth century, and specifically "un fils de Jean-Jacques," even if, as the eponymous heroine remarks: "Il n'a pas compris les femmes, ce sublime Rousseau." In Isidora, Sand's voice echoes and responds to Rousseau's works on education, but also on class and on nature, specifically as concerns the study of botany. George Sand is a brilliant manipulator of literary form, and Isidora is an outstanding example of narrative hybridity. Part I of the novel, "Journal d'un solitaire à Paris" is introduced by a third-person narrator then written in the form of Jacques Laurent's cahiers: his "travail" ("un recueil de notes pour un ouvrage philosophique") and his "journal" ("un examen de son cœur et un récit de ses émotions"). In part II, "Alice" the narrator takes control. Part III begins with Jacques Laurent's "cahiers" about his love for two women, Isidora (paragraphs labeled "I") and Alice (paragraphs labeled "A"), and concludes with four letters from Isidora (that Sand added after the first publication in feuilleton). In short, Isidora should be on the "to-read" list. Or as Annabelle M. Rea concludes in the novel's introduction: "Cette œuvre, nous l'avons dit, est l'une des plus féministes de George Sand. Même si ce roman a bien commencé à trouver le public qu'il mérite, il offre encore des richesses à découvrir" (38). [End Page 189] Rea's critical edition, part of a colossal effort, directed by Béatrice Didier, to republish Sand's Oeuvres complètes, is a gift to scholars and students of Sand and of this novel. Rea's notes are copious and detailed, and her citing and thanking scholars of all ages shows the breadth of her knowledge and her generosity. In addition to notes, a comprehensive bibliography, a meticulous accounting of textual variants, indexes (of names and places), and annexes of passages that were removed or altered, Rea includes an essay on Isidora's reception and an introduction that is substantial in both size and content. Rea's introduction is important firstly for contextualizing the novel: in Sand's personal life (her relationship with her then adolescent daughter), in her political life (as the novel is haunted by the Code civil), and in her professional life. The novel was originally conceived of as part of the collective project Le diable à Paris. Rea's introduction also perspicaciously situates Isidora in the canon of courtesan novels. There is a vast bibliography of works that study the courtesan in nineteenth-century French literature, and they frequently ignore Sand. Rea shows how important it is to include Sand's voice, a woman's voice, in this dialogue about women. Sand writes a different kind of courtesan novel than do her male counterparts. "C'est un roman courageusement féministe qui critique, avec une férocité contenue, le Code civil et la position dépendante dans laquelle se trouve la femme, à l'exception de la veuve," writes Rea. "C'est un roman où, contrairement à la tendance qui se manifeste chez les écrivains masculins, la courtisane ne meurt pas, ne se laisse pas humilier, 'rachetée' par l'amour ; une fois libérée de sa dépendance économique, Isidora lutte pour se comprendre ellemême, pour construire un moi autonome et actif" (37). Annabelle M. Rea's edition of Isidora takes important steps toward inserting Sand's voice in these bibliographies and scholarly discussions. Rachel Corkle BMCC, City University...
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