undermine convention. Giovanni Dotoli and Marcella Leopizzi detail how Lesage’s most popular “translation” (1717) turns Boiardo’s Orlando innamorato into a novel geared to eighteenth-century tastes. Bahier-Porte’s reading of Le diable boiteux (1726) treats the diabolical protagonist not simply as a reprise of its Spanish model, but as a recapitulation of multiple versions of the marvelous, harnessed to new satirical ends. Jacques Cormier defends Lesage’s evacuation of the metaphysical vision that had animated Aleman’s Guzmán de Alfarache (1641), likening his adaptation (1732) to Voltaire’s treatment of Pascal in his Lettres philosophiques. For Sylvie Ballestra-Puech, the dialogic Journée des Parques, divisée en deux séances (1735) takes Quevedo’s Sueños (1627) as the occasion for playfully reworking the allegorical dream, recasting the fates to figure the novelist. Two synthetic essays conclude the volume. To account for the failure of Lesage’s final work, the Mélange amusant (1743), Henri Duranton surveys Lesage criticism, including a bracing look at the assumptions inherent in the publication of his complete works and a challenge to critics who embrace them. Francis Assaf analyzes depictions of the clergy across seven novels, detecting no sign of anticlericalism , but rather the bemused recognition that priests share the foibles of their lay brethren. This volume’s attention to Lesage’s reworking of his models and to the resulting self-awareness gives it a rare cohesiveness, while Sermain’s contextualization of the writer’s poetics and Duranton’s piquant questioning of critical assumptions are especially illuminating. When Cormier recounts his dismay on entering a Spanish church whose eighteenth-century decor had been destroyed, the better to display its gothic essence (119), he aptly summarizes these essays’insistence on the intrinsic value of Lesage’s embroidering on a weighty tradition. Dartmouth College (NH) Kathleen Wine Baudelle,Yves, et Élisabeth Nardout-Lafarge, éd. Nom propre et écritures de soi. Montréal: PU de Montréal, 2011. ISBN 978-2-7606-2261-6. Pp. 306. $34,95 Can. This collection of essays takes as its touchstone Philippe Lejeune’s 1975 Le pacte autobiographique (FR 52.2), which defines autobiography in relation to the narrative equation Author = Narrator = Protagonist,with the author’s name sealing a tacit agreement on how the text is to be read. Contemplating the significance of the authorial signature, these essays study the intersection of autobiography and onomastics. Eugène Nicole examines the ways in which the author may disguise the name of the protagonist and other non-fictional characters, citing choices made in his own autobiographical work L’œuvre des mers. Jacques Lecarme debates the distinction between autofiction and autobiography in relation to the fictionalization of the author’s name; for example, through the use of pseudonyms or initials.Yves Baudelle argues that toponyms can be as important as the authorial signature in establishing the autobiographical pact, a position supported by Élisabeth Nardout-Lafarge’s study of toponyms in works by 212 FRENCH REVIEW 88.2 Reviews 213 Limousin writers. Robert Dion and Frances Fortier look at the treatment of name and identity in literary biographies such as Pierre Mertens’s Les éblouissements, an interpretation of the life of poet Gottfried Benn.Marie-Noëlle Gary-Prieur analyzes the semantic specificity of the proper noun in relation to language, discourse, and referentiality. The remaining essays present critical studies of specific works.Author of Fils, for which he coined the term “autofiction” in 1977, Serge Doubrovsky ponders the ethical and legal implications of representing others in one’s life-writing. Paul Renard considers the modalities of reception of the roman à clef, decoding many of the disguised names in Pauvre de Gaulle! by Stéphane Zagdanski. Ginette Michaud presents Jacques Derrida’s musings on his own initials in relation to two authors to whom he pays homage: J. Hillis Miller and Walter (“Detlef”) Benjamin. The genesis of pseudonyms is the focus of Isabelle Décarie’s study of poet George Perros as well as Alessandra Ferraro’s essay on Raymond Queneau’s literary hoax Les œuvres complètes de Sally Mara. Gisèle Mathieu-Castellani describes the malaise experienced by a number of authors with regard to their own...