In an isolated farmhouse in the Pyrenees, five siblings gather around a dying father. What begins as a family reunion quickly turns tense as old grudges, wounds, and buried violence resurface. With Je ne suis pas venu apporter la paix, Nicolas Martin transforms a family gathering into a horrific tragedy. The novel, published by Au diable vauvert, explores the dark undercurrents of family life, where lineage becomes a source of pain and conflict rather than unity. Raphaël, a bookseller at the Librairie Forum de Saint-Étienne, describes the novel as a visceral exploration of family dynamics. The story centers on Judith, the patriarch, and his children, each occupying a specific role in the family structure. Marie and Pierre, the twins, share a sense of complicity, while other siblings initially appear more ambivalent, revealing their hidden wounds as the narrative progresses. Judith and the father embody coldness and rigidity, while Maud introduces a sense of discomfort, making the book particularly unsettling for Raphaël. The novel's horror stems not from supernatural elements but from the power struggles, humiliations, and unspoken tensions within the family. Raphaël notes that this form of horror feels more immediate and real, as it reflects the realities of human relationships. The title, Je ne suis pas venu apporter la paix (which translates to "I have not come to bring peace"), serves as a thematic anchor, highlighting the irony that family, meant to be a source of love and support, becomes a site of destruction. The book critiques patriarchy, domination, and the transmission of violence across generations, with Raphaël summarizing its core as "lineage becomes almost a family curse." The narrative is structured in five acts, each concluding with a chapter styled like a theatrical tragedy, complete with stage directions and titles of Greek origin. Raphaël draws a parallel to the ancient tragedy of Medea, suggesting that the family's fate is predetermined and inescapable. The novel's graphic and visual horror is intense, capable of unsettling even seasoned readers of the genre. Raphaël warns that Nicolas Martin does not hold back, describing the author as having "put his guts into it." The book draws comparisons to writers like Stephen King, Clive Barker, and H.P. Lovecraft, but ultimately, it returns to a central question: what does a family transmit to its children, even when those children believe they have escaped its influence?