Showing results by author "Émile Zola" in All Categories

Against the backdrop of political and legal corruption in Second Empire France, La Bête Humaine (1890) contrasts the technological advancements of the Machine Age with the primitive and timeless human impulse to possess through killing and to kill through possession. The lives of two railwaymen on the Paris-to-Le-Havre line are fatally entwined by their love for the same woman in this shocking account of brutal violence, greed, revenge, and repression.

Sex, betrayal, murder and corruption form the basis of this sensational novel by one of the leading French authors of the 19th century. Jacques Lantier is a man with a hereditary homicidal lust. When he sees Roubaud and his wife Severine slit the throat of a wealthy nobleman, it is the catalyst for a string of murders in a convoluted plot full of horror and suspense.

Zola’s La Terre (The Earth) proved highly controversial on publication in 1887 and still retains the power to shock. It follows the fortunes of the Fouan family in the years leading up to the Franco-Prussian War. Old Fouan, the patriarch, draws up a legal contract to divide his farmland between his three children in exchange for an allowance that will support him and his wife through a comfortable retirement.

Octave Mouret, précurseur inspiré, bouleverse sa corporation comme Haussmann bouleverse la ville. Il parie tout sur les femmes, sur leurs envies et sur leur incapacité à surmonter les tentations.
Une lui résiste : Denise, incarnation de la vertu et de la générosité. Elle devient une obsession pour cet ogre.

A father and three of his seven children work brutal hours in a mine, facing hazards such as landslides, fire, and poisoned air, to scrape together enough money for food. When their lodger, Étienne, shares ideas about a workers' revolt, the family gradually embraces his plans. Soon the settlement is aflame with resolve to strike for better wages and working conditions. Savage and horrifying events ensue as miners clash with management and with each other.

Although it is little known in this country, The Belly of Paris is considered one of Émile Zola’s best novels. Set in the newly built food markets of Paris, it is a story of wealth and poverty set against a sumptuous banquet of food and commerce. Having just escaped from prison after being wrongfully accused, young Florent arrives at Paris’ food market, Les Halles, half starved, surrounded by all he can’t have, and indignant at his world, which he now knows to be unjust. He finds that the city’s working classes have been displaced to make way for bigger streets and bourgeois living quarters, so he settles in with his brother’s family.

"Je veux vous expliquer comment une famille, un petit groupe d'êtres, se comporte dans une société, en s'épanouissant pour donner naissance à dix, à vingt individus, qui paraissent, au premier coup d'oeil, profondément dissemblables, mais que l'analyse montre intimement liés les uns aux autres. L'hérédité a ses lois, comme la pesanteur." Emile Zola.

Le second empire vu sous l'angle des Rougon, archétypes de la bourgeoisie ambitieuse et parvenue.

Germinal is one of the most striking novels in the French tradition. Widely regarded as Zola's masterpiece, the novel describes the working conditions of French coalminers in the 1860s in harsh and realistic terms. It is visceral, graphic, and unrelenting. Its strong socialist principles and vivid accounts of the miners' strikes meant that the novel became a key symbol in the workers' fight against oppression, with chants of "Germinal! Germinal!" resonating high above the author's funeral.

Considered by André Gide to be one of the 10 greatest novels in the French language, Germinal is a brutal depiction of the poverty and wretchedness of a mining community in Northern France under the second empire. At the centre of the novel is Etienne Lantier, a handsome 21-year-old mechanic, intelligent but with little education and a dangerous predisposition to murderous, alcoholic rage.

Nana Coupeau is a beautiful woman, able to attract men of enormous wealth with the crook of her finger. Part-time prostitute, part-time actress, she makes her debut in a mediocre operetta The Blonde Venus at the bustling Paris World’s Fair of 1867. She can’t sing, act, or dance, yet she is stunning. Nana soon rockets through elite Parisian society, and, blinded by desire, men crawl to her feet, yielding to her every demand. Affections are manipulated, hearts are broken; fortunes are gutted and inheritances squandered.

Étienne Lantier, mécanicien au chômage, erre sur les routes du nord de la France. Au hasard d'une rencontre, frigorifié et mort de faim, il finit par trouver un emploi dans la mine du Voreux. Il découvre alors les conditions inhumaines du travail et la misère de la vie de mineur. Mais, les conditions économiques étant au plus bas, la Compagnie propriétaire du Voreux essaie de baisser encore leurs maigres salaires.

Once upon a time, a teenaged Kate Winslet (The Reader, Titanic, Revolutionary Road) received a gift that would leave a lasting impression: a copy of Emile Zola’s classic Thérèse Raquin. Six Academy Award nominations and one Best Actress award later, she steps behind the microphone to perform this haunting classic of passion and disaster.

Perhaps the most autobiographical of Zola's Rougon-Macquart cycle of novels, The Masterpiece is a hard, bleak, and raw portrait of unrecognized artistic genius. Claude Lantier, brother to Nana and son of Gervaise, is a struggling painter who dreams of conquering the Paris art scene with his revolutionary "open air" style of painting. Discouraged and mocked, Claude retreats to the countryside with a young woman from Clermont, with whom he has fallen in love, before returning to Paris, where he continues to experience rejection at every turn.

Zola’s The Ladies’ Paradise (Au Bonheur des Dames, 1883) plays out in a colossal and opulent Parisian department store of the same name. Its owner, Octave Mouret, builds his innovative, upmarket women’s fashion empire at the expense of the city’s smaller, traditional shops.

First published between 1870 and 1893, Émile Zola’s 20-book cycle chronicling four generations of the Rougon-Macquarts was a shocking exposé of the decadence, degradation and moral decay of 19th-century France. It included some of his greatest novels, among them his masterpiece, Germinal. These innovative, ambitious dramas, first broadcast on Radio 4 over 24 hours in 2015-16, are a radical reimagining of Zola’s classic series, introducing us to 104-year-old matriarch, Dide, imprisoned in an asylum in southern France.

Against a backdrop of modernisation, extravagant luxury, political intrigue and sexual immorality, Saccard treats close relationships as money-making opportunities and loved ones as mere commodities. As one character puts it: ‘You see, everything is fine, as long as you make money from it.’

Aristide Rougon, known as Saccard, is a failed property speculator determined to make his way once more in Paris. Unscrupulous, seductive, and with unbounded ambition, he schemes and manipulates his way to power. Financial undertakings in the Middle East lead to the establishment of a powerful new bank and speculation on the stock market; Saccard meanwhile conducts his love life as energetically as he does his business, and his empire is seemingly unstoppable.

After her lover abandons her and their two children, Gervaise marries a tin worker, Coupeau, who helps her rebuild her life. She starts her own business, and the two have a daughter, Anna (the protagonist of Zola's later novel Nana). But their happiness is short-lived as a freak accident leaves Coupeau seriously injured, beginning the family's fall into alcohol, desperation, and violence.

Des batignolles à Auteuil, un mécanicien de locomotive erre, le couteau à la main, hanté par une idée fixe : tuer une femme... Dans le train qui mène au Havre, un couple poignarde sauvagement un notable du régime impérial, avant de le jeter sur la voie. À la Croix-de-Maufras, lieu dit reculé, un garde-barrière empoisonne son épouse, dans l'espoir de mettre enfin la main sur son magot.