5 Books by Émile Zola
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Overview: Émile François Zola was an influential French novelist, the most important example of the literary school of naturalism, and a major figure in the political liberalization of France. More than half of Zola’s novels were part of a set of 20 books collectively known as Les Rougon-Macquart. Unlike Balzac who in the midst of his literary career resynthesized his work into La Comédie Humaine, Zola from the start at the age of 28 had thought of the complete layout of the series. Set in France’s Second Empire, the series traces the "environmental" influences of violence, alcohol and prostitution which became more prevalent during the second wave of the Industrial Revolution. The series examines two branches of a family: the respectable (that is, legitimate) Rougons and the disreputable (illegitimate) Macquarts for five generations. As he described his plans for the series, "I want to portray, at the outset of a century of liberty and truth, a family that cannot restrain itself in its rush to possess all the good things that progress is making available and is derailed by its own momentum, the fatal convulsions that accompany the birth of a new world." Although Zola and Cézanne were friends from childhood, they broke in later life over Zola’s fictionalized depiction of Cézanne and the Bohemian life of painters in his novel L’Œuvre (The Masterpiece, 1886).
Genre: Fiction, Classics
The Fortune of the Rougons: He thought he could see, in a flash, the future of the Rougon-Macquart family, a pack of wild satiated appetites in the midst of a blaze of gold and blood.’ Set in the fictitious Provencal town of Plassans, The Fortune of the Rougons tells the story of Silvere and Miette, two idealistic young supporters of the republican resistance to Louis-Napoleon Bonaparte’s coup d’etat in December 1851. They join the woodcutters and peasants of the Var to seize control of Plassans, opposed by the Bonapartist loyalists led by Silvere’s uncle, Pierre Rougon. Meanwhile, the foundations of the Rougon family and its illegitimate Macquart branch are being laid in the brutal beginnings of the Imperial regime. The Fortune of the Rougons is the first in Zola’s famous Rougon-Macquart series of novels. In it we learn how the two branches of the family came about, and the origins of the hereditary weaknesses passed down the generations. Murder, treachery, and greed are the keynotes, and just as the Empire was established through violence, the ‘fortune’ of the Rougons is paid for in blood.
The Belly of Paris: Respectable people…What bastards!’ Unjustly deported to Devil’s Island following Louis-Napoleon’s coup-d’etat in December 1851, Florent Quenu escapes and returns to Paris. He finds the city changed beyond recognition. The old Marche des Innocents has been knocked down as part of Haussmann’s grand programme of urban reconstruction to make way for Les Halles, the spectacular new food markets. Disgusted by a bourgeois society whose devotion to food is inseparable from its devotion to the Government, Florent attempts an insurrection. Les Halles, apocalyptic and destructive, play an active role in Zola’s picture of a world in which food and the injustice of society are inextricably linked. The Belly of Paris (Le Ventre de Paris) is the third volume in Zola’s famous cycle of twenty novels, Les Rougon-Macquart. It introduces the painter Claude Lantier and in its satirical representation of the bourgeoisie and capitalism complements Zola’s other great novels of social conflict and urban poverty.
The Drinking Den: Abandoned by her lover and left to bring up their two children alone, Gervaise Macquart has to fight to earn an honest living. When she accepts the marriage proposal of Monsieur Coupeau, it seems as though she is on the path to a decent, respectable life at last. But with her husband’s drinking and the unexpected appearance of a figure from her past, Gervaise’s plans begin to unravel tragically. The Drinking Den caused a sensation when it was first published, with its gritty depiction of the poverty and squalor, slums and drinking houses of the Parisian underclass. The seventh novel in Zola’s great Rougon-Macquart cycle, it was the work that made his reputation. And, in his moving portrayal of Gervaise’s struggle for happiness, Zola created one of the most sympathetic heroines in nineteenth-century literature.
Money: The irresistible power of money, a lever that can lift the world. Love and money are the only things.’ 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. Saccard, last encountered in The Kill (La Curee) in Zola’s Rougon-Macquart series, is a complex figure whose story intricately intertwines the worlds of politics, finance, and the press. The repercussions of his dealings on all levels of society resonate disturbingly with the financial scandals of more recent times.
La Bete Humaine: Did possessing and killing amount to the same thing deep within the dark recesses of the human beast? La Bete humaine (1890), is one of Zola’s most violent and explicit works. On one level a tale of murder, passion and possession, it is also a compassionate study of individuals derailed by atavistic forces beyond their control. Zola considered this his ‘most finely worked’ novel, and in it he powerfully evokes life at the end of the Second Empire in France, where society seemed to be hurtling into the future like the new locomotives and railways it was building. While expressing the hope that human nature evolves through education and gradually frees itself of the burden of inherited evil, he is constantly reminding us that under the veneer of technological progress there remains, always, the beast within.
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