Posted by: Lisa Hill | February 18, 2021

Emile Zola, a Very Short Introduction, by Brian Nelson

There are good reasons to read this book: if you know nothing about Émile Zola, Brian Nelson’s Very Short Introduction will convince you to add Zola to your TBR; and if you’ve read Zola in a general reader’s kind of way, the VSI enhances your knowledge of the author and his books, making you want to read or re-read more of this author.

This VSI also explains why you might not want to read the Rougon-Macquart cycle in the chronological order that I used, because themes reveal themselves differently if you read the novels in publication order.  The VSI also provides the historical context for the novels in a way that you might not have understood if you don’t have the OUP editions with their excellent introductions.  (Some of the novels were not available in OUP editions when I first started reading Zola, a problem since rectified.  See my post ‘The Art of Book Introductions, or Why You Should Always Buy the Oxford Editions of Zola’.)

Brian Nelson, Emeritus Professor of French Studies and Translation Studies at Monash University here in Melbourne, translated some of the recent editions of the Rougon-Macquart cycle, and wrote the introductions.  His style, as you will know if you have read the OUP editions that he translated, is clear, free of pedantry and academic jargon, and easy for a general reader to enjoy.  I was really pleased to add this edition to my collections of VSIs.

Zola, (1840-1902) like his predecessor Balzac (1799-1850), used storytelling to examine his society, but Zola’s focus was the changing cultural landscapes of the late 19th century.  He was a novelist of modernity driven by industrial capitalism.  He was interested in the new shapes of the city, new forms of social practice and economic organisation, and the heightened political pressures of the era.  One of the innovative features of his novels is the portrayal of crowds, a feature of the emerging mass society.

Committed to a literature of truth, and to a new freedom of expression, he introduced a new realm of subjects: urban poverty and the working class; class consciousness and class relations; sexuality and gender.  Truth, for him, was not just a matter of personal integrity, but also an aesthetic principle.  He believed in telling it like it is, with no aspect of human experience out of bounds.  He believed [and I do too] that a writer plays a social role.  What Zola shows is the lives of ordinary people but within the context of change: how they were affected by the growth of the city, by the abuse of power, by the growth of consumer culture, by banking, crime, poverty and prostitution.

His style was not documentary but ironic and satiric.  Zola was provocative, combative, critical and subversive.  He was the most criticised and maligned writer of his day, but also the most popular.  Today he is recognised as a narrative artist, a craftsman, a storyteller and a fabulist.

Chapter One delves into Zola’s research methods and his narrative genius.  His best works, says Nelson, are visionary.  They employ poetic character with movement, colour and intensity.  His descriptions are more than just that—they eclipse human beings to express a vision and magnify the material world.  An example from The Ladies Paradise is the cascading images and rising pitch in the description of the department store sales which suggest loss of control, the female shopper’s quasi-sexual abandonment to consumer dreams while mirroring the perpetual expansion that defines the economic principles of consumerism. [And it’s still very relevant today.  Reading this novel and Brian Nelson’s introduction to it redefined my understanding of the way marketing works and I am a cannier shopper for that.]

The predominant feature is Zola’s oeuvre is the machine, in entities that function like one: the department store, the mine, the stock exchange.  He also uses his theme of heredity selectively to create a sense of doom, like an ancient curse.  But running through all his works is a mythopoeic vision, not just parallels between his characters and figures from classical mythology, but also influencing the narrative patterns of his novels.

There is the origin myth of the first novel of the series, The Fortunes of the Rougons; the myths of hell and the universal flood in Germinal; the myth of the Garden of Eden and the Tree of Knowledge in The Sin of Father Mouret (La Faute de Abbé Mouret, 1875); the myth of Man’s lost majesty in The Sin of Father Mouret and L’Assommoir; the myth of the Eternal Return in Earth; the myths of Catastrophe and renewal in the later novels of Les Rougons-Macquart, from Nana onwards. (p.9) [I’ve reviewed all these, see here, but I didn’t recognise this aspect of the oeuvre.)

Chapter Two traces Zola’s career as a writer before he began the Rougons—I was interested to see that he learned the art of self-promotion at Hachette but he over-stepped the mark with Claude’s Confession, his second novel about a prostitute.  As an art critic he made himself notorious in the art world stoush over Impressionism v classical painting, but he also learned from Manet his guiding aesthetic, i.e. to look at life like a modern painter.

Novels which are discussed in detail in the VSI include

  • The Belly of Paris (Chapter 3) from his ‘angry young man’ period;
  • L’Assommoir (Chapter 4), the scandalous first great novel of working-class life;
  • Nana (Chapter 5), about a prostitute whose life span symbolises the disfigurement of French society from the coup d’état in 1852 to the declaration of war against Russia which signalled the collapse of Empire;
  • The Ladies Paradise (Chapter 6): a transitional novel, from the private lives of the bourgeoisie in Pot Luck to a new optimistic focus on progress which depicts the Darwinian struggle between small business retailers and the new new phenomenon of the department store;
  • Germinal (Chapter 7) is about class conflict and the struggle between capital and labour, which Zola foresaw would be the most important question of the 20th century. But it’s also a novel about the importance of working-class leadership: Zola was well aware of the risks of muddled thinking and patchy reading and the consequences for demagoguery;
  • Earth which Nelson thinks is one of Zola’s finest achievements, demolishing the myth of the inherent goodness of peasants and depicting them as they really were, primitive and insular in a harsh environment.  Their savage, sometimes murderous attachment to land is an anti-pastoral.

Chapter 9 introduced me to novels I haven’t read: the more mythic Three Cities trilogy (about a priest who loses his faith) and the unfinished quartet of the Four Gospel novels (exploring a secular replacement for Christianity). In this later period—amid the ideological shifts in la fin de siécle—Zola’s themes were life and death, creation and destruction, degeneration and renewal.  But his signature naturalism began to be rejected, Catholicism was on the rise and there was pessimism about the nation’s future.  Nelson says that some of these are more like tracts.

And then Dreyfus affair overshadowed everything else.  This VSI has one of the best and clearest explanations of this affair and its long-lasting effects on France.  And he also says that it may well have led to the probable poisoning of this genius of French literature.

Author: Brian Nelson
Title: Émile Zola, a Very Short Introduction
Oxford Very Short Introductions Series
Publisher: OUP (Oxford University Press), 2020
ISBN: 9780198837565, pbk., 144 pages including

  • A chronology of Zola’s life and works
  • References
  • Further reading, and
  • Index

Review copy courtesy of Oxford University Press.

Available from Fishpond: Emile Zola: A Very Short Introduction (Very Short Introductions)


Responses

  1. […] Cross-posted at ANZ LitLovers […]

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  2. I should read more VSIs. I like the idea that Zola looked to Manet for inspiration in how to think about Literature. I often think we overlook the connections between movements in painting and movements in writing.

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    • There are dozens and dozens of them, on every topic you can think of, and they’re all written by an expert in the field.
      The only one they don’t have, is one on Australian Literature!

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  3. Great post Lisa – this sounds like an essential VSI and I may have to invest in a copy to keep me company when I embark on Zola. Interesting your comment about chronological vs publication – I have pretty much decided on the latter but will see how I get on!

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    • The advantage with the chronological approach is that for bemused Australians whose political history is so placid, it’s easier to keep track of what’s going on with which empire, which Napoleon and which revolution…

      Liked by 1 person

  4. I’m using the reading order recommended on the readingzola blog (which I know is one of your babies) – is that chronological or publication order?

    I introduced a friend to Zola last week with a copy of Germinal for his birthday. He was a bit nervous about it to begin with but ending up loving it so much he’s looking to read some more. Whoopee – success.

    I need to get this VIS book, because I still have a lot of Zola’s to read and it would help me get even more out of the books. I do remember that Germinal is linked to the myth of the minotaur

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    • Yes, Reading Zola is indeed one of my ‘babies’ though it’s a collaborative blog with content from contributors all over the world. I just set it up and invited people to join.
      That’s lovely about your friend. LOL I haven’t even succeeded in persuading anyone in my French class to read him.
      I think this VSI is probably essential if you plan to read the entire R-M cycle. If you don’t to read the whole VSI beforehand, and you would encounter spoilers if you did, my advice would be to read the Intro and Chapter 2, and then dip into the other chapters as and when you are reading the particular book being discussed.

      Liked by 1 person

      • That’s very sound advice Lisa. I have another – more extensive book which I think is the Cambridge Guide to Zola but I think the VSI would be a good place to begin

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        • That would probably be really interesting for a scholar or the reference shelf, but I’m more of a dilettante. I want to know a little about a lot, not a lot about a little so the VSIs are perfect for me. .

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  5. My next two posts will feature Emile Zola. Stay tuned for tomorrow morning.

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    • Excellent, #TapsFoot I’m waiting patiently!

      Liked by 1 person

      • Actually it will be Monday morning here in Minnesota when I post.

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        • LOL My foot’s going to get sore from all that tapping then, thanks for the warning!

          Liked by 1 person


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