Emile ZOLABiblio.com
1901réf. 87263Paris 1901. Fine. ""I have finished my crushing task and I am going to rest a little because I am exhausted"" Paris 4 Mars 1901 13.50 x 20.50 cm deux pages sur un bifeuillet Autograph letter signed by Emile Zola addressed to Octave Mirbeau dated in his hand March 4 1901. Two pages in black ink on a bifolium. Horizontal fold mark inherent to postal delivery. Published in his Correspondence vol. X p. 242. Precious letter from Zola to his great supporter Octave Mirbeau who had paid his fine at the end of his second trial for ""J'accuse!"". Now amnestied the writer attempts - in vain - to recover the sum to reimburse him. After his historic cry from the heart in l'Aurore Zola was first condemned by the Seine jury on February 23 1898 to one year in prison and a three thousand franc fine. The judgment was overturned on appeal and the case was referred to the Versailles assizes which retained only three lines out of the eight hundred that make up ""J'accuse!"" as grounds for accusation. To avoid accepting such a stifling of the debates Zola's defense decided to default and the conviction was confirmed on July 18 - Zola left that very evening for London to avoid prison. The tribunal also demanded 7555 francs from him which Mirbeau spontaneously decided to pay from his own funds. It was also Octave Mirbeau who prevented the seizure of Zola's furniture by obtaining from Joseph Reinach the 40000 francs in damages that Zola had been condemned to pay to the three pseudo-experts in handwriting that he had ""defamed"" in J'accuse!. Following the amnesty law that ended judicial proceedings for ""all criminal or delictual acts connected to the Dreyfus affair"" Zola was acquitted but was not reimbursed. This letter attests to the writer's desire to compensate Mirbeau for his act of generosity: ""Labori his lawyer will attempt an approach to try to recover the seven thousand and some francs that you paid on my behalf for the Versailles affair. He simply wishes to have a letter from you in order to show it and thus be authorized to speak in your name. You certainly do not have down there the receipt that was issued to you. Perhaps you remember its terms. In any case if we must wait we will wait for nothing is urgent after all. The important thing today is only to test the ground to see if they will return the money to us"". However the prosecutor's office refused his request. Furious Zola wrote two days later a letter to Labori asking him to give up claiming the slightest cent - he published it in L'Aurore under the title ""Let them keep the money"": ""they torture the text of the law and the State too keeps the money. If the prosecutor's office persists in this interpretation it will be yet another monstrosity in the unworthy way they have refused me all justice . I do not want to be complicit by accepting anything whatsoever from their amnesty ."". According to Pierre Michel these unsuccessful recovery attempts of which this letter bears witness ""incited Zola to adopt an attitude that emphasizes even more his disinterestedness and that of his 'friend' who is not named in the L'Aurore article probably at Mirbeau's request."" Dreyfus's pardon and the amnesty of his supporters did not satisfy the writer but nevertheless marked the end of long years of struggle: ""I have finished my crushing task and I am going to rest a little because I am exhausted"". Struck down in full glory the following year he would not be able to witness Captain Dreyfus's rehabilitation. Beautiful lines from Zola to Mirbeau who gave him the means to continue his fight for justice. unknown
1901réf. 87263Paris 4 Mars 1901 | 13.50 x 20.50 cm | deux pages sur un bifeuillet
1892réf. RO80207788Charpentier. 1892. In-12. Relié demi-cuir. Etat d'usage, Coins frottés, Dos à nerfs, Quelques rousseurs. 462 pages. Plats et contre plats jaspés.Signet.. . . . Classification Dewey : 840.08-XIX ème siècle
1882réf. 79109Médan 1882. Fine. Médan 16 novembre 1882 13.60 x 21.40 cm 2 pages sur un double feuillet - enveloppe jointe Autograph letter signed by Emile Zola - apparently unpublished - addressed to Léon Carbonnaux written in black ink on a double sheet. Folds inherent to mailing. Envelope included. Important testimony to the colossal documentation work and the capital role of Emile Zola's informants in depicting his immense natural and social fresco. This letter was sent to Léon Carbonnaux department head at Bon Marché who transmitted precious information to Emile Zola for the creation of the eleventh volume of the Rougon-Macquart series: Au Bonheur des Dames. Only two letters from Léon Carbonnaux to Emile Zola are known: they can be consulted in the digitization of the preparatory file for Bonheur des Dames made available online by the Bibliothèque nationale de France. However we know thanks to this same file which contains a long section entitled ""Notes Carbonnaux"" that this department head at Bon Marché provided a significant amount of information to Zola particularly about employee customs and their remuneration. The two men undoubtedly met when Emile Zola eager for information about the functioning of department stores conducted field research in February and March 1882. ""J'ai pris l'inventaire comme cadre à un de mes chapitres. D'ailleurs je n'ai spécialement besoin que du travail dans le rayon des confections et dans le rayon des soieries. Il est inutile de me renseigner sur les autres rayons."" ""I have taken the inventory as the framework for one of my chapters. Moreover I specifically only need the work in the ready-to-wear department and in the silk department. It is unnecessary to inform me about the other departments."" Thanks to this important letter we understand that it was Léon Carbonnaux who provided the essential information to Emile Zola for writing his very beautiful eleventh chapter devoted to the inventory: ""Vous avez eu l'obligeance de me donner certains détails sur l'inventaire. Vous m'avez dit qu'on choisissait le premier dimanche d'août qu'on fermait les portes et que tous les employés s'y mettaient. On vide toutes les cases n'est-ce pas on jette les marchandises sur les comptoirs ou à terre et l'inventaire n'est terminé que lorsqu'il n'y a plus absolument rien en place."" ""You were kind enough to give me certain details about the inventory. You told me that the first Sunday in August was chosen that the doors were closed and all the employees set to work. All the compartments are emptied aren't they The merchandise is thrown onto the counters or on the ground and the inventory is only finished when there is absolutely nothing left in place.""The final version of Bonheur des Dames contains all the precious information provided by the department head of Bon Marché: ""Le premier dimanche d'août on faisait l'inventaire qui devait être terminé le soir même. Dès le matin comme un jour de semaine tous les employés étaient à leur poste et la besogne avait commencé les portes closes dans les magasins vides de clientes. . Neuf heures sonnaient. . Dans le magasin inondé de soleil par les grandes baies ouvertes le personnel enfermé venait de commencer l'inventaire. On avait retiré les boutons des portes des gens s'arrêtaient sur le trottoir regardant par les glaces étonnés de cette fermeture lorsqu'on distinguait à l'intérieur une activité extraordinaire. C'était d'un bout à l'autre des galeries du haut en bas des étages un piétinement d'employés des bras en l'air des paquets volant par-dessus les têtes ; et cela au milieu d'une tempête de cris de chiffres lancés dont la confusion montait et se brisait en un tapage assourdissant. Chacun des trente-neuf rayons faisait sa besogne à part sans s'inquiéter des rayons voisins. D'ailleurs on attaquait à peine les casiers il n'y avait encore par terre que quelques pièces d'étoffe. La machine devait s'échauffer si l'on voulait finir le soir même. unknown
réf. 400123882Le Livre de Poche Sans date. 5 EMILE ZOLA - La terre / le livre de poche
réf. 400030862François Bernouard Sans date. Emile Zola - Mélanges Préfaces et Discours / François Bernouard
1886réf. 000593On offer is a group of three early English editions of Émile Zola's novels published in London by Vizetelly & Co. in 1886–1887 and uniformly bound in oxblood half leather over marbled boards. Bringing together Nana His Masterpiece and Germinal; or Master and Man the group spans the worlds of Parisian society artistic ambition and industrial labour explored in Zola's Rougon-Macquart novels. The matching bindings feature five raised bands gilt author and title lettering dates at the foot of the spines and elaborate floral gilt tooling within the compartments. The boards and endpapers display coordinated marbling in shades of red pink and cream with green accents. Although the leather shows substantial wear in places the gilt spines retain a strong decorative presence. Nana: A Realistic Novel. London: Vizetelly & Co. 1887 Designated "New Edition" on the title page which describes the text as "Translated without abridgment from the 127th French edition." Red-printed illustrations include an illustrated title depicting George's first interview with Nana. The novel's world of performance desire and wealth is reflected in these period images. Text concludes on page 398. His Masterpiece L'Œuvre; or Claude Lantier's Struggle for Fame: A Realistic Novel. London: Vizetelly & Co. 1887 Designated "New Edition" with a portrait of Zola etched by Bocourt. A translator's preface discusses the Parisian artistic fraternity and the relationship between the fictional Claude Lantier and contemporary painting including Édouard Manet. The volume offers a companion to the other novels through its treatment of creative ambition and the personal cost of pursuing recognition. Text concludes on page 371. Germinal; or Master and Man: A Realistic Novel. London: Vizetelly & Co. 1886 The title page states "Translated without abridgment from the 60th French edition" and calls for sixteen page engravings from designs by J. Férat. The illustrated title and accompanying engravings depict episodes of mining life and conflict including a deputation of striking miners received by Monsieur Hennebeau and a confrontation in the flooded mine. All three volumes bear the publisher's address at 42 Catherine Street Strand. They are offered as a group in matching bindings; their origin within a larger collection has not been established. No first-edition or fully collated illustration-completeness claim is made. Historical Note: Vizetelly & Co. played a significant role in bringing Émile Zola's novels to English readers and its publications became embroiled in Victorian censorship controversies. In 1888 publisher Henry Vizetelly was prosecuted over Zola's works with The Soil La Terre central to the proceedings and fined £100. A further prosecution in 1889 resulted in three months' imprisonment. These 1886–1887 volumes predate those prosecutions and belong to the firm's publishing programme that helped establish Zola's English readership—a tangible connection to the period's struggles over literary freedom and public morality. Condition: Dealer reviewed with rubbing scuffing abrasions and areas of surface loss to the leather together with wear to the raised bands spine ends corners and board edges. Marbled paper coverings show surface rubbing and wear. External joints are cracked and split in places most markedly on Nana where portions expose underlying binding material. His Masterpiece has a pronounced scuff across the spine title panel while Germinal shows vertical cracking in the spine leather. Gilt decoration and lettering remain largely legible and visually appealing. Paper shows age toning and scattered foxing particularly noticeable on Germinal's opening leaves. Marbled endpapers show wear along their folds. The bindings require careful handling and Nana is the most worn volume of the group. Please review photographs item for sale carefully for exact condition as they form part of the description. VIZETELLY & CO. hardcover
réf. 46702606-nnew. unknown
réf. 46702606like new. unknown
1957réf. 8286Nice condition vintage copy of "A Love Affair" by EMILE ZOLA with its original dust jacket. 1957; The Citadel Press; New York. The dust jacket is un-clipped with the original price intact on the front flap. The jacket comes with a clear protective sleeve - not shown. From the dust jacket: "This fine novel reveals an unfamiliar side of Zola's art but one no less likely to appeal to his new and already large following of readers in English. It is a simple poignant story of frustrated love and renunciation and a penetrating glimpse into the terrors of childish jealousy. Paris forms the background to the story the Paris landscape seen through the windows of Helene's room drawn at all hours and in all seasons in a series of unforgettable word-pictures. But Zola's mastery of atmosphere and description need no comment; what is most remarkable about this novel is his precise and sympathetic comprehension of the intricacies of the human heart." Condition: Clean covers and spine. Sharp cover corners. Tight binding with no cracks and no loose pages. Both covers are firmly attached. Nice interior - the pages are clean and appear unread with only some very light age-toning. There are a couple tiny stain/foxing marks on the long edge of the text block. Overall the book is in Near Fine condition. The dust jacket is un-clipped with the original price intact on the front flap; the back cover has light soiling and a light brown-ish stain near the right edge; tiny tears at the top and bottom edges of the spine and at the flap corners.overall the jacket is in Very Good condition. The dust jacket comes with a clear protective sleeve - not shown. The Citadel Press hardcover
1957réf. 1025Elek 1957. 1st UK thus. Hardback. Very good/Good. Introduced and translated by Jean Stewart. In a break from the bleak social realism that had preceded this is more of a psychological study that Zola himself found a little too trivial at times. Nonetheless it is held up as one of the classics of French literature. Included is a contemporary newspaper review by well-known English author Angus Wilson. There is some foxing to page and block edges; it opens a little loosely. The jacket has some loss to spine bottom and lower edge. Rear a little grubby. But not price clipped and largely intact in good presentable condition. Elek unknown
réf. 0266724264.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
réf. 1527683095.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
réf. B9781016750509Hardback. New. hardcover
1895réf. FM19810Philadelphia: J. B. Lippincott Company 1895. Translated with a preface by Ernest Alfred Vizetelly and illustrated with ninety-four wood engravings.; Blue ribbed cloth with gilt titles; A very good copy; 386 pages. Size: 5.5"x8.25". Hardcover. Illus. by E. Thevenot. J. B. Lippincott Company Hardcover
réf. 0267329806.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1897réf. EE-0832-13778George Barrie and Son 1897. hardcover. Very Good. 0x0x0. 1897 limited edition Copy 519 of 1000 'Printed only for subscribers' G. Barrie & Son Philadelphia Pennsylvania two 6 x 8 3/4 inches tall half leather bound volumes blue cloth over brown leather spine and tips five raised bands and gilt decorations and lettering to spines top page edges gilt fore and bottom page edges untrimmed marbled endpapers printed on Japanese vellum paper illustrated with 11 etchings by Albert Duvivier with captioned tissue guards 319 361 pp. 680 pages total. Slight soiling rubbing and edgewear to covers most noticeable to tips and along joints but the bindings are quite solid. Very mild age toning with a couple of instances of slight marginal soiling. Light dampstaining to lower edges of blank rear endpapers of Volume 1. Otherwise a very good set - clean and unmarked - in a fine binding with great shelf appeal. Note that this is a heavy and oversized set so additional postage will be required for international or priority orders. ~EE~ 5.0P A magnificently bound limited edition set of the widely praised 1897 English translation by T. F. Rogerson of Une page d'amour A Page of Love the eighth novel in the 20-novel 'Rougon-Macquart' series by French novelist Emile Zola 1840-1902 set among the petite bourgeoisie in Second Empire suburban Paris The Rougon-Macquart series illustrates Zola's theory of naturalism. Zola brought to the novel 'a force unprecedented in legally published French fiction' Hollier 775. George Barrie and Son hardcover
1890réf. Zola7ZOLA Emile 1840-1902 Corrected proofs for his novel The Beast within Paris January 1890 45 proofs printed on recto Very good overall condition except some slightly frayed margin on the first folios some browning A precious complete set of proofs for the original edition of his masterpiece La Bête humaine the seventeenth volume in the Les Rougon-Macquart series. At the heart of the writer's creative process: a total of 45 proof sheets with extensive autograph corrections in Zola's own hand. One of the very rare Zolian relics still in private hands La Bête humaine in the Making The proof sheets in this set bear witness to the author's progress in writing his masterpiece. Émile Zola undertook a meticulous rereading of every line refining the style striking through passages and making corrections to achieve greater accuracy in tone and rhythm. As such the set is extensively annotated with the exception of proof sheets no. 35 to 38. The most substantial corrections appear on sheets no. 2 to 13 and no. 40 which correspond to Chapters I to IV and XI. Special attention was also paid to typography further evidence of the naturalist writer's thorough and exacting rereading. Georges Charpentier added penciled notes on twenty-nine of the proof sheets along with two annotations instructing Zola to henceforth adhere to the paginated layout. These proofs represent an intermediate stage between the manuscript and the published text as evidenced by certain excerpts: – " Roubaud près de sa femme écoutait en fixant également sur elle des yeux vacillants. Il y eut une minute de mortelle angoisse " become " Près de sa femme Roubaud écoutait en fixant également sur elle ses gros yeux pâles " then in the final version " Près de sa femme Roubaud écoutait en fixant sur elle ses gros yeux vifs ". – " Seulement ce matin-là Roubaud dut reprendre haleine comme si sa respiration lui manquait à la suite d'un saisissement inutile. Il hésitait il chercha avant de se rappeler ce que lui avait dit son collègue " become " Seulement ce matin-là Roubaud hésitant dut chercher avant de se rappeler ce que lui avait dit son collègue ". Folio #40 includes an important addition of seventeen lines in which the author plays with the lyrical register. Love and death invite each other: " – Dis mon chéri pourquoi donc ai-je peur Sais-tu toi quelque chose qui me menace – Non non sois tranquille rien ne te menace. – C'est que tout mon corps tremble par moments. Il y a derrière moi un continuel danger que je ne vois pas mais que je sens bien… Pourquoi donc ai-je peur – Non non n'aie pas peur… Je t'aime je ne laisserai jamais personne te faire du mal… Vois comme cela est bon d'être ainsi l'un dans l'autre ! Il y eut un silence délicieux. " The novel La Bête humaine the seventeenth volume in the Rougon-Macquart saga was written between May 1889 and January 1890 and released in bookstores by Georges Charpentier during the first week of March 1890 following its serialization in the weekly magazine La Vie populaire from November 14 1889 to March 2 1890. Like Germinal 1885 it focuses on a facet of the industrial and working-class world of the late 19th century. In this judicial novel the main characters are murderers. Émile Zola wove together several real-life criminal cases likely including the infamous crimes of "Jack the Ripper" creating a bleak violent and monstrous tableau in which killings occur for motives as varied as greed jealousy or even hereditary madness. Through this narrative—and his exploration of remorse—Zola situates his work within contemporary debates on the moral and social meaning of crime. His writing was nourished by readings of Crime and Punishment by Dostoevsky in a French translation published in 1885 and criminological studies by Cesare Lombroso Prosper Lucas and Gabriel Tarde. He also takes the opportunity to satirize a judiciary subservient to political power through the character of Judge Denizet. The judicial error he commits underscores the limits of justice as administered by men and the inherent fallibility of any rational method. Readers were struck by the confrontation between tradition and modernity by the stunning fusion of primal instinct and technological advancement. The locomotive is endowed with human traits becoming a character in its own right—ultimately transformed into a tragic "blind and deaf beast loosed amid death." Finally this lyrical element is enriched by a fantastical dimension as Henri Mitterrand explains: " La Bête humaine endures through its fantastical elements the intensity of its leitmotifs and rhythms and the perfection of certain passages—such as the final ones—where the extravagance of the action and the baroque modernity of the setting come together in astonishing harmony. " Literary relics of Émile Zola are extremely rare in private hands. In accordance with the novelist's wishes his wife Alexandrine Zola entrusted nearly all of his manuscript materials to the nation in 1904. As a result the invaluable dossiers and a large portion of the corrected proofs for Les Rougon-Macquart and Les Trois Villes are now held by the Bibliothèque nationale de France BnF. This set of proofs was unknown to Henri Mitterand when he prepared his edition of La Bête humaine for the Bibliothèque de la Pléiade Paris Gallimard NRF 1966; reissued in 2021. Charpentier
1957réf. 0106459Elek Books: 1957. First UK edition. Translated from the French by Brian Rhys. Hardcover with unclipped dust cover. Dust cover intact but wear to its extremities. Some marks to cover- now protected by a lightweight mylar cover. Previous owners name to FFEP. Binding tight and text clean. Elek Books hardcover
réf. Zola11ZOLA Émile 1840-1902 Autograph letter signed " Emile Zola " to Albert Lacroix Paris 13 September 1867 2 pp. in-8° in black ink letterhead of the Librairie Internationale " Zola " annotation from period and in black ink from another hand small gaps in the lower margin affecting a letter slits in the folds discreet repairs with Japan paper A remarkable letter from the very young Zola a few weeks before the launch of Thérèse Raquin the first novel that made him famous to the general public – Expressing a pressing financial need the writer nevertheless cherishes high ambitions for the success of his work It is in this very same letter that Zola first announces the final title of the book " Cher Monsieur Si je ne vous ai pas envoyé les numéros de L'Artiste¹ qui contiennent mon roman c'est que M. Guérin employé de la Librairie Internationale m'avait assuré que vous deviez avoir ces numéros à Bruxelles. Aujourd'hui encore il me dit que votre maison de Paris vous les enverra si vous ne les avez pas. Donc je ne m'inquiète pas de ce détail. Quant au titre il sera d'autant meilleur selon moi qu'il sera plus simple. L'œuvre s'intitule dans L'Artiste : Un Mariage d'amour mais je compte changer cela et mettre : Thérèse Raquin le nom de l'héroïne. Je crois que le temps des titres abracadabrants est fini et que le public n'a plus aucune confiance dans les enseignes. D'ailleurs la question du titre n'en sera pas une. Je vous avoue que j'ai besoin d'argent et que je préférerai vous vendre la propriété de l'œuvre pour un certain nombre d'années si vous croyez pouvoir m'offrir une somme raisonnable. Dans le cas où vous ne voudriez pas acheter l'œuvre je vous demanderais le douze pour cent sur le prix fort payable le jour de la mise en vente. Je tiens surtout à éviter les ennuis qui se sont produits au sujet de La Confession de Claude son deuxième ouvrage publié également chez Lacroix deux ans auparavant. Il est préférable que la question argent soit réglée sur-le-champ entre nous sans avoir besoin de recourir plus tard à des inventaires. Veuillez chez Monsieur me donner une réponse définitive au plus tôt. Je tiens à ce que ce livre paraisse en octobre. Prenez connaissance de l'œuvre laissez-moi choisir un titre bien simple² et faites-moi à votre tour vos conditions. Dites-moi combien vous me donneriez pour la propriété de l'œuvre pendant un nombre fixé d'années. L'affaire peut être conclue en quelques jours et c'est ce que je désire. En deux mots voici le sujet du roman : Camille et Thérèse deux jeunes époux introduisent Laurent dans leur intérieur. Laurent devient l'amant de Thérèse et tous deux poussés par la passion noient Camille pour se marier et goûter les joies d'une union légitime. Le roman est l'étude de cette union accomplie dans le meurtre ; les deux amants en arrivent à l'épouvante à la haine à la folie et ils rêvent l'un et l'autre de se débarrasser d'un complice. Au dénouement ils se suicident. L'œuvre est très dramatique très poignante et je compte sur un succès d'horreur. Une prompte réponse je vous prie. Votre dévoué Émile Zola " 1- Illustrated weekly magazine from 1831 to 1904 renowned for having published prints and quality writers. The novel originally titled Un Mariage d'amour had previously been serialized in the magazine. 2- On November 9 1867 A. Lacroix and Verboeckhoven booksellers-publishers informed Zola that they had given the proof to print the title and cover of Thérèse Raquin adding: "We have suppressed the word study which was in our opinion of the worst effect on the cover and which on the other hand could have harmed the volume in the sense that it might make people believe that your volume was an arid and too serious work and thereby alienate a whole class of readers. In any case this subtitle seemed useless to us; Isn't that your opinion too " The young Zola then 27 years old already gives us a glimpse of the confidence that would later be known for that of a writer who was quite certain of his work. He nevertheless remained in need which he explains here to Lacroix the latter being known among other things for having been the first publisher of Les Misérables. " I think the time for crazy headlines is over… " What is implied by Zola's choice to call the book Thérèse Raquin tends to erase the stage of serialization in L'Artiste. The writer flatters the publisher and therefore defines the "second birth" of the novel. This sense of the title which Zola was already refining at this time would later become one of his great talents giving decisive importance to this significant beginning. " The work is very dramatic very poignant and I'm counting on a horror success " By summarizing the story at the end of the letter Zola shows us that he is always very scrupulous in adapting to the recipient's preferences. He insists on the plot the dramatic scope the psychological dimension and finally the stylistic innovations. He makes hypotyposis his trademark at key moments. At that time Zola was the only standard-bearer of naturalism a literary movement that succeeded realism which he had exposed three years earlier in his famous missive to Anthony Valabrègue by means of the famous metaphor of the "trois écrans". Zola's reading effects are therefore data that can be easily converted into terms of editorial success. Thérèse Raquin was severely judged by the critics notably by Louis Ulbach who published in Le Figaro a violent article entitled "La littérature putrid". However it was a success and Zola became known to the general public. His career as a novelist was definitively launched… Bibliography: Correspondance t. I éd. du CNRS Les Presses de l'université de Montréal p. 522-523 n°199
1893réf. ZOLA3ZOLA Emile 1840-1902 Autograph letter signed " Emile Zola " to a colleague Paris 12th November 1893 1 p. 1/2 in-8 Usual fold marks some tiny spots A very moving letter almost entirely unpublished written at the end of the Rougon-Macquart saga – Zola explains that he no longer owns his books once published and evokes with a superb metaphor what they represent years later. The writer expresses with relevance and sensitivity the distance he feels from his books once all published. This letter offers a more general reflection on the author's relationship to his work. " Mon cher confrère Je ne préfère aucune de mes œuvres. Dans chacune j'aime mieux certaines pages celles où j'ai dit nettement ce que je voulais dire : voilà tout. Lorsque j'ai terminé un livre et que je l'ai donné au public il n'existe plus pour moi. Toute ma passion tombe et j'en commence un autre pour lequel je me passionne jusqu'à ce qu'il soit aux autres. Il faut que je fasse un effort lorsque je veux me souvenir des romans hélas ! trop nombreux que j'ai écrits. Ce sont comme des tombes de parents et d'amis autrefois bien chers sur lesquelles il me serait trop triste d'aller m'attendrir. Cordialement à vous. Emile Zola " The Rougon-Macquart saga came to an end with the publication by Charpentier of Docteur Pascal in the spring of 1893. Among the most famous of the saga are Germinal Nana and L'Assommoir. A total of twenty novels were written and published between 1870 and 1893. Zola is probably responding here to a fellow journalist wishing to make an article on the whole saga and what it represents in the eyes of the novelist. A summary of the letter and the quotation of a sentence are published in Volume VIII of the correspondence from an extract from the catalogue: "They are like graves of relatives and friends …" – This comparison illustrates the sadness that emanates from the moving statement and what Zola's works represent for Zola himself. Personification of books or metonymy designating the characters to whom the author gave life the "tombs" of course refer to death. References: Extr. cat. libr. Charavay n° 6599 Corr. t. VIII Presses de l'Université de Montréal / Editions du CNRS 1991
réf. B9781016187152Hardback. New. hardcover
réf. B9783732617647Paperback. New. paperback
réf. B9783732617654Hardback. New. hardcover
réf. 1330112946.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
