2lilisin
I read right through this book without jotting too many notes so I'm just going to post my final review here. I look forward to seeing everyone else's reactions to this one.
Zola starts the book with a preface giving "the people what they want", which is a family tree. He was initially going to publish it at the very end of the cycle, but he kept getting pressured to publish it, and he also wanted to shut up all who wouldn't believed that he had the whole cycle planned out. Good for him is all I can say, although that family tree is so out of focus I don't know who could actual read it.
Full spoilers ahead.
We are taken back to Paris and follow Helene Mouret, the daughter of Ursula Macquart and the hat-maker Mouret. Upon her return to Paris, her husband dies, leaving her as a widow at a young age with a young daughter who suffers of convulsions. The story begins with her young daughter Jeanne having a seizure fit, and Helene knocking on the doors of doctors to help where she ends up knocking on the door of a young doctor named le docteur Deberle.
In this book Zola is here to show us the hypocricy at every level of society, using Helene as the anchor. She is used by the wealthy and successful young doctor who has amorous ambitions unto her despite having a wife; she is used by a poor woman, la mere Fetu, who exagerates her poverty to gain the pity of Helene; she is used by her good friend the Abbe as he uses the opportunity to set up a marriage between her and his brother, Monsieur Rambaud; she is manipulated into staying home by her daughter's clinginess. Despite Helene's attempt to stay within the confines of her apartment, she is is attacked by all sides by a society that knows only how to tear others apart for personal gain. It's quite a tragic tale when you think about it.
However, the one part about this book that I hated was Jeanne, the daughter's character. I really couldn't stand her and her brattyness. It was obvious she was going to die and I couldn't help waiting for it to come.
Otherwise, another solid Zola.
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Some quotes I picked up because just like his preface, it seems Zola was talking to the audience a few times within the book.
pg 18
— Laissez donc! c'est répugnant de réalisme.
Alors, on discuta. Réalisme était bien vite dit. Mais le jeune homme ne voulait pas du tout du réalisme.
pg 41
Comme ces romans mentaient! Elle avait bien raison de ne jamais en lire. C'étaient des fables bonnes pour les têtes vides, qui n'ont point le sentiment exact de la vie.
pg 142
Cependant, dans le groupe de femmes où trônait Malignon, on causait littérature: madame Tissot déclarait Balzac illisible; il ne disait pas non, seulement il faisait remarquer que Balzac avait, de loin en loin, une page bien écrite.
Zola starts the book with a preface giving "the people what they want", which is a family tree. He was initially going to publish it at the very end of the cycle, but he kept getting pressured to publish it, and he also wanted to shut up all who wouldn't believed that he had the whole cycle planned out. Good for him is all I can say, although that family tree is so out of focus I don't know who could actual read it.
Full spoilers ahead.
We are taken back to Paris and follow Helene Mouret, the daughter of Ursula Macquart and the hat-maker Mouret. Upon her return to Paris, her husband dies, leaving her as a widow at a young age with a young daughter who suffers of convulsions. The story begins with her young daughter Jeanne having a seizure fit, and Helene knocking on the doors of doctors to help where she ends up knocking on the door of a young doctor named le docteur Deberle.
In this book Zola is here to show us the hypocricy at every level of society, using Helene as the anchor. She is used by the wealthy and successful young doctor who has amorous ambitions unto her despite having a wife; she is used by a poor woman, la mere Fetu, who exagerates her poverty to gain the pity of Helene; she is used by her good friend the Abbe as he uses the opportunity to set up a marriage between her and his brother, Monsieur Rambaud; she is manipulated into staying home by her daughter's clinginess. Despite Helene's attempt to stay within the confines of her apartment, she is is attacked by all sides by a society that knows only how to tear others apart for personal gain. It's quite a tragic tale when you think about it.
However, the one part about this book that I hated was Jeanne, the daughter's character. I really couldn't stand her and her brattyness. It was obvious she was going to die and I couldn't help waiting for it to come.
Otherwise, another solid Zola.
---
Some quotes I picked up because just like his preface, it seems Zola was talking to the audience a few times within the book.
pg 18
— Laissez donc! c'est répugnant de réalisme.
Alors, on discuta. Réalisme était bien vite dit. Mais le jeune homme ne voulait pas du tout du réalisme.
pg 41
Comme ces romans mentaient! Elle avait bien raison de ne jamais en lire. C'étaient des fables bonnes pour les têtes vides, qui n'ont point le sentiment exact de la vie.
pg 142
Cependant, dans le groupe de femmes où trônait Malignon, on causait littérature: madame Tissot déclarait Balzac illisible; il ne disait pas non, seulement il faisait remarquer que Balzac avait, de loin en loin, une page bien écrite.
3Tess_W
This book seems to be quite different from the others as it's not based on politics--of the governmental/banking/church type. Zola has added a layer of honest emotional depth to this book that I haven't seen in the others in the character of beleaguered Helen. Helen has a lot on her plate: Jeanne, Dr. Henri & his wife, Abbe & his brother, and Fetu. In the end, Helene follows her head and not her heart, wisely so.
4japaul22
I really loved this one. Agree with the comments above from both Tess and Lilisin.
With the narrower focus, this was easier to read and easier to become invested in Helene. She is an interesting mix of someone who is manipulated by others but also follows her own heart and moral compass for the most part. There aren't a lot of characters in Zola's books to root for, but I found myself really rooting for her.
I also really enjoyed some of the descriptive passages. The one of Helene swinging early on was beautiful. And I also thought the descriptions of Paris, viewed from Helen and Jeanne who never actually get there, were moving.
With the narrower focus, this was easier to read and easier to become invested in Helene. She is an interesting mix of someone who is manipulated by others but also follows her own heart and moral compass for the most part. There aren't a lot of characters in Zola's books to root for, but I found myself really rooting for her.
I also really enjoyed some of the descriptive passages. The one of Helene swinging early on was beautiful. And I also thought the descriptions of Paris, viewed from Helen and Jeanne who never actually get there, were moving.
5booksaplenty1949
Much as I disliked Jeanne, her death was depicted very movingly. I was also continually engaged by Zola’s descriptions of Paris as seen from above, in Passy. Although of course Hélène is a member of the Rougon-Macquart family this novel does not seem to be concerned with the genetic pathology which drives the plots of other novels in the series. I think this novel could be read as a stand-alone exploration of the meanings of “love.”
PS On further thought, perhaps Jeanne is a dysfunctional throwback to “Tante Dide.” Not as necessary to know the backstory in this novel as in some of the others, however.
PS On further thought, perhaps Jeanne is a dysfunctional throwback to “Tante Dide.” Not as necessary to know the backstory in this novel as in some of the others, however.
6MissWatson
I have finished it, and I enjoyed it, but I didn’t love it. I thought it a little over-engineered, especially in the descriptions of Paris which echo Hélène’s state of mind. And I find that punishing Hélène for her passion by Jeanne’s death disappointingly conventional. Indeed, the domesticity of the set-uo is oppressive, no wonder Jeanne becomes so jealous and possessive of her mother: there is no one else.
