Emile Zola

Therese Raquin by Emile Zola

Les trois villes: Rome by émile Zola

Nana by Emile Zola

Le rêve by émile Zola

Le Ventre de Paris by émile Zola

La Bete Humaine by Emile Zola

L'assommoir by Emile Zola

The Downfall by Emile Zola

L'Argent est un roman naturaliste d'Émile Zola publié en 1891, le dix-huitième volume de la série Les Rougon-Macquart. Résumé | Le héros est Aristide Saccard, frère du ministre Eugène Rougon, qu'on avait déjà vu amasser une fortune colossale dans La Curée. Après une succession de mauvaises affaires, il doit repartir de zéro, mais son ambition est demeurée intacte. Il vend sa luxueuse propriété du parc Monceau afin de régler ses créanciers, puis loue deux étages d'un hôtel où il installe la Banque Universelle, destinée à financer des projets de mise en valeur du Moyen-Orient. Tout est fait pour attirer petits et moyens épargnants, auxquels on promet des gains faciles et rapides. Les communiqués et articles de presse, les rumeurs savamment dosées font s'envoler les titres de la société. Saccard se retrouve à nouveau au sommet de la gloire et de la puissance... construites sur du sable, car il ne cesse d'acheter ses propres actions...| |Source Wikipédia|

Trajectory presents classics of world literature with 21st century features! Our original-text editions include the following visual enhancements to foster a deeper understanding of the work: Word Clouds at the start of each chapter highlight important words. Word, sentence, paragraph counts, and reading time help readers and teachers determine chapter complexity. Co-occurrence graphs depict character-to-character interactions as well character to place interactions. Sentiment indexes identify positive and negative trends in mood within each chapter. Frequency graphs help display the impact this book has had on popular culture since its original date of publication. Use Trajectory analytics to deepen comprehension, to provide a focus for discussions and writing assignments, and to engage new readers with some of the greatest stories ever told."The Moving Picture Girls: Or, First Appearances in Photo Dramas" is part of "The Moving Picture Girls" series. "The Moving Picture Girls" is a series about the adventures of Ruth and Alice DeVere who live with their father who is an actor.

In Zola's series dedicated to the four cardinal principles of human life, this novel deals with the creation of a home and compliments faith, hope, and charity. Critics describe this part of Zola's work as a form of social religion.

Doctor Pascal (orig. French Le Docteur Pascal) is the twentieth and final novel of the Rougon-Macquart series by Émile Zola, first published in June 1893 by Charpentier. Zola's plan for the Rougon-Macquart novels was to show how heredity and environment worked on the members of one family over the course of the Second Empire. He wraps up his heredity theories in this novel. Le docteur Pascal is furthermore essentially a story about science versus faith. The novel begins in 1872, after the fall of the Second Empire and the end of the reign of Emperor Napoleon III. The title character, Pascal Rougon (b. 1813), is the son of Pierre and Félicité Rougon, whose rise to power in the fictional town of Plassans is detailed in the first novel of the series La fortune des Rougon.

Émile Édouard Charles Antoine Zola ( 2 April 1840 – 29 September 1902) was a French novelist, playwright, journalist, the best-known practitioner of the literary school of naturalism, and an important contributor to the development of theatrical naturalism. He was a major figure in the political liberalization of France and in the exoneration of the falsely accused and convicted army officer Alfred Dreyfus, which is encapsulated in the renowned newspaper headline J'accuse. Zola was nominated for the first and second Nobel Prize in Literature in 1901 and 1902.

One Thursday, Camille, on returning from his office, brought with him a great fellow with square shoulders, whom he pushed in a familiar manner into the shop. "Mother," he said to Madame Raquin, pointing to the newcomer, "do you recognise this gentleman?" The old mercer looked at the strapping blade, seeking among her recollections and finding nothing, while Therese placidly observed the scene. "What!" resumed Camille, "you don't recognise Laurent, little Laurent, the son of daddy Laurent who owns those beautiful fields of corn out Jeufosse way. Don't you remember? I went to school with him; he came to fetch me of a morning on leaving the house of his uncle, who was our neighbour, and you used to give him slices of bread and jam." All at once Madame Raquin recollected little Laurent, whom she found very much grown. It was quite ten years since she had seen him. She now did her best to make him forget her lapse of memory in greeting him, by recalling a thousand little incidents of the past, and by adopting a wheedling manner towards him that was quite maternal. Laurent had seated himself. With a peaceful smile on his lips, he replied to the questions addressed to him in a clear voice, casting calm and easy glances around him. "Just imagine," said Camille, "this joker has been employed at the Orleans-Railway-Station for eighteen months, and it was only to-night that we met and recognised one another—the administration is so vast, so important!" As the young man made this remark, he opened his eyes wider, and pinched his lips, proud to be a humble wheel in such a large machine. Shaking his head, he continued: "Oh! but he is in a good position. He has studied. He already earns 1,500 francs a year. His father sent him to college. He had read for the bar, and learnt painting. That is so, is it not, Laurent? You'll dine with us?" "I am quite willing," boldly replied the other. He got rid of his hat and made himself comfortable in the shop, while Madame Raquin ran off to her stewpots. Therese, who had not yet pronounced a word, looked at the new arrival. She had never seen such a man before. Laurent, who was tall and robust, with a florid complexion, astonished her. It was with a feeling akin to admiration, that she contemplated his low forehead planted with coarse black hair, his full cheeks, his red lips, his regular features of sanguineous beauty. For an instant her eyes rested on his neck, a neck that was thick and short, fat and powerful. Then she became lost in the contemplation of his great hands which he kept spread out on his knees: the fingers were square; the clenched fist must be enormous and would fell an ox.

 It was a new hell. There were no more violent quarrels between Pascal and Clotilde. The doors were no longer slammed. Voices raised in dispute no longer obliged Martine to go continually upstairs to listen outside the door. They scarcely spoke to each other now; and not a single word had been exchanged between them regarding the midnight scene, although weeks had passed since it had taken place. He, through an inexplicable scruple, a strange delicacy of which he was not himself conscious, did not wish to renew the conversation, and to demand the answer which he expected--a promise of faith in him and of submission. 

 L'Assommoir (1877) is the seventh novel in émile Zola's twenty-volume series Les Rougon-Macquart. Usually considered one of Zola's masterpieces, the novel—a harsh and uncompromising study of alcoholism and poverty in the working-class districts of Paris—was a huge commercial success and established Zola's fame and reputation throughout France and the world.

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Excerpt: ...when to be silent,

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