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The Fête at Coqueville is a novella by Émile Zola. A playful tale of a picturesque fishing village, where instead of fish, alcohol is being caught in the nets of fishermen!
Welcome to the Masters of Prose book series, a selection of the best works by noteworthy authors. Literary critic August Nemo selects the most important writings of each author. A selection based on the author's novels, short stories, letters, essays and biographical texts. Thus providing the reader with an overview of the author's life and work. This edition is dedicated to the French writer Émile Zola, 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. This book contains the following writings: Novels: Germinal; The Downfall; Therese Raquin. Short Stories: The Attack on the Mill; Captain Burle; The Miller’s Daughter; Jean Gourdon's Four Days; The Fete At Coqueville; The Flood; Death of Olivier Becaille; Nana; The Fortune of the Rougons. Essays: J'Accuse...! If you appreciate good literature, be sure to check out the other Tacet Books titles!
ÉmileZola described the intention of his work with these words: "I want to portray, at the outset of a century of liberty and truth, a family that can not 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. " He is considered to be a significant influence on those writers who are credited with the creation of the so-called new journalism; Wolfe, Capote, Thompson, Mailer, Didion, Talese and others. Critic August Nemo selected seven special short from this author for your appreciation: - Captain Burle - The Miller's Daughter - Jean Gourdon's Four Days - The Fete At Coqueville - The Flood - Death of Olivier Becaille - Nana
A longish volume of translations of all works of French novelist, playwright, journalist, the best-known practitioner of the literary school of naturalism, and an important contributor to the development of theatrical naturalism - Emile Zola.
Embark on a literary journey through the masterful tapestry of Emile Zola's oeuvre with "The Complete Works of Emile Zola: Émile Zola's Literary Tapestry Unveiled" by Émile Zola himself. Delve into the rich world of one of France's greatest novelists, exploring the breadth and depth of his literary genius. As Zola's complete works unfold, immerse yourself in the vivid landscapes, intricate characterizations, and compelling narratives that define his literary legacy. Experience the raw emotion, social commentary, and unflinching realism that set Zola apart as a towering figure in 19th-century literature. But amidst the richness of Zola's literary tapestry, a provocative question emerges: Can we truly comprehend the complexities of human nature and society through the lens of literature, or are we merely scratching the surface of deeper truths? Engage with Zola's powerful prose and incisive observations, as he peels back the layers of society to reveal its inner workings and contradictions. Join the exploration of Zola's literary universe, where passion, ambition, and despair collide in a symphony of human experience. Are you prepared to confront the truths that lie beneath the surface of Zola's narratives? Immerse yourself in the timeless beauty and profound insights of Zola's writing, whose resonance transcends the boundaries of time and space, speaking to readers across generations and cultures. Now is the time to dive into the complete works of Emile Zola and uncover the hidden gems of his literary genius. Let "The Complete Works of Emile Zola" be your gateway to a world of imagination, exploration, and enlightenment. Secure your copy of "The Complete Works of Emile Zola" today and embark on a literary odyssey through the landscapes of passion, power, and human frailty. Let Zola's masterpieces inspire, challenge, and captivate you as you traverse the vast terrain of his literary universe.
The inflexible realist in fiction can be faithful only to what he sees; and what he sees is inevitably colored by the lens of his real self. For the literary observer of life there is no way of falsifying the reports which his senses, physical and moral, make to his own brain. If he wishes, he may make alterations in transcribing for his readers, but in so doing he confesses to himself a departure from truth as he sees it. Pure realism, then, demands of its apostle both a faithful observation of life and a faithful statement of what he sees. True, the realist uses his artist’s privilege of selecting those facts of life which seem best suited to picturing his characters in their natures, their persons, and their careers, for he knows that many irrelevant, confusing, and contradictory things happen in the everyday lives of everyday men. So in point of practice his realism is not so uncompromising as his theories sound when baldly stated. How near any great artist’s transcriptions of life approach to absolute truth will always be a question, both because we none of us know what is final truth, and because realists, each seeing life through his own nature, will disagree among themselves just as widely as their temperaments, their predispositions, and their experiences vary. Thus we are left to the common sense for our standards, and to this common sense we may with some confidence appeal for a judgment. Guy de Maupassant was a realist. “The writer’s eye,” he says in Sur l’Eau, “is like a suction-pump, absorbing everything; like a pickpocket’s hand, always at work. Nothing escapes him. He is constantly collecting material; gathering up glances, gestures, intentions, everything that goes on in his presence—the slightest look, the least act, the merest trifle.” But Maupassant was more than a realist—he was an artist, a realistic artist, frank and wise enough to conform his theories to his own efficient literary practice. He saw as a realist, selected as an artist, and then was uncompromising in his literary presentation. Here at the outstart another word is needed: Maupassant was also a literalist, and this native trait served to render his realism colder and more unsympathetic. By this I mean that to him two and three always summed up five—his temperament would not allow for the unseen, imponderable force of spiritual things; and even when he mentions the spiritual, it is with a sort of tolerant unbelief which scorns to deny the superstitious solace of women, weaklings, and zealots. It was this pervading quality in both character and method which has caused his critics to class him is a disciple of naturalism in fiction. However, Maupassant’s pessimism was not so great that he could not dwell upon scenes of joy; but a preacher of hope he never was, nor could have been. Maupassant led so individual a life, was so unnormal in his tastes, and ended his career so unusually, that common sense decides at once the validity of this one contention: his realism was marvellously true in details, but less trustworthy in its general results. His pictures of incidents were miracles of accuracy; his philosophy of life was incomplete, morbid, and unnatural.