The seventh novel in the Rougon-Macquart cycle, L'Assommoir (1877) is the story of a woman's struggle for happiness in working-class Paris. It was a contemporary bestseller, outraged conservative critics, and launched a passionate debate about the legitimate scope of modern literature. At the centre of the novel stands Gervaise, who starts her own laundry and for a time makes a success of it. But her husband Coupeau squanders her earnings in the Assommoir, the local drinking shop, and gradually the pair sink into poverty and squalor. L'Assommoir is the most finely crafted of Zola's novels, and this new translation captures not only the brutality but also the pathos of its characters' lives. This book is a pwerful indictment of nineteenth-century social conditions, and the introduction examines its relation to politics and art as well as its explosive effect on the literary scene. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

'in this life, even if you don't ask for much you still end up with bugger all!' In a run-down quarter of Paris, Gervaise Macquart struggles to earn a living and support her family. She earns a pittance washing other people's dirty clothes in the local washhouse, and dreams of having her own laundry. But in order to start her business she must incur debt, and her feckless husband cannot resist the lure of the Assommoir, the local bar that supplies all the working men with cheap spirits and absinthe. As her money troubles grow, so Gervaise's life begins to spiral out of control, and she is trapped in a vicious web of want and neglect. The Assommoir is a pivotal novel in Zola's Rougon-Macquart series. In it he lays bare the terrible poverty of the Parisian underclass, living in overcrowded tenements, addicted to drink, a world of squalor, and casual violence. It contains some of Zola's most powerful and graphic writing, unforgettable portrayals of individuals and their environment, and the fine line between self-respect and ruin.

CHAPTER I. Gervaise had waited up for Lantier until two in the morning. Then, shivering from having remained in a thin loose jacket, exposed to the fresh air at the window, she had thrown herself across the bed, drowsy, feverish, and her cheeks bathed in tears. For a week past, on leaving the "Two-Headed Calf," where they took their meals, he had sent her home with the children and never reappeared himself till late at night, alleging that he had been in search of work. That evening, while watching for his return, she thought she had seen him enter the dancing-hall of the "Grand-Balcony," the ten blazing windows of which lighted up with the glare of a conflagration the dark expanse of the exterior Boulevards; and five or six paces behind him, she had caught sight of little Adele, a burnisher, who dined at the same restaurant, swinging her hands, as if she had just quitted his arm so as not to pass together under the dazzling light of the globes at the door. When, towards five o'clock, Gervaise awoke, stiff and sore, she broke forth into sobs. Lantier had not returned. For the first time he had slept away from home. She remained seated on the edge of the bed, under the strip of faded chintz, which hung from the rod fastened to the ceiling by a piece of string. And slowly, with her eyes veiled by tears, she glanced round the wretched lodging, furnished with a walnut chest of drawers, minus one drawer, three rush-bottomed chairs, and a little greasy table, on which stood a broken water-jug. There had been added, for the children, an iron bedstead, which prevented any one getting to the chest of drawers, and filled two-thirds of the room. Gervaise's and Lantier's trunk, wide open, in one corner, displayed its emptiness, and a man's old hat right at the bottom almost buried beneath some dirty shirts and socks; whilst, against the walls, above the articles of furniture, hung a shawl full of holes, and a pair of trousers begrimed with mud, the last rags which the dealers in second-hand clothes declined to buy. In the centre of the mantel-piece, lying between two odd zinc candle-sticks, was a bundle of pink pawn-tickets. It was the best room of the hotel, the first floor room, looking on to the Boulevard.

Using selections by American, British, French, German, Russian, Scandinavian, Spanish, Portuguese, and South American critics and authors, Professor Becker illustrates how realism arose as a reaction to romanticism, and how the practitioners of realism developed conflicting ideas about the means they should use and the ends toward which they should strive. The selections are concerned mainly with prose, since, according to the author, prose fiction has been the major vehicle of realism. Originally published in 1963. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

The Belly of Paris (Le Ventre de Paris) is the third novel in Émile Zola's twenty-volume series Les Rougon-Macquart, first published in 1873. It is a novel of the teeming life which surrounds the great central markets of Paris. The book was originally translated into English by Henry Vizetelly and published in 1888 under the title Fat and Thin. After Vizetelly's imprisonment for obscene libel the novel was one of those revised and expurgated by his son, Ernest Alfred Vizetelly. The heroine is Lisa Quenu, a daughter of Antoine Macquart. She has become prosperous, and with prosperity her selfishness has increased. Her brother-in-law Florent had escaped from penal servitude in Cayenne and lived for a short time in her house, but she became tired of his presence and ultimately denounced him to the police. Émile Zola (1840 – 1902) was a French writer, the most important exemplar 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.