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Therese Raquin (eBook)

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Emile Zola was a French novelist who wrote in the school of naturalism and is noted for his work in revolutionizing France. The Rougon-Macquart series brought Zola literary fame and is considered his life work. It took 25 years to finish the 20 volumes. The idea of writing the social history of a family encompassing several volumes probably came from his reading the works Emile Zola was a French novelist who wrote in the school of naturalism and is noted for his work in revolutionizing France. The Rougon-Macquart series brought Zola literary fame and is considered his life work. It took 25 years to finish the 20 volumes. The idea of writing the social history of a family encompassing several volumes probably came from his reading the works of Balzac. Zola shows how people in a family who appear to be quite individualistic are actually quite similar. Heredity and proximity determine who we are and how we act. Theresa Raquin was first published in 1867 in serial form in L; Artiste. In 1873 Zola turned the novel into a play. In Theresa Raquin a well-intentioned aunt marries a young woman to her first cousin. Camille is sickly and selfish, and when the opportunity arises, Therese enters into a tragic affair with Camille's friend Laurent. Zola called this novel a scientific study of temperament instead of a character study making it an example of naturalism.


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Emile Zola was a French novelist who wrote in the school of naturalism and is noted for his work in revolutionizing France. The Rougon-Macquart series brought Zola literary fame and is considered his life work. It took 25 years to finish the 20 volumes. The idea of writing the social history of a family encompassing several volumes probably came from his reading the works Emile Zola was a French novelist who wrote in the school of naturalism and is noted for his work in revolutionizing France. The Rougon-Macquart series brought Zola literary fame and is considered his life work. It took 25 years to finish the 20 volumes. The idea of writing the social history of a family encompassing several volumes probably came from his reading the works of Balzac. Zola shows how people in a family who appear to be quite individualistic are actually quite similar. Heredity and proximity determine who we are and how we act. Theresa Raquin was first published in 1867 in serial form in L; Artiste. In 1873 Zola turned the novel into a play. In Theresa Raquin a well-intentioned aunt marries a young woman to her first cousin. Camille is sickly and selfish, and when the opportunity arises, Therese enters into a tragic affair with Camille's friend Laurent. Zola called this novel a scientific study of temperament instead of a character study making it an example of naturalism.

30 review for Therese Raquin (eBook)

  1. 5 out of 5

    Paul Bryant

    You don't need another Coca Cola Or the latest Francis Ford Coppola You don't need a holiday in Angola You need this novel by Emile Zola It's raw like a bad case of ebola It's atomic like gay enola Not pretty like a gladiola Or sweet like a tune from a old victrola He told the truth like the Ayatollah He was revolutionary like Hizbollah He never needed no payola He didn't have a Motorola He wrote the truth, he was Emile Zola Like a panel he was solar Nineteenth century rock and roller He put Balzac back in his You don't need another Coca Cola Or the latest Francis Ford Coppola You don't need a holiday in Angola You need this novel by Emile Zola It's raw like a bad case of ebola It's atomic like gay enola Not pretty like a gladiola Or sweet like a tune from a old victrola He told the truth like the Ayatollah He was revolutionary like Hizbollah He never needed no payola He didn't have a Motorola He wrote the truth, he was Emile Zola Like a panel he was solar Nineteenth century rock and roller He put Balzac back in his baby stroller And this ain't no litcrit hyperbola

  2. 5 out of 5

    MJ Nicholls

    You know how it is. Your mother marries you to your sexless cousin and in silent defiance you enter a torrid affair with a peasant painter. All those hours spent humouring the dull man in your dreary shop, waiting for your next animalistic tussle with your fiery lover. Then one day, you realise the conventions of early 19thC society are going to prevent you from ditching the boring old blood tie, and you will never be free to give yourself to true love. God, the boredom! I mean, you can’t even k You know how it is. Your mother marries you to your sexless cousin and in silent defiance you enter a torrid affair with a peasant painter. All those hours spent humouring the dull man in your dreary shop, waiting for your next animalistic tussle with your fiery lover. Then one day, you realise the conventions of early 19thC society are going to prevent you from ditching the boring old blood tie, and you will never be free to give yourself to true love. God, the boredom! I mean, you can’t even knit properly, can you? That last cardigan was missing an armhole and wasn’t even big enough for my nephew! So what do you have to live for? You are, after all, a docile little mouse brimming with despair and desperation whose only chance at happiness lies in the arms of a bone-idle gadabout who only wanted a quick shag anyway. Perhaps if he bumped off your other half, made it look like an accident? Oh now you’ve gone and done it. Didn’t I warn you watching your husband drown would come back to haunt you? How do you expect to look your mother in the eye ever again, you dozy bint? Well. I suppose it’ll have to be several years of mental torment, depression and unrelenting misery, followed by a teary confession to your paralysed mother, until someone finally pours you a cup of poison and ends your sorry lot once and for all. Hold out, there’s hope. But not in this book.

  3. 4 out of 5

    Lisa

    Smiling! Realising the inappropriate reaction to my second reading of Zola's early duel with murderous passion, I try to look concerned or appalled or just plain disgusted, like his contemporary audience. In his preface, he complains about the critics hating the novel for all the wrong reasons. And now I begin to think I might be loving it for all the wrong reasons instead. Zola claims to have looked at the strong and passionate reaction of two lovers killing an inconvenient husband with the eyes Smiling! Realising the inappropriate reaction to my second reading of Zola's early duel with murderous passion, I try to look concerned or appalled or just plain disgusted, like his contemporary audience. In his preface, he complains about the critics hating the novel for all the wrong reasons. And now I begin to think I might be loving it for all the wrong reasons instead. Zola claims to have looked at the strong and passionate reaction of two lovers killing an inconvenient husband with the eyes of a medical doctor, objectively describing their brutal behaviour and their lack of ethical responses the "way they naturally are, guided purely by their flesh, their corporal desires": "J'ai simplement fait sur deux corps vivants ce que les chirurgiens font sur les cadavres." He bitterly rejects the critics who denounce the characters' depravation without understanding why the author chose to show them like that. All very well. I was prepared for a naturalistic analysis of murderers and their sexual motives, and a dull description of a non-existent conscience. But just like I wasn't prepared for the wildness of Wuthering Heights when I reread it recently, I wasn't expecting the ghost story that Zola tries to sell as a serious case study either. Laurent, the lover of Thérèse, kills her husband Camille in order to enjoy the convenience of a legal sex life and a comfortable financial status. While pushing the resisting friend into a river from a boat, he receives a bite on his neck, which remains as a scar and a "bite of conscience" - "ein Gewissensbiss" it is quite literally in German. Instead of living happily ever after the perfect crime, the lovers turned spouses spiral into grotesque madness and evil, suffering through their lives with the image of the victim, before engaging in a final danse macabre in front of the murdered Camille's paralysed mother. In death, they unite with Camille through the touch of the scar. All very Gothic, all very dramatic, all very symbolic. All very realistic? Nah! Despite himself, Zola created an almost religious morality tale of crime and punishment. He took away god from the equation, and put the human body in its place, but the result is the same: the impossibility to shake off sin and to live calmly with a "bad" conscience, be it located in body or soul. In a way, his draconian writer ego is harsher than most deities, and he strikes his characters where it hurts most: he makes them impotent and incapable of pleasure. So Zola, my dear friend, I apologise for liking your story for the wrong reasons, and for smiling at your defence of naturalism in this tragedy in several acts, leaving all protagonists dead by murder or suicide in the final showdown on stage. Recommended - probably for the wrong reasons!

  4. 5 out of 5

    Henry Avila

    This is the kind of book you survive, an obstacle course for masochists , the only people that will truly love it, don't get me wrong a very talented writer in his first important novel shows his skill, but he has a tendency to wallow in misery, giving a reader too many painful scenes. Zola believes, to be taken seriously , he needs to inflict the maximum pain, a simple murder case becomes a protracted story even though a short novel, it seems an eternity...Critics called the book pornographic w This is the kind of book you survive, an obstacle course for masochists , the only people that will truly love it, don't get me wrong a very talented writer in his first important novel shows his skill, but he has a tendency to wallow in misery, giving a reader too many painful scenes. Zola believes, to be taken seriously , he needs to inflict the maximum pain, a simple murder case becomes a protracted story even though a short novel, it seems an eternity...Critics called the book pornographic when published in 1867, ( mild by todays standards, if there are any) thus becoming a bestseller and making Zola at 27 a famous author. Now to begin; a couple that have known each other from childhood get married, not very unusual, this being the 19th century, still not shocking either that they are cousins. Therese is born in North Africa, her father is a French soldier there, a child from a native woman, no marriage, the mother dies, he a French captain in the army of conquest, brings the baby to his sister Madame Raquin in France, a widow, quickly leaves and goes back to Africa, to fight wars, years pass nothing is heard about the captain until he perishes there. Madame grows to love Therese, treats her like a daughter, a quiet girl that keeps her hate hidden deep inside , she has a sickly son the old woman, Camille, a small, pale figure, illness keeps him mostly in bed, that the children share together, Therese feels revulsion toward her ghastly cousin but silent, causing no trouble, the only thing she enjoys is watching the Seine river flow by. Madame sells her little store in the country and to Paris she travels. Soon opens another dingy little store in a dark alley that connects two important streets. Small shops with trinkets, hats and toys, cheap merchandise sold to poor working class pedestrians going by. Madame persuades Therese to become her son's wife, Therese doesn't 0bject, she just requires a place to live, the secuity of a home. Her husband, who works as a clerk, brings home his best friend, Laurent, a strong, big man from a peasant family, a fellow clerk at work. Well before long Laurent and Therese begin to notice each other and like what they see ..the woman thinks Laurent is a real man, he would enjoy having a mistress, for a brief time, nothing to lose . A secret affair starts and life would be perfect if Camille wasn't around...permeantly. Some calls this a story of "sin, murder and revenge", as two human animals ( Zola's words ) do what comes naturally.

  5. 5 out of 5

    Edward

    Introduction, by Adam Thorpe A Note on the Translation Acknowledgments --Thérèse Raquin Notes

  6. 4 out of 5

    Paquita Maria Sanchez

    Somewhere within the spectrum occupied by anything from Romeo and Juliet to Tromeo and Juliet, there is a well-trodden path full of whispers, whimpers and piercing screams about the miseries of the love process. Whether you are tragically in love with your enemy's hottie boomdottie tween daughter or banging your best friend's girlfriend in an alleyway behind a bar all 2-minute-meal-style, Jonathan Richman had it almost exactly right when he explained to his (soon to be) adoring fans that "true l Somewhere within the spectrum occupied by anything from Romeo and Juliet to Tromeo and Juliet, there is a well-trodden path full of whispers, whimpers and piercing screams about the miseries of the love process. Whether you are tragically in love with your enemy's hottie boomdottie tween daughter or banging your best friend's girlfriend in an alleyway behind a bar all 2-minute-meal-style, Jonathan Richman had it almost exactly right when he explained to his (soon to be) adoring fans that "true love is not nice." As an afterthought to Johnny Boy's sage words, I would like to extend that lyric to include the concept of "true lust." Because there is (sadly, more often that not, though not ideally) a difference. "True Lust" in the sense that I am speaking of is an extension of infatuation, a sudden amorous obsession for another person fueled by the fact that your feelings for this individual (and the ensuing gropings and fornication-sessions) are wrong, dirty, hedonistic, secret, crass, selfish, and therefore exciting. People become bogged down by their lives, relationships go stale, the same old somebody starts to feel like a fly to shoo away, and you start cocking your head sideways in search of something (someone) new to serve as a sort of febreeze bottle for your life, your sense of self-satisfaction, and your general feelings of self-worth. Someone to fill the hole in your heart that really needs to be addressed by serious inner-dialogue rather than things like serial monogamy, cheating, hoeing around and the like. Unfortunately, we self-obsessed, naive, give-it-to-me-now modern folks tend to take the "easy" way out, and so we spread our legs and pray for a miracle, regardless of who and what we may leave in the dust behind us. We direct our own issues toward another individual, projecting our pain onto them as if they are going to absorb it like a sponge, ring it out, and make it all wash away 1, 2, 3. With the exception of a few well-known cases of controversial love gone right (June and Johnny, John and Yoko, etc), what generally happens despite our best efforts to combat it is the wind eventually shifts and the dirt flies back in our faces anyway...and usually with increased density. Oftentimes, the real killer is the guilt. Trust me when I say that sowing romance in the soil of controversy is like watering your seeds with lava. Well, this is a story about all that, however it is presented through a drastically heightened plot-line. You know, the old "I don't want to give up the money but I want to keep having sex with you all the time and my husband is really just in proper cock-blocking form about the whole thing, so obviously our only option is to kill him" prickly pickly conundrum. Before you get angry at me for spoiling the story, however, keep in mind that this is only the beginning of what transpires. Rather than wasting precious page-space on the elaborate thought-process leading up to this cold-blooded murder, Zola chose to focus his examination more closely on the aftershock of such a decision. The guilt...the way it kills passion, the way it eats you up inside and makes you detest whatever is associated with that acid-feeling in your stomach. You know, like that lover that was so important and true-lovey before. Through a series of brutal exchanges between the two main characters, Zola dissects the rationalizations we use to make shitty decisions which treat people like shit and turn us into shit, leaving us feeling all shitty in the end. Zola's perceptions about both the way we mask our true intentions and the way we rid ourselves of guilt are right on point. He knew. He has played this game before. Everyone has done wrong by someone else for the sake of their own immediate gain. And sometimes, that wrong-doing involves strangling and drowning someone. It will, however, come back to haunt you in the end. I will stop here, as this is about all that I can reveal without spoiling the story. Just know that there is some Raskolnikov-esque guilt-fueled lashing, but rather than directing it at themselves, the two lovebirds turn it on one another. And it gets...ugly. Butchya know...true lust is not nice, after all. Unless it is between two consenting adults who have, you know, actual love and respect mixed in there, as well. In which case by all means lust it up, kids. Get nasty astral.

  7. 5 out of 5

    Chrissie

    Usually when I review a book I try to allot the stars not by the audiobook's narration but by the author's words and content. With this book I am awarding four stars but it is partially due to Kate Winslet's fantastic narration. She is as you must know a famous actress. I strongly believe I would never have been able to imagine the words with the terror and emotion evoked through her reading. She does a fantastic job. In addition, I would have been furious if at every mention of Camille's name i Usually when I review a book I try to allot the stars not by the audiobook's narration but by the author's words and content. With this book I am awarding four stars but it is partially due to Kate Winslet's fantastic narration. She is as you must know a famous actress. I strongly believe I would never have been able to imagine the words with the terror and emotion evoked through her reading. She does a fantastic job. In addition, I would have been furious if at every mention of Camille's name it had been improperly pronounced. All the French streets and terms are spot-on; this is an important part of drawing the downtrodden life in the poorer, less affluent areas of Paris where the story unfolds in the latter 1800s. You are told in the book description that Laurent and Thérèse kill Camille, Thérèse's husband and cousin. It is what happens afterwards that constitutes the true story. This is a psychological drama, not a murder mystery. It is suspenseful, creepy and horrifying. Are you listening? It is horrifying!! At least when it is read by Kate Winslet. She notches up the suspense, the creepiness and the horror until you are sitting on the very edge of your seat. I haven't read a horror book in years; this has given me a good dose, enough to last for at least the next ten years. In the book description we are also told that Zola "... dispassionately dissects the motivations of his characters - mere 'human beasts', who kill in order to satisfy their lust..." I disagree; there is nothing dispassionate about this book. It is all about emotions and passions, and please note the end of that sentence I quoted. It speaks of humans behaving as beasts, filled with lust. Now that gives the proper feeling of the book. So read this book if you want a moving study of human emotions, of fear and guilt and what propels some of us to behave feverishly and crazily. Being a horror story, I at the same time find it a bit exaggerated. Not everybody behaves like this, but you get so pulled into the tension that you feel the agony of their guilt. And what about punishment? That is another question delved into. What is the worst punishment - that we allot ourselves or that forced upon us by others? Violence and abuse, which is harsher, the physical or the psychological? I have read this is also a study of people with different temperaments. This didn't work for me. Thérèse’s aunt, Camille’s mother, is drawn as a sweet loving mother, but I see her as calculating! Laurent's temperament is clear. He is, at first at least, careful and prudent. He is calculating and egotistical, avaricious, just plain wicked. Thérèse, she is drawn as a passionate figure, and yet at the same time devious and secretive. Putting together those two characteristics does not work for me. Usually emotional, passionate people simply cannot hide what they are thinking or feeling. Perhaps under the stress of her evil deed she searches everywhere for absolution and escape. You have to read the story to see where it ends. I do recommend it, but listen to the audiobook version narrated by Kate Winslet.

  8. 5 out of 5

    Mohammed Ali

    تيريز راكان .. قصة خيانة . . . . . التقييم خمس نجوم . من قلب الواقع يرسم زولا خطوط شخصياته، من وحي الحياة الإجتماعية العادية يخلق شخصياته الموجودة أصلا، ستعرفهم .. و إن لم تعرفهم أكيد ستكون قد سمعت بهم، و إن لم تسمع بهم فهذا مؤكد أنك عرفت أو سمعت عن نماذج قريبة منهم، هذا هو زولا و الإتجاه الطبيعي الواقعي في الأدب الفرنسي . hebergeur dimage تيريز راكان .. قصّة النفس البشرية عندما تسيطر عليها الرغبة الجامحة و الإنسياق وراء الشهوة، فتتولد الأنانية و تعمى البصيرة و يسقط صوت العقل و الضمير، فيرقص الشيط تيريز راكان .. قصة خيانة . . . . . التقييم خمس نجوم . من قلب الواقع يرسم زولا خطوط شخصياته، من وحي الحياة الإجتماعية العادية يخلق شخصياته الموجودة أصلا، ستعرفهم .. و إن لم تعرفهم أكيد ستكون قد سمعت بهم، و إن لم تسمع بهم فهذا مؤكد أنك عرفت أو سمعت عن نماذج قريبة منهم، هذا هو زولا و الإتجاه الطبيعي الواقعي في الأدب الفرنسي . hebergeur dimage تيريز راكان .. قصّة النفس البشرية عندما تسيطر عليها الرغبة الجامحة و الإنسياق وراء الشهوة، فتتولد الأنانية و تعمى البصيرة و يسقط صوت العقل و الضمير، فيرقص الشيطان طربا . hébergeur d image gratuit خيانة تؤدي إلى جريمة .. و جريمة تنتهي بانتحار. الخيانة : لابدّ من معرفة أفراد أسرة " مدام راكان "، و نبدأ بالأم مدام راكان .. سيّدة طيبة للطيفة، رقيقة المشاعر و حنونة جدا، تحب ولدها و ابنة أخيها بشكل كبير. الإبن كميل .. فتى مدلل مريض الجسد و النفس . أما تيريز فهي فتاة في ريعان شبابها مندفعة قوية، تشتعل نشاطا و لكنّها تظهر عكس ذلك، و هذا التّضاد جعلها تنطوي على نفسها أكثر فأكثر و هذا الإنطواء جعل كبتها الداخلي يزيد و يزيد مكونا رغبة جامحة و غاضبة، و هذه الرغبة بدورها ولدت استعدادا للإنحراف، واستعداد لتقبل هذا الإنحراف على أنّه مطلب شرعي لها .. و هذه هي الكارثة. لا بدّ أيضا من معرفة لوران .. الشاب الذي يمكن أن نختزل نفسيته في أربع صفات : الخمول، الكسل، الشهوة، و الأنانية . مما جعله كائنا مقززا لا يرغب إلا بالراحة، النوم،الأكل، الشرب و إشباع الغريزة . سيدة لطيفة، فتى أبله مدلل، فتاة تشتعل رغبة و شاب شهواني حيواني .. هذه هي مواصفات الجو الملائم للخيانة . hébergeur d images gratuit الجريمة : الحرمان .. ما أشقى الحرمان على قلوب العاشقين .. هذا الحرمان إن لم يكن عفيفا، و كان مقترنا بخيانة و بلهفة إلى المعصية، و بلهفة إلى الخداع، متقدا بنار الرجس و الفجور و بعيدا كل البعد عن معاني الشرف، الفضيلة و الكرامة .. فإنه سيؤدي إلى السقوط الحتمي، و هنا السقوط الحتمي كان عبارة عن جريمة، جريمة اشترك فيها الحبيبان ،جريمة اشتركت فيها الزوجة لترمل و راح ضحيتها فتى مسكين، و من ورائه سيدة مسكينة و أم عطوف حنون . hebergeur image الإنتحار : " خيل للقاتل أنه نسي الجريمة، فهل نسيها حقا ؟ خيل للقاتل أنه أفلت من العقاب، فهل أفلت حقا ؟ خيل للقاتل أنه ظفر بأمنيته ؟ فهل ظفر بها حقا ؟ خيل للقاتل أن العقبة قد أزيلت من طرقه ؟ فهل زالت حقا تلك العقبة ؟ و هل استخلص تيريز لنفس ؟ و هل مات كميل ؟ " عندما وصل الأمر إلى حدّه انقلب إلى ضدّه، و الأمر هنا هو اجتماع الشهوة و الرغبة .. فعند وصول هذا الأمر إلى حدّه و هو القتل .. انقلب و تحول .. فصارت النار بردا و صارت الشهوة جمادا، و صارت القبلة قشعريرة .. و صار الحبيبان عدوان .. عدوان متلازمان لا يستطيع أحدهما فراق الآخر .. و تحوّل الحب إلى خوف و فزع .. ثم إلى اشمئزاز .. ثم إلى التفكير بالتخلص من الطرف الآخر . لذلك كان لابدّ من حل شكلي و الحل الشكلي هنا هو موصلة السقوط إلى القاع .. و الإنغماس في الرذيلة .. ثم الحل الفعلي .. و هو الإنتحار . image gratuite à télécharger * * * قال تعالى : " وَنَفْسٍ وَمَا سَوَّاهَا*فَأَلْهَمَهَا فُجُورَهَا وَتَقْوَاهَا*قَدْ أَفْلَحَ مَنْ زَكَّاهَا*وَقَدْ خَابَ مَنْ دَسَّاهَا " * * * * القصّة الثانية في هذا الكتاب و هي قصّة " الوحش في الإنسان " لم تكن بمستوى القصة الأولى . . . . تقييمها ثلاث نجوم .

  9. 4 out of 5

    Candi

    "The Arcade of the Pont Neuf is not a place for a stroll. You take it to make a short cut, to gain a few minutes. It is traversed by busy people whose sole aim is to go quick and straight before them… The arcade now assumes the aspect of a regular cut-throat alley. Great shadows stretch along the tiles, damp puffs of air enter from the street. Anyone might take the place for a subterranean gallery indistinctly lit-up by three funeral lamps. This nineteenth century French novel has a deliciously d "The Arcade of the Pont Neuf is not a place for a stroll. You take it to make a short cut, to gain a few minutes. It is traversed by busy people whose sole aim is to go quick and straight before them… The arcade now assumes the aspect of a regular cut-throat alley. Great shadows stretch along the tiles, damp puffs of air enter from the street. Anyone might take the place for a subterranean gallery indistinctly lit-up by three funeral lamps. This nineteenth century French novel has a deliciously dark atmosphere from page one. The Arcade of the Pont Neuf is home to a mercer shop that will take you into the depths of a psychological drama that might give you chills if you were to read this alone on a bleak and stormy night. Emphasizing the animal side of human nature, Emile Zola created two depraved characters in Laurent and Therese – ones that we should all hope to avoid a glimpse of within ourselves! How do emotions drive one to commit an act of evil? What are the consequences of these actions? If we repent, will we be absolved of our sins? If repentance is not something the bestial self is capable of seeking, then what becomes of us? This book had some gruesome images that may make some flinch and others may find worthy of a great horror novel. I personally cringed and at the same time was fascinated by a most revolting description of a Parisian morgue. I was shocked to learn that it was in fact a favorite pastime for the people of Paris to visit the morgue and ogle the unfortunate inhabitants of this notorious attraction! "The morgue is a sight within reach of everybody, and one to which passers-by, rich and poor alike, treat themselves. The door stands open, and all are free to enter. There are admirers of the scene who go out of their way so as not to miss one of these performances of death." I found this book to be quite riveting overall. There were times when it felt a bit repetitive and dragged slightly, but then it would shift and I would once more become submerged in the misery, depravity and psychological suspense. I would recommend this to those that enjoy classics and intense psychological studies. It is actually a very readable classic, so shouldn't necessarily exclude those that don't dip into the classics on a regular basis. 3.5 stars.

  10. 4 out of 5

    karen

    and here i thought thomas hardy was cruel to his characters... this book doesnt take long to turn into slow torture for crimes committed, and it gets darker and more dramatic until it reaches the heights of opera-vengeance. its very tempting as a modern reader to question the characters motivations (why not just leave?? really?? just... leave.)but it was high time i read a zola, and i can continue my summer of "missed classics" with confidence.

  11. 4 out of 5

    César Lasso

    Un callejón inmundo de humedad y mugre por el que los transeúntes pasan apresurados para acortar camino sirve de marco a esta novela que inicia la corriente del Naturalismo. Escrita por un joven Zola veinteañero, sorprende su temprana maestría. Thérèse Raquin es un excelente estudio psicológico. Esta obra es una clara muestra de que para escribir un trabajo magistral, no hacen falta más que unos pocos personajes y una extensión abarcable. Se me hace difícil elaborar esta reseña sin incurrir en spo Un callejón inmundo de humedad y mugre por el que los transeúntes pasan apresurados para acortar camino sirve de marco a esta novela que inicia la corriente del Naturalismo. Escrita por un joven Zola veinteañero, sorprende su temprana maestría. Thérèse Raquin es un excelente estudio psicológico. Esta obra es una clara muestra de que para escribir un trabajo magistral, no hacen falta más que unos pocos personajes y una extensión abarcable. Se me hace difícil elaborar esta reseña sin incurrir en spoilers. Básicamente, la historia se centra en una relación adulterina que acaba en asesinato. Y la mayor parte de la acción resulta de la culpa y el asco originados por ese asesinato. Sus autores pierden la posibilidad de ser felices. La novela incluye todos los tics del Naturalismo, como las minuciosas descripciones de lo cutre y lo mezquino: Todos los colores se habían vuelto de un gris sucio en aquella vitrina, que pudrían el polvo y la humedad. La pasión de los adúlteros es brutal, animalesca: Ambos habrían querido arrancarse mutuamente jirones de carne y llevárselos pegados a los dedos. De hecho, Zola menciona reiteradamente a los protagonistas como “animales irracionales”. Recomiendo esta obra a los amantes de los clásicos y a quienes quieran leer una novela no demasiado extensa.

  12. 4 out of 5

    Fiona

    I read this book with morbid fascination, following with horror the deterioration of the sanity of the two main characters, Therese and Laurent. It's not a pleasant book to read. Quite the opposite. Zola wrote this book for men, not women. He didn't intend it to be regarded as a novel - which he considered to be for women, not men - but as an objective study of human behaviour which he likened to that of 'beasts'. Knowing this, it's easy to read it as if we are watching two laboratory rats rathe I read this book with morbid fascination, following with horror the deterioration of the sanity of the two main characters, Therese and Laurent. It's not a pleasant book to read. Quite the opposite. Zola wrote this book for men, not women. He didn't intend it to be regarded as a novel - which he considered to be for women, not men - but as an objective study of human behaviour which he likened to that of 'beasts'. Knowing this, it's easy to read it as if we are watching two laboratory rats rather than human beings. It would be unkind to rats to compare them with this horrific, debased and senselessly cruel pair, however. This isn't Zola's finest hour but it is worth reading for the experience.

  13. 4 out of 5

    Andrei Tamaş

    Publicarea romanului a atras după sine un uriaş val de critici din partea presei prozaice. Să abordezi o problematică atât de complexă precum o crimă care să înlesnească drumul spre hedonismul amoros, în mijlocul secolului al XIX-lea, şi să te aştepţi totodată ca lumea să te înţeleagă nu e tocmai o idee împăciuitoare. De multe ori însă, e greu ca un scriitor de geniu să fie înţeles de societatea sa. El -scriitorul- îşi asumă astfel rolul de corector moral odată cu sacrificiul acceptării ponegrir Publicarea romanului a atras după sine un uriaş val de critici din partea presei prozaice. Să abordezi o problematică atât de complexă precum o crimă care să înlesnească drumul spre hedonismul amoros, în mijlocul secolului al XIX-lea, şi să te aştepţi totodată ca lumea să te înţeleagă nu e tocmai o idee împăciuitoare. De multe ori însă, e greu ca un scriitor de geniu să fie înţeles de societatea sa. El -scriitorul- îşi asumă astfel rolul de corector moral odată cu sacrificiul acceptării ponegririi... Zola însă, dat fiind că ediţia princeps a avut succes, nu s-a putut abţine să nu scrie o prefaţă la ediţia a doua, lucru pe care nu-l făcuse la ediţia princeps, şi să dea astfel o palmă criticilor "delicaţi" de salon. Acum... ştim cu toţii că în orice tip de societate, din orice timp, au existat moravuri (sens peiorativ; aşa cum o să-l folosesc şi de acum înainte). Dacă nu au existat pentru o clipă, au venit artiştii şi le-au relevat din te miri ce. Întrebarea care se pune este aceasta: cum atragi atenţia maselor asupra unei eventuale problematici delicate? Nu poţi arăta cu degetul pur şi simplu, căci nu ar avea niciun efect (cu excepţia cazului în care avem de a face cu o situaţie izolată şi omul supus corectairii nu este cumva vreun Diogene căruia să-i luăm lumina soarelui). Deci, în principiu, nu aşa. Nu o să funcţioneze. Problematica trebuie nuanţată şi privită obiectiv, impersonal. Altfel, nu am putea discuta două minute cu un imbecil fără a-i lăsa impresia că-l considerăm un imbecil (proces care nu corectează, ci îndârjeşte). "Fericita cale de mijloc" în cazul nostru este studierea respectivei problematici, iar atunci când unim cele două puncte ale compasului studiului nostru, ceva să explodeze, adică să aibă loc un eveniment tragic. În Therese Raquin, Zola nu studiază caractere, ci temperamente, după cum el însuşi afirmă. O altă remarcă -vădit ostentativă, aş spune eu- e aceea potrivit căreia în fiecare capitol al romanului se studiază o chestiune de psihologie. Spun că remarca autorului este ostentativă deoarece naraţiunea îşi are nucleul într-o crimă şi, implicit, e normal să decurgă anumite stări care pot fi puse sub lupa analizei. Asta unu la mâna. Doi: e lesne de înţeles că oriunde există individ uman (chiar şi un izolat Crusoe) există şi psihologie. Astfel, aş putea de pildă să iau o coală de hârtie şi să demonstrez sistematic că în spatele unui personaj cu un ras isteric s-ar putea ascunde intenţii sinucigaşe. Dar, după mine, literatura îmbinată cu psihologia e doar o problema de transpunere şi de educaţie în oglindă, prin comparaţie şi, implicit, modelare, în rest ştiinţa psihologiei apreciandu-se în concreto (mai ales că în literatură de genul întâlnim mulţi Hannibali şi Raskolnikovi, pe care în niciun chip nu îi putem aduce la ideea de "comun"). Am luat-o pe arătură. Puteam să spun asta în două cuvinte. Din pricina asta, cineva făcuse recent o remarcă brutală, spunând că sunt pedant, sau -că să folosesc expresia preafrumoasei şi inocentei domnişoare (dacă citeşte asta, o să se îmbujoreze)- "că îmi etalez cunoştinţele". Iar debitez. Să revenim deci. Mai am încă o problemă care m-a frustrat şi care l-a cotonogit un strop pe Zola în ochii mei. Înţeleg că e un roman naturalist şi că obiectivitatea naratorului se impune, dar în anumite pasaje omniscienţa a fost dusă la extrem, încât autorul a ajuns la un moment dat să vorbească despre ceea ce visau în comun (???) protagoniştii, fapt care e făcut într-o manieră de-ţi vine să arunci cartea. Să trecem însă la partea bună. Nu ştiu de ce le-am inversat. Printre aspectele remarcabile ale romanului se numără şi "fotografierea" tendinţei unor anumite grupuri de oameni de a da frâu liber pasiunii, iubirii carnale, tendinţa survenită -la Therese- din formalismul şi caracterul anost al vieţii la care a fost supusă. Discursul febril pe care îl are în faţa amantului-viitor soţ Laurent, cu privire la plictisul şi la platitudinea actualei ei căsătorii cu Camille confirmă puternica atracţie carnală dintre cei doi, rămasă până atunci în stadiul de doleanţa cu greu stăpânită. Scena în care Laurent pictează portretul lui Camille, înainte de primul acces adulterin, are o puternică încărcătură psihologică (a proopos de celelalte aspecte banale). Naratorul îl descrie pe Camille drept firav şi bolnăvicios, dar nu şi urât. Frapanța(*) constă în faptul că, deşi dezvoltă pofte carnale pentru Therese, pictorul adulterin nu este gelos pe soţul acesteia, ci îl priveşte că pe un copil şi îl dispreţuieşte mai degrabă. Cu toate acestea, portretul făcut soţului înşelat deformează realitatea dintr-o pornire subconştientă a pictorului, portretul reprezentând nu o transfigurare a realităţii, ci o anomalie a subconştientului. O a treia problemă complexă -făcând abstracţie de drama de conştiinţă pe care o suferă autorii crimei perfecte, deoarece aceasta nu poate fi discutată aici, fiind prea largă- stă în raportul dintre indivizii care se autostigmatineaza din pricina zbuciumului sufletesc având ca izvor crima comisă şi sistemul piunitiv al justiţiei penale dintr-o societate oarecare. Problema este mult mai comprimată decât în "Crimă şi pedeapsă", la Raskolnikov fiind vorba de un întreg sistem de aspecte care intervin. Astfel, întrebarea care se ridică şi al cărei răspuns rămâne suspendat în eter, înainte de a ajunge la umila minte umană este: aplicarea justiţiei reduce la tăcere febrila conştiinţă a celui care se simte vinovat, eliberându-l de ceva mai greu de suportat chiar şi decât muncă silnică viageră? Nu ştiu. Ceea ce ştiu e că în Therese Raquin, în această comedie atroce, vinovaţii, deşi neurmariti de nicio suspiciune, aleg o cale diferită, făcând din vinovăţie ceea ce au făcut protagoniştii lui William Styron, Sofia şi Nathan, din iubire. În concluzie, drama personajului eponim reflectă conflictul dintre plăcerea fierbinte, efemeră, şi viaţa liniştită şi anostă. La această chestiune nu poate răspunde în concreto decât cineva care le-a trăit, la o intensitate maximă, pe amândouă. Andrei Tamaş

  14. 5 out of 5

    Jane

    This book is alive. From the first to the last I saw the story came to life and I was drawn so completely in. It made my heart beat a little faster, and even now I have put the book down, slept and lived through another day, it is still in my head and my heart. On one hand the story is utterly modern: and it is timeless. It would be so easy to reset in in any period since it was published, and equally easy to take it back through the centuries. Because this is a story of humanity. Of what people m This book is alive. From the first to the last I saw the story came to life and I was drawn so completely in. It made my heart beat a little faster, and even now I have put the book down, slept and lived through another day, it is still in my head and my heart. On one hand the story is utterly modern: and it is timeless. It would be so easy to reset in in any period since it was published, and equally easy to take it back through the centuries. Because this is a story of humanity. Of what people may do to get what they want, and of how they may be destroyed if they reach too far, if they cross certain lines. A story of emptiness, passion, horror, despair, guilt, revenge … Thérèse was the daughter of a French sailor and a native woman. Her father took his sister, a haberdasher, to raise with her son. Camille, a bright but sickly child. It was expected that Thérèse and Camille would marry, and marry they did. Not because either one had feelings for the another, but because it didn’t occur to either of them to do anything else, or that life could offer anything more than they already knew. Zola painted a picture of dark and dull lives, and yet he held me. Somehow, I don’t know how, he planted the idea that something would happen, that it was imperative that I continued to turn the pages. When Camille tried to pull away from his protective mother life changed. Thérèse met Laurent, a friend of her husband who was everything that her husband was not. A passionate, obsessive relationship grew between them. Their feelings were tangible. They feared discovery. They knew what they wanted, and they were oblivious to anything else. And so they acted. That act is stunning. Shocking. A flash of light in a dark story, and it is executed quite brilliantly. It may sound like an end, but it came early in the story. The knowledge of what they had done, the consequences of what they had done, were corrosive. For Thérèse. For Laurent. And for their relationship. For a while it isn’t clear where the story will go. The pair seem trapped, in lives overtaken by guilt, horror and despair. But then something snaps. A downward spiral leads to a devastating conclusion. Zola handles all of this magnificently. The bleak street, the house, where Thérèse and her family lived and worked was described so vividly, the atmosphere was so claustrophic, it was utterly real. And he deployed his cast – four principals, four supporting players, and a cat – so cleverly. Each was essential. Each had more than one role to play. Their story has broad strokes, and it has small details too, and they all work together beautifully. The story is desperately dark, but it is honest and never gratuitous. And the story is paramount; everything else is there to support the story, and it is woven in so well that it is never a distraction. You could stop to observe if you chose, or you could be quite naturally swept along by events. It’s greatest strength is its creator’s understanding of humanity. That allowed him to bring flawed, fallible, utterly real human beings to life on the page. To lay bare their hearts and souls. And to make the evolution of their lives, the extraordinary things that happen, completely understandable. And so it was that the skill of the author, and the understanding of the author, make this book compelling, horrific, and desperately sad.

  15. 4 out of 5

    Steven Godin

    This short novel (the weakest of the four Zola's I have read so far) is a tale of lust, madness and destruction set within the brooding, dingy backstreets of Paris. Not the back streets I know and love of today!. The eponymous protagonist, a repressed and silently resentful young woman is married off, as per normal, according to her aunt's wishes to her sickly cousin Camille. When Thérèse meets Camille's robust and earthy friend Laurent, a turbulent passion is unleashed that drives them ultimate This short novel (the weakest of the four Zola's I have read so far) is a tale of lust, madness and destruction set within the brooding, dingy backstreets of Paris. Not the back streets I know and love of today!. The eponymous protagonist, a repressed and silently resentful young woman is married off, as per normal, according to her aunt's wishes to her sickly cousin Camille. When Thérèse meets Camille's robust and earthy friend Laurent, a turbulent passion is unleashed that drives them ultimately to violence and murder. Considering this is a 19th century novel, it really packs a punch, and does shock. Nothing like the period drama style novels of his countless counterparts. The characters are excellently done, but not exactly likeable, and the whole atmosphere is conceived really well. Zola's great story-telling qualities put him above most French writers of the time, but, at best, I found Thérèse Raquin an effective melodrama. This is not the Zola of Germinal or La Bete Humain, those novels I found were a class above this by some considerable distance. But had this been my first Zola then it probably would have made more of an impression on me. I still can't believe just how many novels he actually wrote. Not likely to run out Zola reads for many a year to come. This was a solid novel, it's just the others I have read were that good.

  16. 5 out of 5

    Perry

    I Love Nature & Natural, but No More Novels of Naturalism In my voracity for reading most of the so-called classic novels, I read this short one without knowing much about it, nor did I read (until later) the preface in which Zola says this is a study of temperaments and not characters, the basis of which is the now-discounted Galen's Four Temperaments. Apparently, this is a novel characterized as "naturalism," due to its scientific or detached narrative. The four temperaments are represented I Love Nature & Natural, but No More Novels of Naturalism In my voracity for reading most of the so-called classic novels, I read this short one without knowing much about it, nor did I read (until later) the preface in which Zola says this is a study of temperaments and not characters, the basis of which is the now-discounted Galen's Four Temperaments. Apparently, this is a novel characterized as "naturalism," due to its scientific or detached narrative. The four temperaments are represented by Therese Raquin, an unhappily married young woman (melancholic), Madame Raquin, her overbearing and selfish aunt (choleric), Camille Raquin, her sickly, self-centered husband, who is also her 1st cousin (phlegmatic) all of whom all live together, and Laurent, interloping friend of the husband (sanguine). You might guess what happens. If so, great. If not, I don't wanna spoil all your insidious fun. Love Nature, All for the Naturals; No, Please, No More Naturalism.

  17. 5 out of 5

    غُفْرَان

    التقييم هنا للقصة الأولى فقط تريز راكان .. عن الخيانة تحدث وكتب زولا كما لم يكتب أحدا من قبل ما أسهل الخيانة عندما يكون الإنسان محل ثقة ..

  18. 4 out of 5

    Mary Crabtree

    Very scary, very dark and definitely wonderful. Could not put this down. I learned about evil in this book.

  19. 5 out of 5

    Carmo

    Faltou pouco para começar a arrancar os cabelos enquanto ia lendo Teresa Raquin. Zola escreveu esta história com uma intensidade que não deixa lugar para momentos de leitura descontraída. Da primeira à última página, o livro mantém um clima de angústia que nos suga para dentro daquelas almas atormentadas. Odiamo-los pela sua falta de carácter e humanidade, enquanto manipulam, mentem e enganam todos à sua volta. Executam friamente um crime, ao qual escapam impunemente; escapam à lei dos homens, n Faltou pouco para começar a arrancar os cabelos enquanto ia lendo Teresa Raquin. Zola escreveu esta história com uma intensidade que não deixa lugar para momentos de leitura descontraída. Da primeira à última página, o livro mantém um clima de angústia que nos suga para dentro daquelas almas atormentadas. Odiamo-los pela sua falta de carácter e humanidade, enquanto manipulam, mentem e enganam todos à sua volta. Executam friamente um crime, ao qual escapam impunemente; escapam à lei dos homens, não escapam contudo à sua consciência. Passam a viver num pavor constante, numa ansiedade que se transmite ao leitor e o divide. Nada nestas personagens nos pode cativar e suscitar empatia; é doloroso acompanhar a sua descida aos infernos, mas rapidamente nos mostram que o seu sofrimento é puramente físico; não se arrependem nem sentem remorsos. Foi uma espécie de justiça poética, divina, a forma como os seus corpos e mentes se rebelaram e os impediram de ser felizes. Não houve espaço para a ternura nem algo que nos fizesse sentir a existência de bondade ou compaixão. Eram puramente estratégicos e até o seu envolvimento físico era instintivo, animalesco, de uma envolvência primitiva e carnal. O desfecho é o único possível. Um livro que é um tormento e se lê numa angústia permanente. Em suma, magnifico. Dizem por aí que Zola ainda terá escrito melhor que isto...

  20. 4 out of 5

    Roberto

    Due matrimoni e tre funerali Quattro personaggi in questa storia incolore di Emil Zolà: Teresa e Camillo, che poi si sposano, e la madre e un amico di Camillo, Lorenzo. Quattro personaggi insoddisfatti, scialbi e con aspettative limitate che sopravvivono a fatica in una Parigi cinerea, umida e disattenta. La trama in sé è semplice e abbastanza scontata. Teresa sposa Camillo senza un perché, Camillo sposa Teresa alla ricerca di una vita tranquilla. Teresa e Lorenzo diventano amanti per caso ma con Due matrimoni e tre funerali Quattro personaggi in questa storia incolore di Emil Zolà: Teresa e Camillo, che poi si sposano, e la madre e un amico di Camillo, Lorenzo. Quattro personaggi insoddisfatti, scialbi e con aspettative limitate che sopravvivono a fatica in una Parigi cinerea, umida e disattenta. La trama in sé è semplice e abbastanza scontata. Teresa sposa Camillo senza un perché, Camillo sposa Teresa alla ricerca di una vita tranquilla. Teresa e Lorenzo diventano amanti per caso ma con una carica di passione tale (fin dal primo bacio si rivelò cortigiana) da trascinarli al delitto per liberarsi dell'incomodo marito e per poi potersi comodamente sposare. Ma quando parrebbe che tutto sia perfettamente definito, ecco che il romanzo si fa grande, nella descrizione accuratissima delle dinamiche che avvengono nella nuova coppia e nella madre del marito assassinato. Il delitto non mitiga il grigiore e le persone meschine restano meschine. E anche se i due riescono a evitare la giustizia umana, la finzione cui devono sottostare, la tensione, il rimorso per l'uccisione del marito/amico e la loro pochezza intrinseca distruggono la passione che li aveva uniti. Zola è grande nelle descrizioni meticolose dei caratteri, dei gesti, degli sguardi, delle sensazioni, degli odori, dei rapporti sessuali, della povertà e degli ambienti. E' come esser presenti nella piccola casa, veder discutere i due, sentirli litigare, assorbirne l'angoscia. Ed è grande per essere stato in grado di condurci ad un finale incredibile, giusto, tanto crudo quanto inatteso. Mi sono venuti in mente, mentre leggevo, Simenon, con la sua capacità di descrivere una umanità deviata, e Le affinità elettive, dove l'ingresso di persone nuove nella coppia comporta il cambiamento dei rapporti interni. E' una umanità ben misera, quella che descrive Zola. Voglio essere un po' ottimista e pensare che no, non è quell'umanità che conosco io.

  21. 4 out of 5

    Nicola

    Superb. Reading Zola surely sets the bar - I'd say he is the French Hardy but although they are both masters of their art and certainly like to dwell in the downer side of town, Zola deals with the city and the impact of the immediate environment and people on the psyche of the individual which isn't really an area that Hardy greatly concentrates on. Of course I've yet to read a lot of Zola so I could be wrong but going on the fact that he seems to be acknowledged as the trailblazer of the Human Superb. Reading Zola surely sets the bar - I'd say he is the French Hardy but although they are both masters of their art and certainly like to dwell in the downer side of town, Zola deals with the city and the impact of the immediate environment and people on the psyche of the individual which isn't really an area that Hardy greatly concentrates on. Of course I've yet to read a lot of Zola so I could be wrong but going on the fact that he seems to be acknowledged as the trailblazer of the Human Naturalist's then it's probably a safe assumption to make even so early on in my reading of his books. Right from the outset Zola sets his stage: At the end of the Rue Guenegaud, coming from the quays, you find the Arcade of the Pont Neuf, a sort of narrow, dark corridor running from the Rue Mazarine to the Rue de Seine. This arcade, at the most, is thirty paces long by two in breadth. It is paved with worn, loose, yellowish tiles which are never free from acrid damp. The square panes of glass forming the roof, are black with filth. It's this dirty little patch of Paris where even as readers we feel choked and claustrophobic, where lives are played out. The main character, Therese, is unable to free herself from the chains which bind her to her aunt and her cousin and takes a lover in the dishonest 'friend' of her husband as a form of emotional expression more than anything else. This is a dark novel but it's also eminently readable. Everyone in our book group liked it and found it difficult to put down (some read it all in one go!). For anybody wanting a taste of Zola but who feels a little intimidated by the Les Rougon-Macquart series, this is a great place to start.

  22. 5 out of 5

    Khashayar Mohammadi

    Thérèse Raquin is Dostoyevsky's re-imagination of Macbeth, channeled through Émile Zola. Its a claustrophobic tale of murder and adultery that sets the scene for many modern French Romance novels to come. Taking the simplicity of the plot into consideration, I was pleasantly surprised by how engrossing the narrative was.

  23. 5 out of 5

    Petra Eggs

    The shortest and most readable books from the 20-vol Rougon-Macquart cycle but perhaps not the best one to start with. 'Germinal' more gives the full heavy, 19th C saga-with-issues flavour of Zola.

  24. 4 out of 5

    Steve

    This review has been hidden because it contains spoilers. To view it, click here. Therese Raquin is not a very good novel. It does, however, have some very interesting parts. If you are a fan of noir fiction, you will easily pick up on some classic elements of the genre: two loser-lovers, a weak and whiney husband, a cast of additional characters that you also don’t like, and an increasingly oppressive atmosphere that blinks No Exit. For the first half of the book, all these elements mix nicely (or nastily). Therese Raquin, who is part north African, is, as a child, abandone Therese Raquin is not a very good novel. It does, however, have some very interesting parts. If you are a fan of noir fiction, you will easily pick up on some classic elements of the genre: two loser-lovers, a weak and whiney husband, a cast of additional characters that you also don’t like, and an increasingly oppressive atmosphere that blinks No Exit. For the first half of the book, all these elements mix nicely (or nastily). Therese Raquin, who is part north African, is, as a child, abandoned by her soldier father to live with her aunt and sickly cousin, Camille, with whom she shares a bed. The father dies, and all we know of her mother is that she was a “great beauty,” who is also dead. Therese herself is described as thin-lipped and sharp featured. Sometimes she’s pretty, and other times she’s ugly. It’s a mood thing, I suppose, but for good reason, since her existence is a kind of death-in-life experience. Camille, who she more or less is forced to marry, is an idiot, and her aunt is an old fuddy duddy who moves the family from a nice country setting, to a dingy Paris alley, where she opens a haberdashery. In the first pages of the book, there’s a telling scene that has Therese staring out her window at a black wall. Paint it Black! As the family settles into its routine, a weekly ritual of dominos with friends becomes part of the mix. Enter Laurent, a friend of Camille’s from work. He’s a big lazy oaf from the country, who thinks of himself as an artist. Stuff happens, and before long Therese and Camille are going at it like nobody’s business. It’s hard not to recall, for example, The Postman Always Rings Twice: She stopped, gasping as though proud and avenged, holding Laurent, drunk with passion, on her breast. And in this bare and chilly room there were enacted scenes of burning lust, sinister in their brutality. Each fresh meeting brought still more frenzied ecstasies. Eventually Laurent’s long afternoons are noticed at work, and he’s forced to end his daily visits. Soon, in a vague sort of way, the lovers sense that Camille needs to go. At this point in the novel, the killing chapter (Chapter 11), that strikes me as crime writing at its finest. There’s a bizarre Edenic setting by the river, which has Laurent, Mister King Snake, kissing Therese’s foot, while Camille snoozes. Later, they all go out in a boat and, well, do the murder math. This scene had me recalling Dreiser’s American Tragedy, and could, I believe, stand alone as a short story. Unfortunately, that’s the high point of the novel. There is a fascinatingly morbid trip to the morgue (Chapter 13) that goes well beyond the “science” of Zola’s claim that he was staking out Realism – for Art’s sake. Bullshit. It’s Sensationalism 101: bodies, slabs, dripping water, and eventually the rotting Camille. After that, the wheels fly off the novel is a spectacular way. Immediately the lovers start feeling all paranoid, and wondering if they will be found out. This gets silly fast, as both Laurent and Therese find themselves jumping at shadows, as well as seeing and hearing things. Poe did this much better with the “Tell-Tale Heart.” Is it possible for two people to hallucinate the same specter? Camille calmly lay down between them, whilst Laurent wept over his impotence and Therese trembled lest the corpse might have the idea of using its victory to take her into its putrefied arms as her lawful master. This is not a supernatural novel, and yet this, and similar scenes, go on for pages and pages. The repetition is simply jaw-dropping. I almost gave up, but it’s a short book, and after a while I admit I kind of got into Zola’s demented excesses. The ending is for the most part predictable, maybe even more coldly comforting than these two deserve. Zola offers up the epitaph about 50 pages before the end: Nothing existed but murder and lust. Yep, that’s about it.

  25. 4 out of 5

    Kim

    Zola's preface to the second edition of this novel, which is included in the audiobook version I listened to, confirms that the work caused quite a sensation when it was first published in 1867. In the preface, Zola defends himself against charges of obscenity and states that the novel is in effect a detached and scientific study of the effect of temperament. While I'm not sure just how scientific and detached Zola really was, he was certainly scientific and detached enough for the novel to be r Zola's preface to the second edition of this novel, which is included in the audiobook version I listened to, confirms that the work caused quite a sensation when it was first published in 1867. In the preface, Zola defends himself against charges of obscenity and states that the novel is in effect a detached and scientific study of the effect of temperament. While I'm not sure just how scientific and detached Zola really was, he was certainly scientific and detached enough for the novel to be regarded as an early example of naturalism. It's a great read, but only if you're interested both in psychology and in reading about deeply unpleasant people making very poor life choices. It features an unhappy marriage, adultery, murder, guilt and paranoia: all the fun stuff. But the prose is wonderful, the atmosphere Zola creates is dark and claustrophobic and the ending is full of suspense. I listened to a French language audiobook, available for free from this website. There's another free French language audiobook out there (this one). Avoid it at all costs. I listened to the first chapter and the narrator is simply awful.

  26. 4 out of 5

    Sandra

    E’ da cinque stelle solamente la scena finale, con una tragica e maestosa Madame Raquin che si erge su Thérèse e Laurent come un angelo vendicatore o come un Cristo sul trono pronto a dividere i peccatori dai salvati. Nel romanzo però non ci sono peccatori e angeli, buoni e cattivi, ci sono soltanto, come dice Zola, “bestie umane e niente più”, Thérèse, Laurent e Camille. Non solo la descrizione delle loro pulsioni più profonde e del loro animo amorale è cruda e spoglia di qualsiasi abbellimento E’ da cinque stelle solamente la scena finale, con una tragica e maestosa Madame Raquin che si erge su Thérèse e Laurent come un angelo vendicatore o come un Cristo sul trono pronto a dividere i peccatori dai salvati. Nel romanzo però non ci sono peccatori e angeli, buoni e cattivi, ci sono soltanto, come dice Zola, “bestie umane e niente più”, Thérèse, Laurent e Camille. Non solo la descrizione delle loro pulsioni più profonde e del loro animo amorale è cruda e spoglia di qualsiasi abbellimento, ma anche la realtà che li circonda è descritta con forme cupe e putride, che capisco abbiano sconvolto i lettori dell’epoca: Zola non ha remore nel parlare delle brutalità e delle perversioni umane, nel descrivere scene raccapriccianti come la putrefazione dei morti o l’immonda esposizione al pubblico dei corpi nella Morgue,nel gettare in faccia al lettore la nuda realtà, fatta di incubi, ossessioni, allucinazioni di soggetti marchiati dal male con cicatrici che non rimargineranno mai. Un grandioso affresco impressionista del male, con pennellate di nero e di rosso su uno sfondo grigio come il passaggio del Pont- Neuf in cui si trovano l’oscura merceria e l’appartamento sovrastante in cui si svolgono le esistenze dei protagonisti.

  27. 5 out of 5

    Jorge

    Lo que se suponía iba a ser un largo barbecho a la literatura de Émile Zola (1840-1902), tan sólo quedó en 10 escasos días, pero suficientes para obtener otra riquísima cosecha. Al hilo de esa gran obra llamada “Germinal”, que me ha impresionado muy gratamente, no pude resistir iniciar otra de las narraciones de este autor. La elegida fue Thérèse Raquin que contiene un argumento por demás sugestivo, a la vez que espinoso. Como se sabe, a Émile Zola se le considera el padre del “Naturalismo”, cor Lo que se suponía iba a ser un largo barbecho a la literatura de Émile Zola (1840-1902), tan sólo quedó en 10 escasos días, pero suficientes para obtener otra riquísima cosecha. Al hilo de esa gran obra llamada “Germinal”, que me ha impresionado muy gratamente, no pude resistir iniciar otra de las narraciones de este autor. La elegida fue Thérèse Raquin que contiene un argumento por demás sugestivo, a la vez que espinoso. Como se sabe, a Émile Zola se le considera el padre del “Naturalismo”, corriente literaria que es abrazada por otros grandes autores y que triunfó hacia finales del siglo XIX. Me parece tener una especial predilección por los escritores de esa época, y no necesariamente todos ellos pertenecientes al “Naturalismo”: Maupassant (1850-1893), “Clarín” (1852-1901), Eca de Queiroz (1845-1900), Benito Pérez Galdós (1843-1920) y algunos otros. Durante su carrera como escritor, Zola concibió el proyecto literario llamado “Historia natural y social de una familia bajo el Segundo Imperio” que consiste en analizar y describir el comportamiento en sociedad, desde el punto de vista fisiológico, de unos seres humanos unidos por la genética y que forman una extensa y variopinta familia. El mencionado análisis abarca diversas épocas y diferentes ramas familiares dentro de las cuales Zola crea a sus personajes. A esta obra Émile Zola le llamó “Les Rougnon-Macquart”, la cual consta de 20 novelas en las que se describen los avatares de estos seres, utilizando para ello todas las características del “Naturalismo” que, básicamente, podríamos decir que reflejan un apego estricto a la realidad, detalle en la crudeza en los relatos y en la descripción de los personajes, sin menoscabo de evidenciar lo más desagradable de la vida humana. Sin embargo, antes de iniciar este ambicioso proyecto el autor escribió la novela "Thérèse Raquin", con la que inaugura esta corriente del llamado “Naturalismo”; en ese entonces Zola contaba con tan sólo 27 o 28 años de edad, siendo denostado por la crítica al considerar esta obra sumamente inmoral, corrupta y de muy mal gusto. El tiempo le proporcionó al autor una dulce recompensa ante aquellos amargos agravios recibidos en sus inicios como escritor y hoy es considerado como un autor muy influyente y muy admirado por una gran legión de lectores, entre los cuales me cuento yo. La novela comienza describiendo los antecedentes de nacimiento, niñez y primera juventud de la protagonista Thérèse Raquin. Sólo le bastaron unas cuantas páginas al autor para delinear el temperamento de la protagonista y de ahí lanzarnos hacia una trama por demás cautivante. Además del detalle del temperamento genético de Thérèse, el autor nos da cuenta de una infancia poblada por el agobio, por una renuncia malsana a la existencia y por una sordidez que han ido extinguiendo la vida emocional de la protagonista y no han permitido el desarrollo natural de las capacidades emotivas de ella. La de Thérèse es la historia de una vida irrespirable y sin canales de salida hacia el mundo; es como si sus recursos sensitivos se los hubieran cortado durante su infancia. Bajo esta historia de vida, Zola concibe una personalidad apagada, desinteresada, mezquina e hipócrita y en apariencia timorata. Estas circunstancias, temperamento y carácter, se conjuntan con la brutalidad y las ambiciones de su amante, Laurent, para desencadenar una trama turbadora, llena de patético egoísmo, de pasiones desbordadas; de voluntades exacerbadas y de moral transgredida. Todo ello auspiciado por Thérèse, quien al contacto con ese inescrupuloso amante provoca que se abran las compuertas de su temperamento, aprisionado por largos años, para desatar un furioso y maligno torrente. El autor nos muestra claramente la arrolladora superioridad de la pasión animalesca, tanto sobre la razón como sobre los valores morales; superioridad que suele presentarse en ciertas circunstancias y que acicateada por algunos temperamentos de incontinencia y debilidad extrema, se puede entender desde el punto de vista humano, pero no deja de ser reprobable y condenable moral y éticamente. Lo que tal vez nos quiere decir el autor es que la pasión animal puede llegar a ser imbatible en algunos temperamentos y bajo ciertas condiciones. Por más deplorable que sea esta situación, no podemos dejar de reconocer que, eventualmente, también sobre nosotros, en mayor o menor medida, impera ese reino construido de carne viva, en donde gobierna la pasión desorbitada y una vez bajo su égida de nada vale la moral que se nos ha inculcado, ni la razón que hemos educado y desarrollado durante toda nuestra vida. Hacia la mita del libro, hay varios capítulos donde la narración se centra en describirnos, con un estilo penetrante, los atroces pensamientos y los estados de ánimo de Laurent y de Thérèse, desapareciendo casi por completo tanto la acción como los personajes secundarios. Son capítulos donde se reconcentran los sentimientos de horror, de culpabilidad, de odio y de un miedo abominable hacia su existencia mutua. Después de esta especie de interludio, dominado por intenciones escondidas, pensamientos negativos internos, planes mentales y durante el cual se incuba una extrema pasión malsana, se desencadena la tormenta. Es como si durante esos capítulos se estuviesen formando densas y negras nubes que amenazan y conducen hacia un ineludible caos final. A pesar de ser ésta una de las primeras novelas del autor francés, destaca ya su capacidad para hacernos ver, con suma claridad, el torbellino que se mueve dentro del ser humano, agitado por las emociones más vivas y descontroladas, transgrediendo así los temas éticos y morales. El detalle que hace Zola de estas emociones es fabuloso y sus descripciones crudas y demasiado humanas nos hacen disfrutar e interesarnos cada vez más por su obra.

  28. 4 out of 5

    Knjigoholičarka

    Volela bih kada bih mogla da napišem neki dugačak i pametan review ove knjige, ali neka mi bude izgovor to što nabadam po androidu. Učmalost malograđanskog života rađa dosadu koja guši neutažene strasti. Ovo dovodi do preljube, preljuba dovodi do ubistva, a ubistvo do potpunog sloma dvoje ljubavnika, koji, umesto da uživaju u potpunoj slobodi, na kraju bivaju uništeni međusobnim optužbama, krivicom, paranojom, pa i mržnjom. Umesto do pokajanja, dolazi do sebične želje za što jednostavnijim begom i Volela bih kada bih mogla da napišem neki dugačak i pametan review ove knjige, ali neka mi bude izgovor to što nabadam po androidu. Učmalost malograđanskog života rađa dosadu koja guši neutažene strasti. Ovo dovodi do preljube, preljuba dovodi do ubistva, a ubistvo do potpunog sloma dvoje ljubavnika, koji, umesto da uživaju u potpunoj slobodi, na kraju bivaju uništeni međusobnim optužbama, krivicom, paranojom, pa i mržnjom. Umesto do pokajanja, dolazi do sebične želje za što jednostavnijim begom iz pakla prouzrokovanog nečistom savešću zbog takvog greha kao što je ubistvo. Sirovo, surovo i nimalo romantično.

  29. 4 out of 5

    Iman Vaezi

    ترز راکن اولین موفقیت چشمگیر ادبی زولا بود که البته بی بها هم نبود . محک صادقانه هرزگی انسان به مذاق منتقدان آن دوره اصلا خوش نیامد و حتی تلاش کردند ناشر را مجبور به سانسور کنند. زولا در مقدمه چاپ بعدی کتاب از کارش دفاع کرد: " امیدوارم خواننده درک کند که هدف من کار علمی است". بدین منظور زولا انسان را با حیوان برابر و مطیع و برده طبیعت بنیادین خویش در نظر میگیرد و با لفاظی نیمه علمی به توصیف حالات و کردار نمونههای انسانی خودش میپردازد. زولا هیچ علاقه و احساسی نسبت به کاراکترهای خودش ندارد، آنها چ ترز راکن اولین موفقیت چشمگیر ادبی زولا بود که البته بی بها هم نبود . محک صادقانه هرزگی انسان به مذاق منتقدان آن دوره اصلا خوش نیامد و حتی تلاش کردند ناشر را مجبور به سانسور کنند. زولا در مقدمه چاپ بعدی کتاب از کارش دفاع کرد: " امیدوارم خواننده درک کند که هدف من کار علمی است". بدین منظور زولا انسان را با حیوان برابر و مطیع و برده طبیعت بنیادین خویش در نظر می‌گیرد و با لفاظی نیمه علمی به توصیف حالات و کردار نمونه‌های انسانی خودش می‌پردازد. زولا هیچ علاقه و احساسی نسبت به کاراکترهای خودش ندارد، آن‌ها چیزی بیشتر از موش‌های آزمایشگاهی در آزمایش ادبی او نیستند: "پروتاگونیست‌هایی انتخاب کرده‌ام که تحت حکم‌فرمایی اعصاب و خونی (سودا و دم) که در عروقشان جریان دارد، بی‌بهره از اختیار و غرق شده در هر فعلی از زندگی‌شان که از قبل توسط کالبدشان مشخص شده هستند. ترز و لوران حیوان هستند، نه بیشتر." زولا به ناشر خود اصرار کرد که در زیر عنوان کتاب به جای "رمان" بنویسد "یک مطالعه". در آن زمان کتاب‌های واقع‌گرایانه خواننده داشت و زولا که قبلا تبلیغات‌چی ناشران بود، قدر و ارزش بازاریابی را می‌دانست. او می‌خواست نظر "مردهای متفکر" را جذب کند، کسانی که رمان را به عنوان یک مخلوق بیهوده و سبک در خور "زنان" می‌دانستند. "من خواسته‌ام که به جای شخصیت‌ها، مزاج‌ها را مورد مطالعه قرار دهم. به عبارت دیگر نقطه نظر من این بود که یک مرد نیرومند و قوی را در برابر زنی تسکین ناپذیر و شهوانی بگذارم و با دقت و نکته‌سنجی احساسات و تمایلات این دو موجود را بررسی کنم." این دیدگاه فیلتر نشده از انسانیت و بیان آن در تاریکی و لحن دقیق رمان چیزی است که آن را به شدت باورپذیر می‌کند. همه چیز از زاویه علمی بررسی شده است؛ مثلا در توصیف پشیمانی شخصیت‌ها زولا می‌گوید: "یک اختلال ارگانیک ساده، طغیان سیستم عصبی زمانی که تا مرز شکست کشیده می‌شود" نه یک میل اخلاقی برای رستگاری! روایتی با پیرنگی تند و تیز، لش، بی‌حیا، برهنه از شاخ و برگ همراه با ددمنشی، دل‌سردی‌ای نمور و تردیدی تکان دهنده که کاراکترهای آن وحشیانه بی‌رحم‌اند و خشمگینانه جانور خوی هستند. فضای گرایش طبیعت‌گرایی کتاب مدام به ذهن خواننده مذهبی حمله خواهد کرد. درک زولا از گناه که کاملا در زمینه پاسخ طبیعی به محرک بیولوژیکی است به شدت محدود است و تمام مسئولیت را از دوش گناهکار برمی‌دارد. خواننده قرن بیست و یکمی دیدگاه خاص طبیعت‌گرایی زولا (به ویژه تکیه بیش از حد او به مزاج‌های چهارگانه) را احتمالا در رده وثوق علم جمجمه‌خوانی می‌یابد! البته باید در نظر گرفت نگارش این کتاب به زمان قبل از روانشناسی و پزشکی مدرن برمی‌گردد. نکته جالبی دریافتم: اگر بخواهید کار بسیار سختی انجام دهید، مثلا فکر کنید می‌خواهید به کسی آسیب جدی وارد کنید، و ناگهان موقعیت بسیار مناسب آن فراهم شود، شما وارد برزخ لحظه‌ای برای یک تصمیم لحظه‌ای می‌شوید! و با تجربه‌ای که من از تصمیم‌های لحظه‌ای داشتم، مغز فریاد می‌زند: انجام بده! ..... طبیعت‌گرایی این است! تجربه‌ای که کاراکترها از سر می‌گذرانند، برای هر کدام از ما ممکن است روی دهد. یکی دیگر از نکات جالب و طنز کتاب این است که آب سردی بر فانتزی خرده جنایت‌های زناشویی می‌ریزد واین نکته را گوشزد می‌کند که حتی عبوس‌ترین و افسرده‌ترین زنان هم باید به شوهرشان بچسبند و کنارش بایستند. تعجبی ندارد که زولا دنبال خوانندگان مرد بود! نیمه اول کتاب خیلی سریع پیش رفت، ولی نیمه دوم سنگینتر (از حیث ناگواری) از آن است که به راحتی حمل شود و تنها پاراگراف آخر است که به یاری خواننده می‌آید. احساس می‌کنم زولا از جمله نویسندگانی بود که با علم به اینکه خوانندگان اوقات تلخی را با کتاب سپری می‌کنند خوشحال می‌شوند؛ یعنی می‌داند که توانسته آلام را خوب منتقل کند. به رغم ضعف‌های علمی، ترز راکن دیدگاه جالبی از رفتار انسان و یک مقدمه خوب از طبیعت‌گرایی در ادبیات ارائه می‌دهد. خیلی دوست دارم بیشتر بنویسم ولی از گزند اسپویل می‌ترسم، چیز بیشتری بدون لو دادن داستان نمی‌توان گفت. فکر می‌کردم محسن هنریار ترجمه مناسبی ارائه کرده است ولی با مقایسه ترجمه انگلیسی به خطاهای عجیبی برخوردم که کاملا مفهموم جمله را عوض می‌کنند، برای مثال در همان جمله‌ای که در پاراگراف دوم نوشتم: "پروتاگونیست‌هایی انتخاب کرده‌ام که تحت حکم‌فرمایی اعصاب و خونی که در عروقشان جریان دارد ... هستند" هنریار اینگونه ترجمه کرده: "اشخاصی را انتخاب کرده‌ام که کاملا بر اعصاب خود و خونی که در عروقشان است تسلط داشته باشند..." و ترجمه انگلیسی I chose protagonists supremely dominated by their nerves and their blood … بعید می‌دانم ترجمه انگلیسی اشتباه باشد، در نتیجه ترجمه فارسی کاملا مفهوم گشتار حذفی را در نظر نگرفته است. به نظرم مترجم‌های قدیمی اغلب بدین سبک ترجمه می‌کردند، یعنی متن را می‌خواندند و سپس برداشت خود را به زبان خود می‌نوشتند؛ مانند کارهای ذبیح الله منصوری، ترجمه مستعان از بی‌نوایان، ترجمه‌های مشفق از داستایفسکی و .... شاید بهتر باشد کسانی که به دنبال زیرخاکی هستند با وجود ترجمه‌های جدید و مستقیم تجدید نظری کنند.

  30. 4 out of 5

    Alex

    Therese Raquin is Madame Bovary on steroids. The young Zola was impressed by Bovary, and its influence is clear throughout Raquin - but he ratchets every aspect of the story up, for better and...well, mostly for worse; this isn't as good as Bovary. Mainly that's because Zola is no match at all for Flaubert psychologically. Bovary is as trenchant a view inside the human brain as I've read outside Tolstoy; laser-focused and brilliant. Zola, by contrast, is muddling about with some almost Medieval n Therese Raquin is Madame Bovary on steroids. The young Zola was impressed by Bovary, and its influence is clear throughout Raquin - but he ratchets every aspect of the story up, for better and...well, mostly for worse; this isn't as good as Bovary. Mainly that's because Zola is no match at all for Flaubert psychologically. Bovary is as trenchant a view inside the human brain as I've read outside Tolstoy; laser-focused and brilliant. Zola, by contrast, is muddling about with some almost Medieval notions of sanguine (that means optimistic) vs. nervous temperaments. It's all a mess, and unfortunately Zola hammers the shit out of it, and it all feels sophomoric. On the other hand, once you get past the psychological mumbo-jumbo, it's a fiercely intense book - straining at its sleeves with dread and tension. You thought Bovary had some unlikable characters? You ain't seen nothin'. Raquin's two leads are despicable, irredeemable cesspools of humanity. Zola is a visual writer. Manet's Olympia, above, isn't crucial to the story, but my footnotes pointed it out several times and I was glad I went and found it, so as a public service, here it is. Note the cat on the right. More importantly, he describes the alleys of mid-19th century Paris in wonderful sludgy detail, particularly the oozing Seine. Raquin is shockingly gruesome, especially for its time but even now. Edgar Allen Poe sought consciously to shock his audience, because he thought it would bring him attention: "But whether [the horrific shit] of which I speak are, or are not in bad taste is little to the purpose. To be appreciated you must be read, and these things are invariably sought after with avidity." (Edgar Allan Poe to Thomas W. White — April 30, 1835) The same strategy is at play here. (And it's clear from a shoutout to Poe's obsession with being buried alive that Zola's aware of this lesson.) In the last half of the book, the horror ratchets up to a Grand Guignol level: (view spoiler)[Therese invites a beating to her stomach in order to miscarry; a cat is murdered; and most of all, there's the awful spectacle of Mme. Raquin, paralyzed (Noirtier-style!) and forced to watch her two surrogate children confess savagely to her biological son's murder night after night. (hide spoiler)] I know some perfectly smart readers who just choose not to handle books about terrible people. Those friends of mine don't like Madame Bovary. (Or Wuthering Heights, for another example.) If you're one of those people, holy shit, do not read this book. But if you like the shadows...here are the things that ooze in them.

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