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Therese Raquin, by Emile Zola
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Émile Zola (1840-1902) was a French writer who was a major contributor to the development of theatrical naturalism. Zola was considered one of the greatest authors of the 19th century with his most famous works being The Three Cities Trilogy and Therese Raquin.
This version of Zola’s Therese Raquin includes a table of contents.
- Sales Rank: #1252323 in eBooks
- Published on: 2013-06-19
- Released on: 2013-06-19
- Format: Kindle eBook
Review
Neal Bell's exciting new adaptation, from the novel, keeps the grit and erotic animality, but throws out the cumbersome apparatus, letting the sordid story breath and compressing it into a series of tight, poetically written short scenes, using the grotesque tiny details to imply feelings and situations in vivid shorthand: Naturalism as haiku --Michael Feingold, The Village Voice
Naturalism and expressionism collide with shattering effectiveness in THÉRÈSE RAQUIN. Emile Zola's seminal work of naturalistic fiction caused an international scandal when published in 1867. Zola's blunt, unprettified representation of the most sordid elements of life infidelity, murder, madness and suicide--seemed revolutionary in the context of his time. Especially remarkable was Zola's gritty portrayal of his eponymous central character Thérèse, a brilliantly radical departure from the simpering female prototypes of Victorian convention. Playwright Neal Bell's expressionistic adaptation of Zola's masterwork is both allusive and bold. Bell, who understands that less is more, tersely renders a psychological suspense story that keeps us on the edge of our seats. --F Kathleen Foley, The Los Angeles Times
From the Back Cover
'Therese Raquin' is a clinically observed, sinister tale of adultery and murder among the lower orders in nineteenth-century Paris. Zola's dispassionate dissection of the motivations of his characters, mere 'human beasts' who kill in order to satisfy their lust, is much more than an atmospheric Second Empire period-piece. 'Therese Raquin' stands as a key early manifesto of the French Naturalist movement, of which Zola was the founding father. Even today, this novel has lost none of its power to shock.
About the Author
Émile François Zola (2 April 1840 – 29 September 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 and in the exoneration of the falsely accused and convicted army officer Alfred Dreyfus, which is encapsulated in the renowned newspaper headline J'Accuse.
Most helpful customer reviews
32 of 38 people found the following review helpful.
Therese Raquin
By Damian Kelleher
From the opening page, we are aware that this will be a dark work. 'Above the glazed roof the wall rises towards the sky,' writes Zola, 'black and coarsely rendered, as if covered with leprous sores and zigzagged with scars.'
A small household is described. We have Camille, a sickly, mothered, placid boy. As he becomes older, his mother's protective nature remains as strong as it was when he was a child. He is plied with medicines and 'adoring devotion', such that 'His growth had been stunted, so that he remained small and sickly looking; the movement of his skinny limbs were slow and tired.' Camille is presented as a wholly unattractive young man, with his ignorance 'just one more weakness in him.'
And then we have Therese Raquin. She was given to Camille's mother by his uncle when she was two, and has remained in Madame Raquin's household ever since. Therese has suffered the medicinal ministrations of Camille's mother, and because of this, has developed a quiet, introspective, intense demeanour. 'she developed a habit of speaking in an undertone, walking about the house without making any noise, and sitting silent and motionless on a chair with a vacant look in her eyes.'
This is an unhappy household. Or, perhaps, because everyone is so concerned with repressing any spark of feeling or emotion, it is a dead house that just happens to still be living. Camille is too ignorant and sick to have a personality beyond the studied egotism of a man who has grown up with a dominating, too-concerned mother, while Therese is a blank piece of paper, purposely unwritten upon. When her twenty-first birthday arrives, Madame Raquin informs Therese that she is to marry Camille. Therese accepts the decision, with all that changes of her life being she sleeps in Camille's bed and not her own. All else remains the same.
But soon an idea enters into Camille's head. He has always wanted to work in an office, the idea makes him 'pink with pleasure'. Against his mother's wishes, they move to Paris, where he finds a job working for the railway. Very quickly, life settles for everyone and time, as it does, plods along.
Thursday evenings become a social occasion for the family. Camille invites a colleague from work and his mother, a retired policeman she knew in Vernon, for a weekly game of dominoes. A few others arrive, and another routine is added to that of the Raquin's. Here, Zola is quite clear in his disdain for the evenings, 'After each game the players would argue for two or three minutes, then the dismal silence would descend again, interrupted only by more clicking.'
We are still near the very beginning of the novel. What Zola is doing now is to put all of the pieces into place - much like a game of dominoes - before adding the final character. A well-developed sense of drudgery, boredom and inevitability lies heavily across the text. We can quite comfortably imagine these characters continuing their lives in much the same manner until they are dead, and happily at that. What we do not want is for their life to become our own.
One day, Camille bumps into an old friend, Laurent. Camille invites his friend to Thursday's festivities, an invitation Laurent readily accepts.
When Therese lays eyes upon Laurent, she is floored. He seems, when compared to the colourless Camille, a real man, red-blooded and active. He has passions - he wishes to be a painter. He has emotions - he hates his father. He has desires - he speaks openly of painting naked women, and admiring their curves.
Over time, Laurent and Therese develop a clandestine relationship, meeting and making love under the nose of Camille and Madame Raquin, coming together in Therese' bed. Her husband and mother-in-law are shown to be so docile and unsuspecting that we can fully believe Therese capable of getting away with such activities, in their home.
From what we have read so far, Zola has written a reasonably commonly themed novel. We have the wife who is unappreciated and dreams of a love worthy of her lust; we have the inconsiderate, uncaring husband; we have the oblivious, hyper-affectionate mother. It would be easy to assume that Zola is spinning a fable such that finding and keeping love is more important than remaining within the shackles of a loveless marriage.
But hold on. Zola is far more clever than that. The passion Laurent and Therese share is shown as animalistic and obsessive; theirs is not the pure, passionate love we might expect. Therese declares, 'I love you, I have done since the day Camille first pushed you into the shop. You may not respect me, because I gave myself to you all at once, everything...Truly, I don't know how it happened. I am proud, I'm impetuous too, and I felt like hitting you that first day, when you kissed me and threw me to the floor here in this bedroom...'. But Laurent, too, is equally afflicted with lust, '...the regular satisfaction of his desires had given him sharp, imperative new appetites. He no longer felt the least unease when embracing his mistress, but sought her embrace with the obstinacy of a starving animal.'. Both Lauren and Therese show the negative aspects of secret, furtive lust - they are not in love, they are animals, tethered to one another with chains of desire and deceit.
It becomes clear that Camille must die for their relationship to progress beyond mere lust and into the love that they feel they deserve. He is dispatched with relative haste, and the novel proper begins.
Guilt, remorse and obsession form the remainder of the piece. Zola is clinical in his dissection of his character's psyche. It is as though he has laid out their mind on an operating table, and carefully removes a slice of personality for the purpose of analysis and understanding. No thought, no desire, no regret is left untouched. It is perhaps predictable that they would suffer from guilt following the murder of a man who, while timid and boring, was ultimately good, but Zola makes the focus of the novel something much greater than mere regret. He does not question or lay judgement, rather he presents the thoughts and feelings of these two people as they descend through the psychological depths of what they have done.
The novel is unrelentingly bleak. Chapter after chapter, the characters suffer their hearts and mind being torn apart. Zola slips the word 'insanity' into the text a few times, and we know he is giving us a clear clue. What would happen if two normal people commit an abnormal, horrible act? Zola pushes the limit of our understanding as far as he is able.
The peripheral characters exist to further the darkness of Laurent and Therese. It is quite clear that their function is to serve the primary characters, and not to exist as people in their own right. Perhaps with a lesser author this would be a problem, but because Zola possesses such psychological acuteness, we allow it. The Thursday night domino games continue, purely because the unending stretch of sameness is precisely what is tearing the lovers apart. They becomes married so that Zola can show us that when the price for our desire is too great, we no longer wish to possess it. And so on, and so on. They fall in and out of debauchery, violence, hatred, remorse and guilt, all so that Zola can analyse the workings of two minds that were once normal, but have become diseased.
Moving away from the psychological aspects of the novel for a moment, it is worth mentioning that Zola also has a tremendous gift for description and mood. Throughout the nineteenth century, Paris boasted a morgue, which was open to the public for inspection. On rows of gray slabs lay the bodies of the recently deceased, with a wall of clear glass separating the living and the dead. There was no such thing as refrigeration at the time, so as the days progressed, the bodies would putrefy and rot as they waited to be identified. Laurent, at an early stage of his guilt, visits the morgue daily, waiting to see Camille's drowned corpse. And when he does, Zola provides us with this breathtaking description, 'Camille was a revolting sight. He had been in the way for a fortnight. His face still looked firm and stiff; his features had been preserved, only the skin had taken on a yellowish, muddy hue. The head, thin, bony, and slightly puffy, was grimacing; it was at a slight angle, the hair was plastered against the temples, and the eyelids were up, revealing the globular whites of the eyes; the lips were twisted down at one corner in a horrible sneer; the blackish tip of the tongue was poking out between the white teeth.' And on it continues. Macabre? Certainly. But Zola's eye for description makes this a powerful scene.
Therese Raquin is a short novel. There is no space for side plots, or avenues of digression. According to Zola, 'I simply carried out on two living bodies the same examination that surgeons perform on corpses.' What we have is an exploration of the darker parts of our psyche in brevity, a bleak early masterpiece.
30 of 36 people found the following review helpful.
A Gripping Story, I Couldn't Put It Down!
By Heather Simmons
Therese Raquin pulled me right into the story. I couldn't put it down, I had to find out what was going to happen next. It was destined to be a classic.
The story is about a young woman named Therese Raquin, who is unhappily married to her sickly, weak cousin Camille. As a child Therese was adopted by Madam Raquin. Camille was her sick son, who she kept close watch over and spoiled with home-made medicines and warm blankets. Camille was always fond of Therese and insisted that she take the medicne before he did (Even though she was never sick). Madam Raquin decided to arrange for the two to one day marry because she feared that there would be no one to take care of Camille once she was gone. Therese and Camille wed once they were 21. Madam Raquin owned a shop that Therese helped her run, and Camille insisted on taking a job as a clerk because he was bored with staying at home. One day Camille ran into his old friend from childhood, Laurent. Laurent is a strong, handsom man, unlike Camille who is small, puny, and and ugly. Therese is immediatley infatuated with Laurent and soon falls in love with him. Laurent is a lazy ladiesman who has landed a job as a clerk at the same company as Camille after failing as an artist. Laurent finds Therese to be ugly and boring because of her constant silence, but he yearns for the company of a woman and sees Therese as an easy woman for him to seduce. He decides to become her lover right under Camille's nose. Madam Raquin considers Laurent a son, Camille considers him a brother, and Therese is crazy about him, so he has no problems arranging meetings for he and Therese to spend a few hours together. Laurent becomes amazed by Therese's lively spirit and activity in the bedroom and quickly falls under her spell. Crazy in love with one another, Therese and Laurent murder Camille in order to be together. For more than two years after Camille's murder, They avoid any intimacy with one another in order to not look suspicious. For those two years They are haunted by the memories of that terrible night and seem to be haunted by Camille himself. Convinced that once they are together again the hauntings will stop, Therese makes herself ill. Madam Raquin, still heartbroken over her son's death, becomes concerned. She believes that Therese's illness is cause by her sadness over Camille. She becomes convinced that Therese needs a man and arranges for her to marry Laurent. Finally, Laurent and Therese are together, but the haunting of Camille only gets worse. For many nights the couple is unable to sleep and are unable to go near each other. Their frustration turns into hate and they begin to abuse one another and blame one other for Camille's death. All the while Madam Raquin falls ill and becomes an invaid, unable to speak or move. Therese and Laurent decide to take care of her because having her in the house means they do not have to be alone with one another. Madam Raquin becomes a witness to the horrible abuse that Laurent and Therese do to one another. They accidentally let their secret slip in front of her while having one of their daily fights. Unable to speak or move to tell anyone, she refuses to let herself die until she sees Therese and Laurent pay for what they did.
This story is one worth reading. The tragic story of two people in love, turned against one another in the middle of a plot to be together. Its a true classic and a must read.
7 of 7 people found the following review helpful.
Bold and full of suspense
By A Customer
"Therese Raquin" has all the right ingredients where living terror tales are made up of. Comprised of characters of freakish nature (sicky pale, childish, pasty face husband, the kind but naive doting mother, the cruel and good for nothing handsome lover, the plain, boring ugly uninspiring neighbours and of course the dangerously oppressed Therese herself)and their gray depressing surroundings, Zola describes the realistic scene of the poor in France. In the story, a young woman who has to endure a socially/mentally deprived environment in her husband and mother in law's house begins an affair with her husband's childhood friend. Frustrated at their slim chance of a better future, both decide to kill Therese's husband to pursue their happiness together. But is the poor man really dead? Or isn't he..... Ironic, full of suspense, shocking psychology and ugly side of human psychics, Zola has managed to link each of complex human emotion with psychological terror into his tale. If you think this is another simple tale of adultery, you're definitely missing out a lot. Treat yourself to a night of terror and give this a chance!
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