Emile Zola Quotes

“When truth is buried underground it grows, it chokes, it gathers such an explosive force that on the day it bursts out, it blows up everything with it.”
― Émile Zola

“Very well, sir. A woman's opinion, however humble she may be, is always worth listening to, if she's got any sense...If you put yourself in my hands, I shall certainly make a decent man of you.”
― Émile Zola, The Ladies' Paradise

“Men were springing up, a black avenging host was slowly germinating in the furrows, thrusting upward for the harvests of future ages. And very soon their germination would crack the earth asunder.”
― Émile Zola, Germinal

“For Zola, as for Huysmans, nature itself is uncanny because it is the domain of the feminine, a domain that is constitutionally defective, lacking, even pathological.”
― Charles Bernheimer

“Manet, however, was enthralled; he proceeded to give the title Nana to his painting of the courtesan Henriette Hauser, naming it after the daughter of the alcoholic laundress Gervaise Lantier in L’assommoir. Zola had not yet even begun to write his novel Nana, but the references in Manet’s painting were clear. When the Salon (presumably scandalized) rejected it, he brashly showed it in the window of a shop on the Boulevard des Capucines, virtually on the doorstep of the Opéra Garnier, where it created a succès de scandale. Zola, of course, appreciated the value of scandal in promoting his novels and was adept at creating it.”
― Mary McAuliffe, Dawn of the Belle Epoque: The Paris of Monet, Zola, Bernhardt, Eiffel, Debussy, Clemenceau, and Their Friends

“In the meantime, he anxiously awaited visitors, and on occasion even attempted some visits of his own—including one to his nearby Bellevue neighbor, the charming and notorious courtesan Valtesse de la Bigne. Red-haired and beautiful, Valtesse de la Bigne had brought several rich and titled men to financial ruin. She had also captivated some of the most sophisticated men in town, including Manet, who referred to her as “la belle Valtesse” and had painted her the year before. Born Louise Emilie Delabigne, Valtesse de la Bigne was sufficiently intelligent and charming to draw an entourage of admiring writers and artists such as Manet. Zola also paid court to Valtesse—although in his case from a desire to get the characters and setting right for his upcoming novel Nana. Flattered by his journalistic interest, Valtesse even agreed to show him her bedroom—until then off-limits to all but her most highly paying patrons. Zola (who seems to have limited his visit to note taking) used her over-the-top boudoir as the model for Nana’s bedroom. Even if the fictional Nana was nowhere near the sophisticated creature that Valtesse had become, the bed said it all. It was “a bed such as had never existed before,” Zola wrote, “a throne, an altar, to which Paris would come in order to worship her sovereign nudity.”
― Mary McAuliffe, Dawn of the Belle Epoque: The Paris of Monet, Zola, Bernhardt, Eiffel, Debussy, Clemenceau, and Their Friends

“MARY: Catherine! Is it necessary to include such a detail?

CATHERINE: Do you expect our readers to believe that we had no bodily needs or functions for entire days at a time?

MARY: No, but such things are simply—unstated. They go without saying.

CATHERINE: It’s very fashionable now to include realistic details, no matter how unpleasant or improper. Look at the French writers. Look at Émile Zola.

MARY: We are not French.”
― Theodora Goss, European Travel for the Monstrous Gentlewoman

“Właśnie w chwili kiedy wszyscy goście skakali i wrzeszczeli dla zabawy, w drzwiach ukazał się Goujet. Nie odważając się wejść, stał na progu onieśmielony, z wielkim krzewem białej róży w rękach – wspaniałym krzakiem, którego łodyga sięgała mu aż do twarzy, powplątywana kwiatami w jego płową brodę. Gervaise podbiegła ku niemu z twarzą rozpłomienioną żarem bijącym znad blachy pieców. Jakoś nie umiał się pozbyć ciężkiej swej donicy, a gdy solenizantka wzięła mu ją z rąk, coś tam tylko wykrztusił, nie odważając się jej uściskać. Dopiero ona sama musiała się wspiąć na palce i nadstawić mu policzek do ucałowania; on jednak i tak był jeszcze do tego stopnia zmieszany, że pocałował ją w oko, i to tak mocno, że o mało go jej nie wybił. Oboje aż zadrżeli przy tym ze wzruszenia.”
― Émile Zola, L'Assommoir

“Była z niej w owych czasach dziewuszka bardzo milutka, jasnowłosa i świeża. Koleżanki z pralni na ulicy Nowej wybrały ją na królową, mimo że była kulawa. No, i paradowało się po bulwarach, na umajonych pięknie wozach, wśród postronnych ludzi, którzy ją po prostu zjadali wzrokiem. Panowie przykładali do oczu lornetki, jakby była prawdziwą królową. Potem wieczorem odchodziła pyszna zabawa i aż do białego rana wszyscy wywijali nogami. Królowa, tak! Królowa w koronie i z szarfą, przez dwadzieścia cztery godziny, przez dwa okrążenia małej wskazówki na tarczy zegara! I ociężała, w głodowych męczarniach, wpatrywała się w ziemię, jakby szukała tego rynsztoka, w którym zgubiła swój majestat królowej strąconej z tronu.”
― Émile Zola, L'Assommoir

“- Je veux qu'on s'écrabouille pour Emile Zola. Tu connais Zola, quand même ?
- Le Gorgon Zola, oui, je connais.”
― Pascal Ruter, Le talent d’Achille