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Les Rougon-Macquart #11
The Ladies' Paradise
The Ladies Paradise (Au Bonheur des Dames) recounts the rise of the modern department store in late nineteenth-century Paris. The store is a symbol of capitalism, of the modern city, and of the bourgeois family: it is emblematic of changes in consumer culture, and the changes in sexual attitudes and class relations taking place at the end of the century. This new translation of the eleventh novel in Zola's Rougon-Macquart cycle captures the spirit of one of his greatest works.
438 pages, Paperback
First published January 1, 1883
About the author
Émile Zola
2,935 books4,069 followersÉmile François Zola was an influential French novelist, the most important example of the literary school of naturalism, and a major figure in the political liberalization of France.
More than half of Zola's novels were part of a set of 20 books collectively known as Les Rougon-Macquart. Unlike Balzac who in the midst of his literary career resynthesized his work into La Comédie Humaine, Zola from the start at the age of 28 had thought of the complete layout of the series. Set in France's Second Empire, the series traces the "environmental" influences of violence, alcohol and prostitution which became more prevalent during the second wave of the Industrial Revolution. The series examines two branches of a family: the respectable (that is, legitimate) Rougons and the disreputable (illegitimate) Macquarts for five generations.
As he described his plans for the series, "I want to portray, at the outset of a century of liberty and truth, a family that cannot restrain itself in its rush to possess all the good things that progress is making available and is derailed by its own momentum, the fatal convulsions that accompany the birth of a new world."
Although Zola and Cézanne were friends from childhood, they broke in later life over Zola's fictionalized depiction of Cézanne and the Bohemian life of painters in his novel L'Œuvre (The Masterpiece, 1886).
From 1877 with the publication of L'Assommoir, Émile Zola became wealthy, he was better paid than Victor Hugo, for example. He became a figurehead among the literary bourgeoisie and organized cultural dinners with Guy de Maupassant, Joris-Karl Huysmans and other writers at his luxurious villa in Medan near Paris after 1880. Germinal in 1885, then the three 'cities', Lourdes in 1894, Rome in 1896 and Paris in 1897, established Zola as a successful author.
The self-proclaimed leader of French naturalism, Zola's works inspired operas such as those of Gustave Charpentier, notably Louise in the 1890s. His works, inspired by the concepts of heredity (Claude Bernard), social manichaeism and idealistic socialism, resonate with those of Nadar, Manet and subsequently Flaubert.
More than half of Zola's novels were part of a set of 20 books collectively known as Les Rougon-Macquart. Unlike Balzac who in the midst of his literary career resynthesized his work into La Comédie Humaine, Zola from the start at the age of 28 had thought of the complete layout of the series. Set in France's Second Empire, the series traces the "environmental" influences of violence, alcohol and prostitution which became more prevalent during the second wave of the Industrial Revolution. The series examines two branches of a family: the respectable (that is, legitimate) Rougons and the disreputable (illegitimate) Macquarts for five generations.
As he described his plans for the series, "I want to portray, at the outset of a century of liberty and truth, a family that cannot restrain itself in its rush to possess all the good things that progress is making available and is derailed by its own momentum, the fatal convulsions that accompany the birth of a new world."
Although Zola and Cézanne were friends from childhood, they broke in later life over Zola's fictionalized depiction of Cézanne and the Bohemian life of painters in his novel L'Œuvre (The Masterpiece, 1886).
From 1877 with the publication of L'Assommoir, Émile Zola became wealthy, he was better paid than Victor Hugo, for example. He became a figurehead among the literary bourgeoisie and organized cultural dinners with Guy de Maupassant, Joris-Karl Huysmans and other writers at his luxurious villa in Medan near Paris after 1880. Germinal in 1885, then the three 'cities', Lourdes in 1894, Rome in 1896 and Paris in 1897, established Zola as a successful author.
The self-proclaimed leader of French naturalism, Zola's works inspired operas such as those of Gustave Charpentier, notably Louise in the 1890s. His works, inspired by the concepts of heredity (Claude Bernard), social manichaeism and idealistic socialism, resonate with those of Nadar, Manet and subsequently Flaubert.
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Displaying 1 - 30 of 1,403 reviews
August 7, 2018
Two stories, one the coming of the modern world, capitalism and consumerism, and the other, the poor peasant girl marries money. An alternative title could be All About Shopping.
It is interesting to see how the shop assistants in the first department store in Paris (the Ladies' Delight was modelled on the Bonmarche, the real first store) were treated as servants. They lived in dormitories, had curfews, were expected to be chaste and could be fired for anything - or nothing - at all.
Interesting also to see how these girls, almost the lowest of the low, assumed airs and graces and found people they could bully whom they viewed as being even lower than themselves. Hasn't changed. It hasn't changed either that the people with money who therefore consider themselves to be at the top of the tree, "quality", object tremendously to those who would rise and marry into their ranks, especially if they aren't even pretty! (Megan Markle for instance, pretty as she is, the British press made much of her lowly beginnings and acted all superior over her dysfunctional family).
The story of how the working class of Paris suffered with the coming of the Ladies' Delight department store is the same as when Tesco moves in, or WalMart. All the little businesses die, the suppliers of those businesses often craftsmen, are out of work, and the uneducated young girls and strong young men find themselves low-paying work in those leviathans of the retail industry with rarely a chance to rise let alone own their own business or be respected as skilled tradesmen one day. Everyone says they won't shop at Tesco or WalMart, that they will continue to support their local shops but few - ever do. It's just so convenient...
This is a good book, a lot more gentle in its depiction of the working classes and their plight than is usual for Zola, although his overarching theme of a great industrial machine grinding people down remains. Lots of well-drawn characters, good people, bad people and very, very naughty ones. It would make a marvellous film, lots of potential of showing both the changing times and coming of consumerism and an age old love story with a twist, a heroine who is definitely not fair of face.
Update The BBC made a serial. They spoiled it by making the heroine pretty rather than a very competent and dedicated young woman who grows in confidence at her abilities. That missed Zola's points of not only could an extremely talented person who makes money for their employers rise, but that a man could fall in love with character and personality above all. Independent TV did worse by responding with Mr. Selfridge about the founder of the wonderful London department store, Selfridges. That was merely soap opera.
Originally read and written in 2011, but rewritten 7th July 2018
It is interesting to see how the shop assistants in the first department store in Paris (the Ladies' Delight was modelled on the Bonmarche, the real first store) were treated as servants. They lived in dormitories, had curfews, were expected to be chaste and could be fired for anything - or nothing - at all.
Interesting also to see how these girls, almost the lowest of the low, assumed airs and graces and found people they could bully whom they viewed as being even lower than themselves. Hasn't changed. It hasn't changed either that the people with money who therefore consider themselves to be at the top of the tree, "quality", object tremendously to those who would rise and marry into their ranks, especially if they aren't even pretty! (Megan Markle for instance, pretty as she is, the British press made much of her lowly beginnings and acted all superior over her dysfunctional family).
The story of how the working class of Paris suffered with the coming of the Ladies' Delight department store is the same as when Tesco moves in, or WalMart. All the little businesses die, the suppliers of those businesses often craftsmen, are out of work, and the uneducated young girls and strong young men find themselves low-paying work in those leviathans of the retail industry with rarely a chance to rise let alone own their own business or be respected as skilled tradesmen one day. Everyone says they won't shop at Tesco or WalMart, that they will continue to support their local shops but few - ever do. It's just so convenient...
This is a good book, a lot more gentle in its depiction of the working classes and their plight than is usual for Zola, although his overarching theme of a great industrial machine grinding people down remains. Lots of well-drawn characters, good people, bad people and very, very naughty ones. It would make a marvellous film, lots of potential of showing both the changing times and coming of consumerism and an age old love story with a twist, a heroine who is definitely not fair of face.
Update The BBC made a serial. They spoiled it by making the heroine pretty rather than a very competent and dedicated young woman who grows in confidence at her abilities. That missed Zola's points of not only could an extremely talented person who makes money for their employers rise, but that a man could fall in love with character and personality above all. Independent TV did worse by responding with Mr. Selfridge about the founder of the wonderful London department store, Selfridges. That was merely soap opera.
Originally read and written in 2011, but rewritten 7th July 2018
January 28, 2024
This novel tells of small convenience stores' fierce (but hopeless) struggle against big brands. It was not part of the last literary season, but it is a novel written at the end of the 19th century.
And that calls out, necessarily. The themes will not disorient the modern reader's approach: the small shops that bitterly see their most loyal customers leaving them for uniform goods and without art, the terrible pressure on prices, or even the exploitation of the sweating staff. There's blood and water to scratch a little more margin on sales, only to get fired overnight because of a misinterpreted frown.
Even more surprising for me, the handling mechanisms are also very well described by Zola:
1- Advertisements
2- The glorious staging of the goods
3- The promise of free return if the product is ultimately not fair
4- Provision of drinks
5- Trade fairs.
Everything there is wonderfully dissected and analyzed, which is all the more impressive since these subjects were, to my knowledge, not yet theorized or studied in his time.
Reading this novel is a curious experience: one has the impression of reliving a current fight in the context of the past. Le Bonheur des Dames is described as a greedy monster that devours everything: goods, employees, and customers, unable to stop even if it wanted to. Yet, on the other side, we see the small shops darkening, becoming ugly, being eaten away by the humidity, as if they wanted to disappear on their own, aware of being now anachronistic.
Suffice it to say that I was surprised to see some still standing when I came out in the street!
And that calls out, necessarily. The themes will not disorient the modern reader's approach: the small shops that bitterly see their most loyal customers leaving them for uniform goods and without art, the terrible pressure on prices, or even the exploitation of the sweating staff. There's blood and water to scratch a little more margin on sales, only to get fired overnight because of a misinterpreted frown.
Even more surprising for me, the handling mechanisms are also very well described by Zola:
1- Advertisements
2- The glorious staging of the goods
3- The promise of free return if the product is ultimately not fair
4- Provision of drinks
5- Trade fairs.
Everything there is wonderfully dissected and analyzed, which is all the more impressive since these subjects were, to my knowledge, not yet theorized or studied in his time.
Reading this novel is a curious experience: one has the impression of reliving a current fight in the context of the past. Le Bonheur des Dames is described as a greedy monster that devours everything: goods, employees, and customers, unable to stop even if it wanted to. Yet, on the other side, we see the small shops darkening, becoming ugly, being eaten away by the humidity, as if they wanted to disappear on their own, aware of being now anachronistic.
Suffice it to say that I was surprised to see some still standing when I came out in the street!
October 4, 2012
Life in an 1860s Paris megastore. As capitalism staggers around on its bunioned feet, waiting for the next self-perpetuating excuse for sickening human greed and useless backbreaking timewasting bullshit in pursuit of Capital to relieve its burden, it’s time to question what we want from an economic system here in the West. A completely equal distribution of funds is impossible since people are cash-hoovering greed machines who will stab their mothers to get a bigger pie slice. Communism is unpopular due to its fascist tendencies. Perhaps we could try kindness, generosity, wealth-sharing and self-sustaining communities? Stop laughing. The Ladies’ Paradise explores the viperous world of ladies’ retail and the nascent capitalist machine. Bitching and hating and desperation and greed and corsages. That’s the fashion world for you. Denise is Zola’s pure-hearted ingénue who, rather implausibly, and clumsily, enchants the evil chauvinist Octave Mouret with her dowdy virginal loveliness. After a long struggle, she becomes the belle of the megamall, and tames the old beast by refusing to surrender her maidenhead. Nowadays, to get that kind of career traction, you have to humiliate yourself on The Apprentice. The novel is festooned with elaborate descriptions of store displays, which go on and on until we get the bleeding point, and the POV is schizo even by Zola’s standards, but the whole work is admirably ruthless. So: death to capitalism! All hail have-a-tenner-on-me-ism!
Update: BBC adaptation currently showing on the iplayer
Update: BBC adaptation currently showing on the iplayer
March 10, 2012
Holy Mother of God...
I do not know where to begin with this.
You see this title, and you look up the book: "Oh, a novel about women and shopping, this is going to be a bore..." Even I had my doubts, and I am an avid reader of Zola, he has yet to disappoint me. And yet, I believe that this may be the best work of his that I have yet to read, perhaps Germinal is slipping through, just...
It's still so relevant to today in so many ways, the birth of the super stores and the effect they had and still do on small business. The ethical problems of big business muscling out the small guys unable to adapt, whether it be from financial limitations or due to stubbornness. Female employees being coerced to act on the whim of their male employers; the manipulation of pretty much every possible stakeholder in business only to drive up profits; marrying for money, this book has everything.
Readers of Zola will be aware of how gritty and raw he his; he does not hold back on the disastrous effects and ramifications that a world driven by capital and materiality has on his well built (with a strong emphasis on psychological aspects) characters which are more than believable, they come to life. Plenty of ups and downs in this one, you finally get some reprieve, a glimmer of hope, and then the door is slammed in your face. You cannot even make out who is the 'bad' guys are half the time, but I think that was purposeful since we are all human and acting in what we perceive to be our best interests, especially in a dog eat dog world that was Paris in the 1880's with new wealth being generated creating different class interactions.
There's so many characters that all have their own story. You feel pity, anger, sorrow, relief, all varying emotions for them as they progress along this story, certainly far from being one-dimensional. The ending seemed a bit too rushed for my liking, however the imagery leading up to it was some of the best I have read in a long time.
Business is a machine, and if you get in its' way, you will be dealt with relentlessly. Funnily enough Futurama is on TV now, the episode being where the robots try to take over Earth.
I do not know where to begin with this.
You see this title, and you look up the book: "Oh, a novel about women and shopping, this is going to be a bore..." Even I had my doubts, and I am an avid reader of Zola, he has yet to disappoint me. And yet, I believe that this may be the best work of his that I have yet to read, perhaps Germinal is slipping through, just...
It's still so relevant to today in so many ways, the birth of the super stores and the effect they had and still do on small business. The ethical problems of big business muscling out the small guys unable to adapt, whether it be from financial limitations or due to stubbornness. Female employees being coerced to act on the whim of their male employers; the manipulation of pretty much every possible stakeholder in business only to drive up profits; marrying for money, this book has everything.
Readers of Zola will be aware of how gritty and raw he his; he does not hold back on the disastrous effects and ramifications that a world driven by capital and materiality has on his well built (with a strong emphasis on psychological aspects) characters which are more than believable, they come to life. Plenty of ups and downs in this one, you finally get some reprieve, a glimmer of hope, and then the door is slammed in your face. You cannot even make out who is the 'bad' guys are half the time, but I think that was purposeful since we are all human and acting in what we perceive to be our best interests, especially in a dog eat dog world that was Paris in the 1880's with new wealth being generated creating different class interactions.
There's so many characters that all have their own story. You feel pity, anger, sorrow, relief, all varying emotions for them as they progress along this story, certainly far from being one-dimensional. The ending seemed a bit too rushed for my liking, however the imagery leading up to it was some of the best I have read in a long time.
Business is a machine, and if you get in its' way, you will be dealt with relentlessly. Funnily enough Futurama is on TV now, the episode being where the robots try to take over Earth.
June 3, 2018
Zola's depiction of La Samaritain/Le Bon Marché - Paris' first department stores - is an absolute classic and a wonderfully entertaining read. Incredibly influential on his generation (Manet, etc), it is a photographic record of life in the 19th c as the bourgeoisie started wielding their consumer power and the lives of those in the poorer classes that risked being crushed in the onrush through the doors of the store. A must.
June 1, 2022
Le phalanstère du négoce
Le grand magasin Au Bon Marché en 1887
Denise Baudu est arrivée de Valognes avec ses frères pour trouver une place auprès de son oncle après la mort successive de leur mère et de leur père. La jeune femme découvre rapidement que le petit commerce végète tandis que les grands établissements – qui pratiquent une forme moderne de publicité, de diversification dans les rayons, de renouvellement fréquent des articles, mise en concurrence des vendeurs par le biais de primes sur les ventes – emportent un succès de raz-de-marée. Elle en vient à travailler pour l'un de ces grands bazars, Au Bonheur des Dames, tout au bas de l'échelle. L'existence est difficile, les perspectives incertaines, jusqu'à ce qu'un grand personnage s'éprenne d'elle.
Mon avis:
Pour moi, les grandes réussites de ce roman sont les descriptions quasiment mythologiques de ce grand magasin, à la fois machine, ogre, temple, et femme... Créature formidable où toute la vie du propriétaire Octave Mouret se fond, dans sa quête passionnelle de conquête universelle des femmes qui forment sa clientèle. Dans cette synthèse colossale apparaît quelque chose de quasiment luciférien, qui rapproche notre homme d'un Ahab ou d'un Némo, sublime et terrible devant la foule séduite, qui s'amasse dans l'adoration de son œuvre titanesque.
Ici, les passions sensuelles, l'appât du gain, l'attrait du luxe et leurs névroses s'entremêlent et se confondent en une âpre séduction qui est aussi celle de la lutte pour la vie, une image ensorcelante qui taraude souvent Denise, à la fois angoissée et fascinée par la croissance gigantesque du magasin, qui écrase dans sa marche implacable les petites boutiques, avale les bâtiments, transfigure intégralement le quartier d'où il est sorti.
Autre point d'intérêt exceptionnel à mon avis : le roman de Zola décortique le fonctionnement d'horlogerie d'un magasin moderne, qui s'apparente de plus en plus, sur les conseils de Denise, à un immense phalanstère, à un univers contenu en lui-même, à la source tumultueuse d'un nouvel âge.
*********
QUELQUES CITATIONS:
'Il lui semblait qu’elle était toute petite, et elle éclatait en larmes, au fond de leur jardin de Valognes, en voyant les fauvettes manger les araignées, qui elles-mêmes mangeaient les mouches. Était-ce donc vrai, cette nécessité de la mort engraissant le monde, cette lutte pour la vie qui faisait pousser les êtres sur le charnier de l’éternelle destruction ?'
***
'Mouret, cependant, avait jeté un coup d’œil vers le salon. Et, en quelques phrases dites à l’oreille du baron Hartmann, comme s’il lui eût fait de ces confidences amoureuses qui se risquent parfois entre hommes, il acheva d’expliquer le mécanisme du grand commerce moderne. Alors, plus haut que les faits déjà donnés, au sommet, apparut l’exploitation de la femme. Tout y aboutissait, le capital sans cesse renouvelé, le système de l’entassement des marchandises, le bon marché qui attire, la marque en chiffres connus qui tranquillise. C’était la femme que les magasins se disputaient par la concurrence, la femme qu’ils prenaient au continuel piège de leurs occasions, après l’avoir étourdie devant leurs étalages. Ils avaient éveillé dans sa chair de nouveaux désirs, ils étaient une tentation immense, où elle succombait fatalement, cédant d’abord à des achats de bonne ménagère, puis gagnée par la coquetterie, puis dévorée. En décuplant la vente, en démocratisant le luxe, ils devenaient un terrible agent de dépense, ravageaient les ménages, travaillaient au coup de folie de la mode, toujours plus chère. Et si, chez eux, la femme était reine, adulée et flattée dans ses faiblesses, entourée de prévenances, elle y régnait en reine amoureuse, dont les sujets trafiquent, et qui paye d’une goutte de son sang chacun de ses caprices.'
***
'Il avait conquis les mères elles-mêmes, il régnait sur toutes avec la brutalité d’un despote, dont le caprice ruinait des ménages. Sa création apportait une religion nouvelle, les églises que désertait peu à peu la foi chancelante étaient remplacées par son bazar, dans les âmes inoccupées désormais. La femme venait passer chez lui les heures vides, les heures frissonnantes et inquiètes qu’elle vivait jadis au fond des chapelles : dépense nécessaire de passion nerveuse, lutte renaissante d’un dieu contre le mari, culte sans cesse renouvelé du corps, avec l’au delà divin de la beauté. S’il avait fermé ses portes, il y aurait eu un soulèvement sur le pavé, le cri éperdu des dévotes auxquelles on supprimerait le confessionnal et l’autel.'
***
'[...] Mouret avait inventé cette mécanique à écraser le monde, dont le fonctionnement brutal l’indignait ; il avait semé le quartier de ruines, dépouillé les uns, tué les autres ; et elle l’aimait quand même pour la grandeur de son œuvre, elle l’aimait davantage à chacun des excès de son pouvoir, malgré le flot de larmes qui la soulevait, devant la misère sacrée des vaincus.'
À propos de grands magasins :
Quelques inspirateurs de Zola :
Le Bon Marché
Les Grands Magasins du Louvre
Le Printemps
Lectures conseillées :
L'Argent
Nana
The Great Gatsby
Psychologie Des Foules
Propaganda
La Société du Spectacle
À la ligne
Musique pour la réclame :
Concerto pour violon et orchestre en mi mineur opus 64 - Mendelssohn
Le grand magasin Au Bon Marché en 1887
Denise Baudu est arrivée de Valognes avec ses frères pour trouver une place auprès de son oncle après la mort successive de leur mère et de leur père. La jeune femme découvre rapidement que le petit commerce végète tandis que les grands établissements – qui pratiquent une forme moderne de publicité, de diversification dans les rayons, de renouvellement fréquent des articles, mise en concurrence des vendeurs par le biais de primes sur les ventes – emportent un succès de raz-de-marée. Elle en vient à travailler pour l'un de ces grands bazars, Au Bonheur des Dames, tout au bas de l'échelle. L'existence est difficile, les perspectives incertaines, jusqu'à ce qu'un grand personnage s'éprenne d'elle.
Mon avis:
Pour moi, les grandes réussites de ce roman sont les descriptions quasiment mythologiques de ce grand magasin, à la fois machine, ogre, temple, et femme... Créature formidable où toute la vie du propriétaire Octave Mouret se fond, dans sa quête passionnelle de conquête universelle des femmes qui forment sa clientèle. Dans cette synthèse colossale apparaît quelque chose de quasiment luciférien, qui rapproche notre homme d'un Ahab ou d'un Némo, sublime et terrible devant la foule séduite, qui s'amasse dans l'adoration de son œuvre titanesque.
Ici, les passions sensuelles, l'appât du gain, l'attrait du luxe et leurs névroses s'entremêlent et se confondent en une âpre séduction qui est aussi celle de la lutte pour la vie, une image ensorcelante qui taraude souvent Denise, à la fois angoissée et fascinée par la croissance gigantesque du magasin, qui écrase dans sa marche implacable les petites boutiques, avale les bâtiments, transfigure intégralement le quartier d'où il est sorti.
Autre point d'intérêt exceptionnel à mon avis : le roman de Zola décortique le fonctionnement d'horlogerie d'un magasin moderne, qui s'apparente de plus en plus, sur les conseils de Denise, à un immense phalanstère, à un univers contenu en lui-même, à la source tumultueuse d'un nouvel âge.
*********
QUELQUES CITATIONS:
'Il lui semblait qu’elle était toute petite, et elle éclatait en larmes, au fond de leur jardin de Valognes, en voyant les fauvettes manger les araignées, qui elles-mêmes mangeaient les mouches. Était-ce donc vrai, cette nécessité de la mort engraissant le monde, cette lutte pour la vie qui faisait pousser les êtres sur le charnier de l’éternelle destruction ?'
***
'Mouret, cependant, avait jeté un coup d’œil vers le salon. Et, en quelques phrases dites à l’oreille du baron Hartmann, comme s’il lui eût fait de ces confidences amoureuses qui se risquent parfois entre hommes, il acheva d’expliquer le mécanisme du grand commerce moderne. Alors, plus haut que les faits déjà donnés, au sommet, apparut l’exploitation de la femme. Tout y aboutissait, le capital sans cesse renouvelé, le système de l’entassement des marchandises, le bon marché qui attire, la marque en chiffres connus qui tranquillise. C’était la femme que les magasins se disputaient par la concurrence, la femme qu’ils prenaient au continuel piège de leurs occasions, après l’avoir étourdie devant leurs étalages. Ils avaient éveillé dans sa chair de nouveaux désirs, ils étaient une tentation immense, où elle succombait fatalement, cédant d’abord à des achats de bonne ménagère, puis gagnée par la coquetterie, puis dévorée. En décuplant la vente, en démocratisant le luxe, ils devenaient un terrible agent de dépense, ravageaient les ménages, travaillaient au coup de folie de la mode, toujours plus chère. Et si, chez eux, la femme était reine, adulée et flattée dans ses faiblesses, entourée de prévenances, elle y régnait en reine amoureuse, dont les sujets trafiquent, et qui paye d’une goutte de son sang chacun de ses caprices.'
***
'Il avait conquis les mères elles-mêmes, il régnait sur toutes avec la brutalité d’un despote, dont le caprice ruinait des ménages. Sa création apportait une religion nouvelle, les églises que désertait peu à peu la foi chancelante étaient remplacées par son bazar, dans les âmes inoccupées désormais. La femme venait passer chez lui les heures vides, les heures frissonnantes et inquiètes qu’elle vivait jadis au fond des chapelles : dépense nécessaire de passion nerveuse, lutte renaissante d’un dieu contre le mari, culte sans cesse renouvelé du corps, avec l’au delà divin de la beauté. S’il avait fermé ses portes, il y aurait eu un soulèvement sur le pavé, le cri éperdu des dévotes auxquelles on supprimerait le confessionnal et l’autel.'
***
'[...] Mouret avait inventé cette mécanique à écraser le monde, dont le fonctionnement brutal l’indignait ; il avait semé le quartier de ruines, dépouillé les uns, tué les autres ; et elle l’aimait quand même pour la grandeur de son œuvre, elle l’aimait davantage à chacun des excès de son pouvoir, malgré le flot de larmes qui la soulevait, devant la misère sacrée des vaincus.'
À propos de grands magasins :
Quelques inspirateurs de Zola :
Le Bon Marché
Les Grands Magasins du Louvre
Le Printemps
Lectures conseillées :
L'Argent
Nana
The Great Gatsby
Psychologie Des Foules
Propaganda
La Société du Spectacle
À la ligne
Musique pour la réclame :
Concerto pour violon et orchestre en mi mineur opus 64 - Mendelssohn
January 29, 2024
بهشت بانوان یازدهمین کتاب از مجموعه بیست جلدی روگن ماکاره، دنباله مستقیم کتاب قبلی، دیگه دیزی، محسوب میشه و در دوران اوج شکوفایی اقتصادی امپراطوری دوم فرانسه اتفاق میفته. دورانی که به سبب رفاه اقتصادی، طبقه متوسط بزرگ و مرفهی بوجود اومده که تمایل و توان زیادی برای خرج کردن پول و خرید محصولات غیر ضروری داشتن.
داستان کتاب درباره دختری بنام دنیز بادوئه که به همراه دو برادر خودش به پاریس میاد و در فروشگاه بهشت بانوان مشغول به کار میشه. فروشگاه بزرگی که با مدیریت اکتاو موره روز به روز موفق تر میشه.
کتاب لایه های متعددی داره و از زاویه های زیادی میشه بهش پرداخت. از یک طرف روایتگر زندگی روزمره کارکنان این فروشگاه بزرگه و با جزییات زیادی به پشت پرده زندگی اونا میپردازه. اینکه چی میپوشن، چه غذایی میخورن، تفریحاتشون چیه، چه مشکلاتی دارن، رقابت بی رحمانشون با همدیگه، از پشت خنجر زدن هاشون، زیرآب زدن هاشون برای رسیدن به سمت و حقوق بیشتر در بهشت بانوان. رفتارها و روحیه رقابتی که مدیران فروشگاه هم به تشویقشون میپردازن.
از طرف دیگه این کتاب به سوداگری و سرمایه داری نوین هم میپردازه و از این نظر مثل یک کتاب اقتصادی عمل میکنه. بهشت بانوان یک فروشگاه بزرگ عادی نیست بلکه یک مدل اولیه از پاساژهای فعلیه که در اون از شیر مرغ تا جون آدمیزاد فروخته میشه. از پارچه های ابریشمی و حریر و مخمل تا چتر و عطر و اسباب بازی. فروشگاهی بزرگ که بالای هزار نفر کارمند و حقوق بگیر داره. تصور این فروشگاه برای ما سخت و عجیب نیست اما در قرن نوزدهم درحالی که اکثر اجناس توسط مغازه های محلی و مستقل بفروش میرسیدند، ایده یک فروشگاه بزرگ همه چی فروش، انقلابی و بدیع بود. بهشت بانوان با پیشرفت خودش، تک تک این مغازههای مستقل رو میبلعه و مغازه دارهایی که در مقابل این پیشرفت اقتصادی و دنیای مدرن مقاومت میکردن و به ایدهها و روش های سنتی خودشون میچسبیدن، به طور کامل ورشکسته و نابود میشن.
علاوه بر تمام این موضوعات، بهشت بانوان یک کتاب عاشقانه هم محسوب میشه و درس بزرگی که به خوانندش میده اینه که هم پول و هم عشق برای عاقبت بخیر شدن نیازه.
از موضوعات فرعی که کتاب بهش میپردازه که خیلی برای من جالب بود، جنون دزدی و نحوه برخورد صاحبان فروشگاه با این مسئله بود. همزمان هم مشتری مدار بمونن و پای پلیس رو وسط نکشن هم طوری برخورد کنن که اینکار تکرار نشه
پ.ن: از روی این کتاب یه سریال هم بی بی سی ساخته که فقط تو پلات اصلی و اسم شخصیت ها با کتاب اشتراک داره.
داستان کتاب درباره دختری بنام دنیز بادوئه که به همراه دو برادر خودش به پاریس میاد و در فروشگاه بهشت بانوان مشغول به کار میشه. فروشگاه بزرگی که با مدیریت اکتاو موره روز به روز موفق تر میشه.
کتاب لایه های متعددی داره و از زاویه های زیادی میشه بهش پرداخت. از یک طرف روایتگر زندگی روزمره کارکنان این فروشگاه بزرگه و با جزییات زیادی به پشت پرده زندگی اونا میپردازه. اینکه چی میپوشن، چه غذایی میخورن، تفریحاتشون چیه، چه مشکلاتی دارن، رقابت بی رحمانشون با همدیگه، از پشت خنجر زدن هاشون، زیرآب زدن هاشون برای رسیدن به سمت و حقوق بیشتر در بهشت بانوان. رفتارها و روحیه رقابتی که مدیران فروشگاه هم به تشویقشون میپردازن.
از طرف دیگه این کتاب به سوداگری و سرمایه داری نوین هم میپردازه و از این نظر مثل یک کتاب اقتصادی عمل میکنه. بهشت بانوان یک فروشگاه بزرگ عادی نیست بلکه یک مدل اولیه از پاساژهای فعلیه که در اون از شیر مرغ تا جون آدمیزاد فروخته میشه. از پارچه های ابریشمی و حریر و مخمل تا چتر و عطر و اسباب بازی. فروشگاهی بزرگ که بالای هزار نفر کارمند و حقوق بگیر داره. تصور این فروشگاه برای ما سخت و عجیب نیست اما در قرن نوزدهم درحالی که اکثر اجناس توسط مغازه های محلی و مستقل بفروش میرسیدند، ایده یک فروشگاه بزرگ همه چی فروش، انقلابی و بدیع بود. بهشت بانوان با پیشرفت خودش، تک تک این مغازههای مستقل رو میبلعه و مغازه دارهایی که در مقابل این پیشرفت اقتصادی و دنیای مدرن مقاومت میکردن و به ایدهها و روش های سنتی خودشون میچسبیدن، به طور کامل ورشکسته و نابود میشن.
علاوه بر تمام این موضوعات، بهشت بانوان یک کتاب عاشقانه هم محسوب میشه و درس بزرگی که به خوانندش میده اینه که هم پول و هم عشق برای عاقبت بخیر شدن نیازه.
از موضوعات فرعی که کتاب بهش میپردازه که خیلی برای من جالب بود، جنون دزدی و نحوه برخورد صاحبان فروشگاه با این مسئله بود. همزمان هم مشتری مدار بمونن و پای پلیس رو وسط نکشن هم طوری برخورد کنن که اینکار تکرار نشه
پ.ن: از روی این کتاب یه سریال هم بی بی سی ساخته که فقط تو پلات اصلی و اسم شخصیت ها با کتاب اشتراک داره.
October 19, 2015
3.5 stars
I imagine a bewildered Émile Zola wandering into the crowds populating that new phenomenon that took Paris merchandising in the 19th century by storm - mass production and the creation of the one-stop mega-shop. He enters through the widely opened arms of polished French doors, having to blink tearily at the brilliantly lit chandeliers. Immediately, he is choked by perfumed mists diffusing the air and is submerged in whispers of fine French lace and ribbons, rows of rainbowed textures and fabrics on display, corsets and lingerie accosting his libido. He raises his gaze to the vaulted ceiling and catches the shrewd eye of Octave Mouret, hovering watchfully at the balcony of the second floor and nods a gentlemanly greeting. With this brief upward glance, Zola becomes distracted, shuttled through the cogs of this enormous commercial machine, through its undulating channels, eventually misplacing his wife in the melée - the latter having spied a lady friend in the direction of the fine dresses salon, where time becomes lost and space is infinite.
This is The Ladies' Paradise: the department store where all the whimsies of a woman are catered to in one majestic place; where romance, excitement and fantasy materialize through the latest in fashionable outerwear and underwear, notions, potions, novelties, household goods and other en vogue excesses not wholly necessary for ordinary life, are sold. (Ok, it's Macy's on steroids on 'discount day'!).
Eleventh in Les Rougon-Macquart cycle, the novel is about modern consumerism and utopian fantasy, a 19th century rags- to-riches story. Denise Baudu is a humble and impoverished shopgirl who finds work in the flourishing department store, The Ladies' Paradise, trying to make ends meet to support her two brothers, but colliding with the worst of human flaws. The novel chronicles the struggle between the traditional shop, the Old Elbeuf (the declining establishment owned by Denise's uncle), and the monster department store owned by the innovative Octave Mouret. A habitual seducer of women, Mouret's own insatiable passion is to conquer the 'woman', to hold her at his mercy, to intoxicate her with unwavering attentiveness and manipulate her desires within his establishment. The art of the seduction is not in the boudoir but in the caresses of silk and lace finery found at the most efficient of merchandising mechanisms, with the unique ability to offer national brands at substantial reductions.
Zola is a mesmerist when describing the scene of the crowd which takes on a protagonist role of its own. He details economic reinvention and capitalism fueled by consumers' neurotic impulses to shop, the system of mass production and the consequences its development had in revolutionizing the retail industry, in a story decked out in illusion, seduction, luxury, romance, class division, obsession and greed.
Any criticism I might offer would be Zola's neglect in providing reasons for Denise's rise in the department - what merited such promotions? In the BBC series, a very sketchy interpretation of the novel by the way, Denise is shown as an astute, bright and quick thinking sales girl whose original ideas won her elevation in the store. In the novel, however, Denise remains a mousy innocent, extremely mindful of her virtue, afraid of her own shadow, promoted not by any skill of her own, it appears, but by Mouret's regret that her reputation was often tarnished by her peers; secondly, by his own desire to conquer her, which eventually, more deeply turns to love.
The Ladies' Paradise is one of Zola's lighter novels in Les Rougon-Macquart series, yet gives some pause for reflection, to take stock of one's wants, needs and their intrinsic values: truthfully speaking, what price is a lady's satisfaction?
Other Zola novels read so far:
Therese Raquin ****
The Dram Shop ( L' assommoir )****
The Beast Within *****
Germinal *****
I imagine a bewildered Émile Zola wandering into the crowds populating that new phenomenon that took Paris merchandising in the 19th century by storm - mass production and the creation of the one-stop mega-shop. He enters through the widely opened arms of polished French doors, having to blink tearily at the brilliantly lit chandeliers. Immediately, he is choked by perfumed mists diffusing the air and is submerged in whispers of fine French lace and ribbons, rows of rainbowed textures and fabrics on display, corsets and lingerie accosting his libido. He raises his gaze to the vaulted ceiling and catches the shrewd eye of Octave Mouret, hovering watchfully at the balcony of the second floor and nods a gentlemanly greeting. With this brief upward glance, Zola becomes distracted, shuttled through the cogs of this enormous commercial machine, through its undulating channels, eventually misplacing his wife in the melée - the latter having spied a lady friend in the direction of the fine dresses salon, where time becomes lost and space is infinite.
This is The Ladies' Paradise: the department store where all the whimsies of a woman are catered to in one majestic place; where romance, excitement and fantasy materialize through the latest in fashionable outerwear and underwear, notions, potions, novelties, household goods and other en vogue excesses not wholly necessary for ordinary life, are sold. (Ok, it's Macy's on steroids on 'discount day'!).
Eleventh in Les Rougon-Macquart cycle, the novel is about modern consumerism and utopian fantasy, a 19th century rags- to-riches story. Denise Baudu is a humble and impoverished shopgirl who finds work in the flourishing department store, The Ladies' Paradise, trying to make ends meet to support her two brothers, but colliding with the worst of human flaws. The novel chronicles the struggle between the traditional shop, the Old Elbeuf (the declining establishment owned by Denise's uncle), and the monster department store owned by the innovative Octave Mouret. A habitual seducer of women, Mouret's own insatiable passion is to conquer the 'woman', to hold her at his mercy, to intoxicate her with unwavering attentiveness and manipulate her desires within his establishment. The art of the seduction is not in the boudoir but in the caresses of silk and lace finery found at the most efficient of merchandising mechanisms, with the unique ability to offer national brands at substantial reductions.
Zola is a mesmerist when describing the scene of the crowd which takes on a protagonist role of its own. He details economic reinvention and capitalism fueled by consumers' neurotic impulses to shop, the system of mass production and the consequences its development had in revolutionizing the retail industry, in a story decked out in illusion, seduction, luxury, romance, class division, obsession and greed.
Any criticism I might offer would be Zola's neglect in providing reasons for Denise's rise in the department - what merited such promotions? In the BBC series, a very sketchy interpretation of the novel by the way, Denise is shown as an astute, bright and quick thinking sales girl whose original ideas won her elevation in the store. In the novel, however, Denise remains a mousy innocent, extremely mindful of her virtue, afraid of her own shadow, promoted not by any skill of her own, it appears, but by Mouret's regret that her reputation was often tarnished by her peers; secondly, by his own desire to conquer her, which eventually, more deeply turns to love.
The Ladies' Paradise is one of Zola's lighter novels in Les Rougon-Macquart series, yet gives some pause for reflection, to take stock of one's wants, needs and their intrinsic values: truthfully speaking, what price is a lady's satisfaction?
Other Zola novels read so far:
Therese Raquin ****
The Dram Shop ( L' assommoir )****
The Beast Within *****
Germinal *****
April 19, 2023
Les Rougon-Macquart #11
The business world of 1860 France comes down to two words, “nouveau commerce.” This translates to one word, investment. And that leads to bigger things.
Like a big shiny store full of all those items that a modern woman in Paris would want to own: dresses, skirts, blouses, lingerie, gloves, scarves, belts, bags, umbrellas, trinkets, jewellery, and kilometres of fabrics from silk to lace, velour to crinoline. The latest colours. C’est chic, Mademoiselle. Oh so glorious store front windows. Murals and posters everywhere. A bookstore, photo albums galore, a stationery centre with big plumes to write in your daughter’s diary. There is even home decor too. Make your big house a happy home, Madame.
Whatever you desire we have it, in store, in stock. We have catalogues, translated in many languages. We don’t miss a thing. Target the audience. Thousands of red balloons too. Buy, buy, buy. Big sales. Prices reduced. Three days long. Shop till you drop. Ooh la la.
Feeling peckish? Run down from all that shopping? A husband driving you nuts? There is an unbelievable big and free buffet, a dreamy fountain bar, and a wine bar. The cellar is well stocked! It’s like going to the theatre. It’s big, its better, its a spectacle. Le Bonheur des Dames. Un bon marché. Ladies, it’s grande.
Our owner, Octave Mouret* fills that shiny store with everything, priced right, and eager to serve the new petit bourgeois clientele. He has three thousand people working for him, mostly women. He treats the women with disdain. Of course back then, the sales women were paid a pittance. Commissions got you your day’s wage. To really survive one should find a man and get married.
Not Denise Baudu. After her parents died, she headed into town in charge of her younger brothers asking for her uncle for help. His business was not doing so well so she found work at Le Bonheur just down the street. Things changed for the better for Denise. Sadly not necessarily for all.
Octave Mouret was obsessed with making money. When he reaches one million francs per day, he knows that he made it. He is ruthless. He forces everyone around to sell or loose their shirts. When they close, he just expands his store. Yet something happens and he notices that sales clerk Denise. She stands her ground but one day he goes too far.
It seems that Émile Zola has a passion for marketing (or a very keen eye). Words sells this fabulous store. Le Bonheur seems to flow off the page. There are passages, like the big sale in chapter 9 that is a combination of brilliant writing built on marketing phrases that was hard to put down. Or when one of the fashionable wealthy women get caught stealing. It was a treat to read, almost like being there. C’est vrai!
Of course, it’s not all fun and games. Zola is the master of realism. Some folks really are dealt a bad hand. And that is what makes this book so good. Highs and lows, laughs and tears, love and death. And a whole lotta money. Perhaps, there is just a little cynicism behind all that new money made in the shiny new Third Republic. Perhaps. So good. So Zola.
*according to the timeline, the store Le Bonheur des Dames was started in 1822 by the brothers Deleuze. After the older brother died, his eldest daughter Caroline married Charles Hédouin, who made fabric. Hédouin passed away and his widow Caroline married the young eager clerk Octave Mouret. He inherited the entire store after his wife and the other Deleuze had passed away. Mouret kept a framed photo of his dearly departed wife on his desk, vowing never to remarry. See Pot-bouille, the previous book for all the intrigue. An equally great romp.
The business world of 1860 France comes down to two words, “nouveau commerce.” This translates to one word, investment. And that leads to bigger things.
Like a big shiny store full of all those items that a modern woman in Paris would want to own: dresses, skirts, blouses, lingerie, gloves, scarves, belts, bags, umbrellas, trinkets, jewellery, and kilometres of fabrics from silk to lace, velour to crinoline. The latest colours. C’est chic, Mademoiselle. Oh so glorious store front windows. Murals and posters everywhere. A bookstore, photo albums galore, a stationery centre with big plumes to write in your daughter’s diary. There is even home decor too. Make your big house a happy home, Madame.
Whatever you desire we have it, in store, in stock. We have catalogues, translated in many languages. We don’t miss a thing. Target the audience. Thousands of red balloons too. Buy, buy, buy. Big sales. Prices reduced. Three days long. Shop till you drop. Ooh la la.
Feeling peckish? Run down from all that shopping? A husband driving you nuts? There is an unbelievable big and free buffet, a dreamy fountain bar, and a wine bar. The cellar is well stocked! It’s like going to the theatre. It’s big, its better, its a spectacle. Le Bonheur des Dames. Un bon marché. Ladies, it’s grande.
Our owner, Octave Mouret* fills that shiny store with everything, priced right, and eager to serve the new petit bourgeois clientele. He has three thousand people working for him, mostly women. He treats the women with disdain. Of course back then, the sales women were paid a pittance. Commissions got you your day’s wage. To really survive one should find a man and get married.
Not Denise Baudu. After her parents died, she headed into town in charge of her younger brothers asking for her uncle for help. His business was not doing so well so she found work at Le Bonheur just down the street. Things changed for the better for Denise. Sadly not necessarily for all.
Octave Mouret was obsessed with making money. When he reaches one million francs per day, he knows that he made it. He is ruthless. He forces everyone around to sell or loose their shirts. When they close, he just expands his store. Yet something happens and he notices that sales clerk Denise. She stands her ground but one day he goes too far.
It seems that Émile Zola has a passion for marketing (or a very keen eye). Words sells this fabulous store. Le Bonheur seems to flow off the page. There are passages, like the big sale in chapter 9 that is a combination of brilliant writing built on marketing phrases that was hard to put down. Or when one of the fashionable wealthy women get caught stealing. It was a treat to read, almost like being there. C’est vrai!
Of course, it’s not all fun and games. Zola is the master of realism. Some folks really are dealt a bad hand. And that is what makes this book so good. Highs and lows, laughs and tears, love and death. And a whole lotta money. Perhaps, there is just a little cynicism behind all that new money made in the shiny new Third Republic. Perhaps. So good. So Zola.
*according to the timeline, the store Le Bonheur des Dames was started in 1822 by the brothers Deleuze. After the older brother died, his eldest daughter Caroline married Charles Hédouin, who made fabric. Hédouin passed away and his widow Caroline married the young eager clerk Octave Mouret. He inherited the entire store after his wife and the other Deleuze had passed away. Mouret kept a framed photo of his dearly departed wife on his desk, vowing never to remarry. See Pot-bouille, the previous book for all the intrigue. An equally great romp.
February 7, 2017
Από όσο έχω ψάξει όλα αυτά τα χρόνια το “Au bonheur des dames” πρώτη φορά, τώρα, μεταφράζεται στα ελληνικά. Από λίγο που κοίταξα, δυστυχως τα γαλλικά μου είναι φριχτά, πιστεύω πως έχει γίνει μια ωραία προσπάθεια στη μετάφραση. Εγώ το είχα διαβάσει παλιότερα από αγγλική μετάφραση. Οπότε αυτή η ελληνική με γεμίζει με χαρά, γιατί δίνει στους Έλληνες αναγνώστες την ευκαιρία να γνωρίσουν αυτό το εξαιρετικό μυθιστόρημα.
Εδώ ο Ζολά καταπιάνεται με την ιστορία της Ντενίζ η οποία είναι ορφανή και παλεύει να μεγαλώσει τα αδέρφια της, στο Παρίσι του 19ου αιώνα, και του επιχειρηματία Μουρέ που ανήκει στο οκογενειακό δέντρο των Ρουγκόν – Μακάρ, πάνω στο οποίο έχτισε ο Ζολά ένα εικοσάτομο πανόραμα της Β' Αυτοκρατορίας του Ναπολέοντα του 3ου (ή Μικρού) κατά το 1852-70. Ένα μεγάλο μέρος του έργου καταπιάνεται με τις εργασιακές συνθήκες των εμποροϋπαλλήλων της εποχής. Δυστυχώς θα μπορούσε άριστα να περιγράφει τη δική μας, σημερινή εποχή. Τότε βέβαια δεν υπήρχε το 8ωρο και η δημόσια ασφάλιση, αλλά προσωπικά δεν ανησυχώ. Σε λίγο καιρό, έτσι όπως πάνε τα πράγματα, πάλι δεν θα υπάρχουν! Ωστόσο η σκοπιά του συγγραφέα σε αυτό το έργο -και το ξεκαθαρίζω αυτό, προς αποφυγήν παρανοήσεων – είναι αστική. Ο Ζολά είναι ένας μπουρζουάς, αθεράπευτα ερωτευμένος με την ιδέα της προόδου και γι' αυτό σε κάποια σημεία, μπορεί να φαίνεται πως αντιφάσκει. Το βιβλίο αυτό γράφτηκε στα 1883. Περιέχει μάλιστα και κάποιους αναχρονισμούς. Αργότερα, όταν θα γράψει στο πλαίσιο μιας τετραλογίας την “Εργασία” θα οραματιστεί μια κολεκτίβα, εμπνευσμένος από τον Φουριέ κι εκεί θα αναπτύξει ολοκληρωμένες τις ιδέες του για την εργατική τάξη (μέσα από μια κοινωνία που στο τέλος υπερβαίνει τους ταξικούς προσδιορισμούς).
Ωστόσο κι εδώ, στον Παράδεισο των Κυριών, δεν μασάει τα λόγια του. Δεν στρογγυλεύει καταστάσεις. Ο Ζολά πάντα αγαπούσε την αλήθεια. Έγραφε αδιάκοπα, αλλά κυρίως κατέγραφε, μέσα από εκτενή έρευνα, συγκεντρώνοντας ντοκουμέντα και στοιχεία, για το κάθε κοινωνικό ζήτημα με το οποίο καταπιανόταν. Όλως περιέργως η επιστημονική του βάση, αυτή της κληρονομικότητας, στην οποία βασίζει το έργο του, πηγάζει από προσωπικές του παρανοήσεις και ψευδοεπιστημονικές εμπνεύσεις. Κάποτε γίνεται ακόμα και απαράδεκτος. Αλλά επειδή παρατηρεί, επιτυγχάνει να μεταφέρει αυτό που βλέπει μέσα στο λογοτεχνικό του έργο με εξαιρετική πιστότητα. Γι' αυτό ακόμα και στα πιο ψυχολογικά του έργα (δεν είναι ψυχαναλυτικός, δεν ενδοσκοπεί) πετυχαίνει να παραδίδει στην εντέλεια τον ψυχισμό των ηρώων του, με αποκορύφωμα σε αυτήν την κατεύθυνση το “Ανθρώπινο Κτήνος” που είναι στην ουσία η περιγραφή της ζωής ενός ψυχικά διαταραγμένου ατόμου. Αυτό επίσης που απασχόλησε ιδιαίτερα τον Ζολά ήταν τα διάφορα είδη “θρησκευτικής υστερίας” όπως ας πούμε παρουσιάζονται εκτενώς στην μεταγενέστερη “Λούρδη”.
Ο τίτλος που επιλέγει η ελληνική μετάφραση, δεν είναι πιστός στο γαλλικό πρωτότυπο. Βασίζεται σε αυτόν που έδωσε ο Άγγλος μεταφραστής του Ζολά, ο Vizetelly και διατήρησαν και οι κατοπινότεροι μεταφραστές “The Ladies' Paradise”. Μάλλον το προτίμησαν γιατί είναι πιο οικείο εξαιτίας της σειράς του BBC με τίτλο “The Paradise” που είναι εμπνευσμένη από το συγκεκριμένο μυθιστόρημα του Ζολά. Το bonheur σημαίνει κατά μία έννοια “ευτυχία” αλλά από τα συμφραζόμενα του έργου, σημαίνει “Για την ευχαρίστηση των Κυριών” ή πιο απλά “Ο,τι θέλουν οι γυναίκες”. Συνιστά ορόσημο για τις απαρχές του σύγχρονου υπερκαταναλωτισμού, της κυριαρχίας της μόδας και των νόμων της αγοράς. Ωστόσο ο Ζολά δεν είναι ηθικολόγος. Αντίθετα είναι απολαυστικός και σε ορισμένα σημεία παρουσιάζει εξαιρετικό χιούμορ.
Ό,τι θέλουν οι Κυρίες λοιπόν. Αλλά αξίζει να διαβαστεί από όλα τα φύλα. Σας το προτείνω με όλη μου την καρδιά. Και ελπίζω αν του δώσετε μια ευκαιρία, να το βρείτε του γούστου σας.
Εδώ ο Ζολά καταπιάνεται με την ιστορία της Ντενίζ η οποία είναι ορφανή και παλεύει να μεγαλώσει τα αδέρφια της, στο Παρίσι του 19ου αιώνα, και του επιχειρηματία Μουρέ που ανήκει στο οκογενειακό δέντρο των Ρουγκόν – Μακάρ, πάνω στο οποίο έχτισε ο Ζολά ένα εικοσάτομο πανόραμα της Β' Αυτοκρατορίας του Ναπολέοντα του 3ου (ή Μικρού) κατά το 1852-70. Ένα μεγάλο μέρος του έργου καταπιάνεται με τις εργασιακές συνθήκες των εμποροϋπαλλήλων της εποχής. Δυστυχώς θα μπορούσε άριστα να περιγράφει τη δική μας, σημερινή εποχή. Τότε βέβαια δεν υπήρχε το 8ωρο και η δημόσια ασφάλιση, αλλά προσωπικά δεν ανησυχώ. Σε λίγο καιρό, έτσι όπως πάνε τα πράγματα, πάλι δεν θα υπάρχουν! Ωστόσο η σκοπιά του συγγραφέα σε αυτό το έργο -και το ξεκαθαρίζω αυτό, προς αποφυγήν παρανοήσεων – είναι αστική. Ο Ζολά είναι ένας μπουρζουάς, αθεράπευτα ερωτευμένος με την ιδέα της προόδου και γι' αυτό σε κάποια σημεία, μπορεί να φαίνεται πως αντιφάσκει. Το βιβλίο αυτό γράφτηκε στα 1883. Περιέχει μάλιστα και κάποιους αναχρονισμούς. Αργότερα, όταν θα γράψει στο πλαίσιο μιας τετραλογίας την “Εργασία” θα οραματιστεί μια κολεκτίβα, εμπνευσμένος από τον Φουριέ κι εκεί θα αναπτύξει ολοκληρωμένες τις ιδέες του για την εργατική τάξη (μέσα από μια κοινωνία που στο τέλος υπερβαίνει τους ταξικούς προσδιορισμούς).
Ωστόσο κι εδώ, στον Παράδεισο των Κυριών, δεν μασάει τα λόγια του. Δεν στρογγυλεύει καταστάσεις. Ο Ζολά πάντα αγαπούσε την αλήθεια. Έγραφε αδιάκοπα, αλλά κυρίως κατέγραφε, μέσα από εκτενή έρευνα, συγκεντρώνοντας ντοκουμέντα και στοιχεία, για το κάθε κοινωνικό ζήτημα με το οποίο καταπιανόταν. Όλως περιέργως η επιστημονική του βάση, αυτή της κληρονομικότητας, στην οποία βασίζει το έργο του, πηγάζει από προσωπικές του παρανοήσεις και ψευδοεπιστημονικές εμπνεύσεις. Κάποτε γίνεται ακόμα και απαράδεκτος. Αλλά επειδή παρατηρεί, επιτυγχάνει να μεταφέρει αυτό που βλέπει μέσα στο λογοτεχνικό του έργο με εξαιρετική πιστότητα. Γι' αυτό ακόμα και στα πιο ψυχολογικά του έργα (δεν είναι ψυχαναλυτικός, δεν ενδοσκοπεί) πετυχαίνει να παραδίδει στην εντέλεια τον ψυχισμό των ηρώων του, με αποκορύφωμα σε αυτήν την κατεύθυνση το “Ανθρώπινο Κτήνος” που είναι στην ουσία η περιγραφή της ζωής ενός ψυχικά διαταραγμένου ατόμου. Αυτό επίσης που απασχόλησε ιδιαίτερα τον Ζολά ήταν τα διάφορα είδη “θρησκευτικής υστερίας” όπως ας πούμε παρουσιάζονται εκτενώς στην μεταγενέστερη “Λούρδη”.
Ο τίτλος που επιλέγει η ελληνική μετάφραση, δεν είναι πιστός στο γαλλικό πρωτότυπο. Βασίζεται σε αυτόν που έδωσε ο Άγγλος μεταφραστής του Ζολά, ο Vizetelly και διατήρησαν και οι κατοπινότεροι μεταφραστές “The Ladies' Paradise”. Μάλλον το προτίμησαν γιατί είναι πιο οικείο εξαιτίας της σειράς του BBC με τίτλο “The Paradise” που είναι εμπνευσμένη από το συγκεκριμένο μυθιστόρημα του Ζολά. Το bonheur σημαίνει κατά μία έννοια “ευτυχία” αλλά από τα συμφραζόμενα του έργου, σημαίνει “Για την ευχαρίστηση των Κυριών” ή πιο απλά “Ο,τι θέλουν οι γυναίκες”. Συνιστά ορόσημο για τις απαρχές του σύγχρονου υπερκαταναλωτισμού, της κυριαρχίας της μόδας και των νόμων της αγοράς. Ωστόσο ο Ζολά δεν είναι ηθικολόγος. Αντίθετα είναι απολαυστικός και σε ορισμένα σημεία παρουσιάζει εξαιρετικό χιούμορ.
Ό,τι θέλουν οι Κυρίες λοιπόν. Αλλά αξίζει να διαβαστεί από όλα τα φύλα. Σας το προτείνω με όλη μου την καρδιά. Και ελπίζω αν του δώσετε μια ευκαιρία, να το βρείτε του γούστου σας.
May 17, 2019
Κάθε επαφή με το έργο του Ζολά μού αφήνει την αίσθηση της απόδρασης σε ένα λογοτεχνικό… πάρκο της Ιουράσιας περιόδου. Μπορεί η εποχή του συγγραφέα, με τα προβλήματα και τις ιδιαιτερότητές της να έχει περάσει ανεπιστρεπτί, πλην όμως το αφηγηματικό ύφος του συγγραφέ�� κατορθώνει με ευκολία να… διακτινίσει τον αναγνώστη στον χρόνο (και όχι στον χώρο), προκειμένου να απολαύσει έναν μαγικό κόσμο γραφής που έχει οριστικά χαθεί.
Ο Ζολά ανήκει στους Νατουραλιστές συγγραφείς, σε εκείνους που παρέλαβαν τον Ρεαλισμό του Μπαλζάκ και του Φλωμπέρ και τον ανανέωσαν, επιχειρώντας να περιγράψουν τα ανθρώπινα πάθη σε όλη τους την έκταση. Όπου στους Ρεαλιστές το σεξουαλικό πάθος υπονοείται, στον Ζολά περιγράφεται άπληστα. Ακόμα περισσότερο, εκεί που στους προγόνους οι ταξικές διαφορές αχνοφέγγουν στο ημίφως, στον Ζολά και τους συν αυτώ…αστράφτουν, κεραυνοβολώντας "τους τε μηδέν τῶνδε μετέχοντες".
Αυτό δεν σημαίνει πως ο Ζολά είναι ένας "πολιτικός" συγγραφέας (υποτιμητικός όρος, καθότι υποβιβάζει την αξία της τέχνης σε προπαγάνδα), αλλά ένας δημιουργός που συμπεριέλαβε την πολιτική στο έργο του. Ως προς αυτό κρίνεται και η αξία του, καθότι το "ξένο στοιχείο" υποτάχθηκε στο προσωπικό αφηγηματικό ύφος του συγγραφέα, παραμένοντας ορατό και ιδιόμορφο, χαρίζοντας στα έργα του την Αθανασία. Ακόμα και στα πιο "πολιτικά" του έργα, όπως το "Ζερμινάλ", ο συγγραφέας δεν εκπίπτει στον φαύλο (καθότι μη καλλιτεχνικό) ρόλο του προπαγανδιστή, αλλά διατηρεί το ύφος του, εκείνο το ιδιαίτερο φως με το οποίο καταυγάζει το σκηνικό της δράσης.
Εκεί λοιπόν που ως έφηβος είχα συγκλονιστεί με τον αγώνα των καταπιεσμένων απεργών ενάντια στη φρίκη του άναρχου καπιταλισμού της εποχής, ως ενήλικος απολαμβάνω τη μαεστρία με την οποία ο συγγραφέας χειρίζεται το υλικό του, τους χαρακτήρες και ενορχηστρώνει τη δράση, υποτάσσοντάς τη στην τέχνη του.
Και αυτό αποτελεί ακόμα ένα σημείο σύμπλευσής μου με τον αγαπημένο αυτόν συγγραφέα. Σε αντίθεση με τους στρατευμένους (βλ. ατάλαντους) γραφιάδες, ο Ζολά δεν είναι απλουστευτικός, δεν εξιδανικεύει τους ήρωές του. Πώς θα μπορούσαν άνθρωποι που διαβιούν σε απάνθρωπες συνθήκες να μην εκπέσουν σε ανθρώπινα κτήνη; Μακριά από τη λογική του "working class hero", οι χαρακτήρες του τσαλαβουτούν στα λασπόνερα, αναζητώντας τρόπους να ανέλθουν, χωρίς ηθικές αναστολές συνήθως, και να επιπλεύσουν ή βουλιάζουν εκ νέου παρασύροντας όσους συμπορεύονται.
Ταυτόχρονα όμως, σαφής ένδειξη του καλλιτεχνικού μεγαλείου, ακριβώς επειδή γίνεται αναφορά σε ανθρώπινα όντα, το συναμφότερον κυριαρχεί στις σελίδες των έργων του Ζολά. Μέσα στα σκουπίδια των άθλιων παραπηγμάτων, πάντα φύεται κάποιο λουλούδι που έστω για λίγο αναδίδει το άρωμά του προτού παρασυρθεί και χαθεί. Ο πεσιμισμός δίνει τον κύριο βηματισμό στα βιβλία του Ζολά και το τέλος είναι σχεδόν πάντα δυσοίωνο.
Αυτή είναι λοιπόν και η βασική μου αντίρρηση στον "Παράδεισο των κυριών", η οποία αν και διαπνέεται από συγγραφική δεινότητα, δεν φτάνει στο ύψος των κορυφαίων στιγμών του. Ο Ζολά αποδεικνύεται άφταστος όταν περιγράφει το φερώνυμο πολυκατάστημα, τους μηχανισμούς του καταναλωτισμού και της σταδιακής κυριαρχίας των μεγάλων μονάδων εις βάρος των παλαιών οικογενειακών επιχειρήσεων. Υστερεί όμως -στο συγκεκριμένο βιβλίο πάντα- στην ανάπτυξη των χαρακτήρων, στην εμβάθυνση, πέφτοντας στο μεγαλύτερο δυνατό παράπτωμα (πρωτάκουστο για έργο του!), εκείνο του happy end.
Προφανώς η ένστασή μου δεν εντοπίζεται στο happy end εν γένει. Η "επιδίωξη της ευτυχίας" είναι εξίσου θεμιτή όσο και το δικαίωμα στην αυτοκαταστροφή, ενδοκειμενικά πάντα. Καθετί είναι αποδεκτό, εφόσον υπακούει στους απαράβατους όρους της εσωτερικής αναγκαιότητας που έχει θέσει ο ίδιος ο συγγραφέας. Επομένως, ένα κείμενο που κινείται σε σκοτεινούς ως επί το πλείστον τόνους δεν είναι δυνατόν αίφνης στο τέλος να δίνει τη θέση του στον υμέναιο. Αυτού του είδους η εσωτερική ασυνέπεια αποτελεί ασύγγνωστο αδίκημα (ίσως και αμάρτημα) στην τέχνη και φοβάμαι πως σε αυτό το βιβλίο, ο -κατά τα λοιπά κορυφαίος- Ζολά εξέπεσε (ελαφρώς) της χάριτος.
https://fotiskblog.home.blog/2019/05/...
Ο Ζολά ανήκει στους Νατουραλιστές συγγραφείς, σε εκείνους που παρέλαβαν τον Ρεαλισμό του Μπαλζάκ και του Φλωμπέρ και τον ανανέωσαν, επιχειρώντας να περιγράψουν τα ανθρώπινα πάθη σε όλη τους την έκταση. Όπου στους Ρεαλιστές το σεξουαλικό πάθος υπονοείται, στον Ζολά περιγράφεται άπληστα. Ακόμα περισσότερο, εκεί που στους προγόνους οι ταξικές διαφορές αχνοφέγγουν στο ημίφως, στον Ζολά και τους συν αυτώ…αστράφτουν, κεραυνοβολώντας "τους τε μηδέν τῶνδε μετέχοντες".
Αυτό δεν σημαίνει πως ο Ζολά είναι ένας "πολιτικός" συγγραφέας (υποτιμητικός όρος, καθότι υποβιβάζει την αξία της τέχνης σε προπαγάνδα), αλλά ένας δημιουργός που συμπεριέλαβε την πολιτική στο έργο του. Ως προς αυτό κρίνεται και η αξία του, καθότι το "ξένο στοιχείο" υποτάχθηκε στο προσωπικό αφηγηματικό ύφος του συγγραφέα, παραμένοντας ορατό και ιδιόμορφο, χαρίζοντας στα έργα του την Αθανασία. Ακόμα και στα πιο "πολιτικά" του έργα, όπως το "Ζερμινάλ", ο συγγραφέας δεν εκπίπτει στον φαύλο (καθότι μη καλλιτεχνικό) ρόλο του προπαγανδιστή, αλλά διατηρεί το ύφος του, εκείνο το ιδιαίτερο φως με το οποίο καταυγάζει το σκηνικό της δράσης.
Εκεί λοιπόν που ως έφηβος είχα συγκλονιστεί με τον αγώνα των καταπιεσμένων απεργών ενάντια στη φρίκη του άναρχου καπιταλισμού της εποχής, ως ενήλικος απολαμβάνω τη μαεστρία με την οποία ο συγγραφέας χειρίζεται το υλικό του, τους χαρακτήρες και ενορχηστρώνει τη δράση, υποτάσσοντάς τη στην τέχνη του.
Και αυτό αποτελεί ακόμα ένα σημείο σύμπλευσής μου με τον αγαπημένο αυτόν συγγραφέα. Σε αντίθεση με τους στρατευμένους (βλ. ατάλαντους) γραφιάδες, ο Ζολά δεν είναι απλουστευτικός, δεν εξιδανικεύει τους ήρωές του. Πώς θα μπορούσαν άνθρωποι που διαβιούν σε απάνθρωπες συνθήκες να μην εκπέσουν σε ανθρώπινα κτήνη; Μακριά από τη λογική του "working class hero", οι χαρακτήρες του τσαλαβουτούν στα λασπόνερα, αναζητώντας τρόπους να ανέλθουν, χωρίς ηθικές αναστολές συνήθως, και να επιπλεύσουν ή βουλιάζουν εκ νέου παρασύροντας όσους συμπορεύονται.
Ταυτόχρονα όμως, σαφής ένδειξη του καλλιτεχνικού μεγαλείου, ακριβώς επειδή γίνεται αναφορά σε ανθρώπινα όντα, το συναμφότερον κυριαρχεί στις σελίδες των έργων του Ζολά. Μέσα στα σκουπίδια των άθλιων παραπηγμάτων, πάντα φύεται κάποιο λουλούδι που έστω για λίγο αναδίδει το άρωμά του προτού παρασυρθεί και χαθεί. Ο πεσιμισμός δίνει τον κύριο βηματισμό στα βιβλία του Ζολά και το τέλος είναι σχεδόν πάντα δυσοίωνο.
Αυτή είναι λοιπόν και η βασική μου αντίρρηση στον "Παράδεισο των κυριών", η οποία αν και διαπνέεται από συγγραφική δεινότητα, δεν φτάνει στο ύψος των κορυφαίων στιγμών του. Ο Ζολά αποδεικνύεται άφταστος όταν περιγράφει το φερώνυμο πολυκατάστημα, τους μηχανισμούς του καταναλωτισμού και της σταδιακής κυριαρχίας των μεγάλων μονάδων εις βάρος των παλαιών οικογενειακών επιχειρήσεων. Υστερεί όμως -στο συγκεκριμένο βιβλίο πάντα- στην ανάπτυξη των χαρακτήρων, στην εμβάθυνση, πέφτοντας στο μεγαλύτερο δυνατό παράπτωμα (πρωτάκουστο για έργο του!), εκείνο του happy end.
Προφανώς η ένστασή μου δεν εντοπίζεται στο happy end εν γένει. Η "επιδίωξη της ευτυχίας" είναι εξίσου θεμιτή όσο και το δικαίωμα στην αυτοκαταστροφή, ενδοκειμενικά πάντα. Καθετί είναι αποδεκτό, εφόσον υπακούει στους απαράβατους όρους της εσωτερικής αναγκαιότητας που έχει θέσει ο ίδιος ο συγγραφέας. Επομένως, ένα κείμενο που κινείται σε σκοτεινούς ως επί το πλείστον τόνους δεν είναι δυνατόν αίφνης στο τέλος να δίνει τη θέση του στον υμέναιο. Αυτού του είδους η εσωτερική ασυνέπεια αποτελεί ασύγγνωστο αδίκημα (ίσως και αμάρτημα) στην τέχνη και φοβάμαι πως σε αυτό το βιβλίο, ο -κατά τα λοιπά κορυφαίος- Ζολά εξέπεσε (ελαφρώς) της χάριτος.
https://fotiskblog.home.blog/2019/05/...
April 14, 2023
"Pada li kome napamet da na pruzi zaustavlja lokomotivu? " pita Oktav Mure vlasnik "Ženskog raja" velike robne kuće dok šireći tu svoju velelepnu građevinu ruši sve okolne male trgovačke i zanatske radnje uništavajući tako živote njihovih vlasnika i porodica. Ne, naravno da ne pada, nameće se logičan odgovor u glavi čitaoca a isto tako nameće mu se niz moralnih dilema i rezignirajućih zaključaka dok čita ovaj roman. Zola nam daje detaljan uvid i analizu nastanaka ovakvog načina trgovine u Parizu u drugoj polovini 19. vijeka, daje nam vrlo opipljive opise robne kuće koju upoređuje sa zahuktalom mašinom, njenu spoljašnost a tako i samu unutrašnjost, brižljivo nas vodeći od odjeljenja do odjeljenja, od rafa do rafa da gotovo možemo opipati i pomirisati svu tu silnu nagomilanu robu. Pisac nepogrešivo secira pariško buržoasko, građansko, malograđansko i radničko društvo u kontekstu glavnog motiva, naravno toliko dobro da odmah povlačimo paralelu sa sadašnjim vremenom. Kroz lik glavne junakinje Deniz, prolazimo kroz niz emocija od kada ona prvi put dolaskom u Pariz vidi "Ženski raj", kroz ulazak na mala vrata i sve nedaće koje je prate na putu do njenog izlaska iz ovog zdanja na velika vrata. Možda ponešto malo drugačiji Zolin roman od onih koje sam čitala dosad, možda je tu i malo previše detaljisanja a možda je i kraj malo netipičan a ipak rekla bih srž je pogođena. Naprosto bilo kako bilo, šou uvijek mora ići dalje i nakon spuštenih zavjesa i pročitane zadnje stranice to postaje sasvim jasno.
August 23, 2017
Πριν λίγο καιρό στην ΕΡΤ έτυχε να δω μερικά επεισόδια μιας σειράς που μου τράβηξε την προσοχή και έμοιαζε να είναι βασισμένη σε βιβλίο.Ο τίτλος της ήταν The Paradise και ψάχνοντας είδα οτι όντως ήταν βασισμένη στο “Au bonheur des dames” του Εμίλ Ζολά που κυκλοφόρησε για πρώτη φορά στα ελληνικά μόλις πέρσι με τον τίτλο "Στον παράδεισο των κυριών".Εννοείται οτι αμέσως έψαξα να το βρω για να το διαβάσω.
Η ηρωίδα μας είναι η Ντενίζ,μια νεαρή ορφανή που φτάνει στο Παρίσ�� με τα δυο μικρότερα αδέρφια της και προσπαθεί να τα βγάλει πέρα και να ζήσει αξιοπρεπώς.Ο ήρωας μας είναι ο Μουρέ,επιχειρηματίας πολύ φιλόδοξος και πολύ ικανός που θέλει να φτιάξει το πιο μεγάλο και πρωτοποριακό εμπορικό κέντρο στο Παρίσι.Θέλει όλες τις γυναίκες στα πόδια του και επαγγελματικά οπου ξέρει να παίζει με τις αδυναμίες τους αλλά και προσωπικά οπου έχει μάθει να αγοράζει ερωμένες και να τις κάνει στην άκρη όποτε του κάνει κέφι.Κι εκεί που νόμιζε πως δεν έχει γεννηθεί η γυναίκα που θα τον κάνει να αλλάξει συνήθειες ,εμφανίζεται η Ντενίζ και ένα�� έρωτας γεννιέται.Η μικρή όμως δεν είναι απο αυτές που αγοράζονται.
Ο πραγματικός ήρωας του βιβλίου όμως είναι το ίδιο το εμπορικό κέντρο.Το παρακολουθούμε να γεννιέται,να μεγαλώνει,να καταπίνει ένα ολόκληρο οικοδομικό τετράγωνο,βλέπουμε τον τρόπο που ζουν οι υπαλληλοι του,βλέπουμε τις βιτρίνες του και τα εμπορεύματα του με κάθε λεπτομέρεια(όσοι δεν αντέχουν τις λεπτομερείς περιγραφές ας μην το διαβάσουν το βιβλίο,το λέω τώρα και αμαρτίαν ουκ έχω ) και κυρίως βλέπουμε πώς στην πορεία του καταστρέφει σιγά σιγά τα υπόλοιπα μικρότερα μαγαζιά της γειτονιάς καταπίνοντας ανθρώπους και περιουσίες.Παρότι γράφτηκε το 19ο αιώνα οι ομοιότητες με το σήμερα είναι πάρα πολλές.
Είναι ένα βιβλίο με αρκετές ίντριγκες, αρκετό ρομαντισμό και πολύ ενδιαφέρον στο κοινωνικό κομμάτι του και το απόλαυσα πραγματικά.Πολύ χαίρομαι όταν ανακαλύπτω τέτοια βιβλία!
Η ηρωίδα μας είναι η Ντενίζ,μια νεαρή ορφανή που φτάνει στο Παρίσ�� με τα δυο μικρότερα αδέρφια της και προσπαθεί να τα βγάλει πέρα και να ζήσει αξιοπρεπώς.Ο ήρωας μας είναι ο Μουρέ,επιχειρηματίας πολύ φιλόδοξος και πολύ ικανός που θέλει να φτιάξει το πιο μεγάλο και πρωτοποριακό εμπορικό κέντρο στο Παρίσι.Θέλει όλες τις γυναίκες στα πόδια του και επαγγελματικά οπου ξέρει να παίζει με τις αδυναμίες τους αλλά και προσωπικά οπου έχει μάθει να αγοράζει ερωμένες και να τις κάνει στην άκρη όποτε του κάνει κέφι.Κι εκεί που νόμιζε πως δεν έχει γεννηθεί η γυναίκα που θα τον κάνει να αλλάξει συνήθειες ,εμφανίζεται η Ντενίζ και ένα�� έρωτας γεννιέται.Η μικρή όμως δεν είναι απο αυτές που αγοράζονται.
Ο πραγματικός ήρωας του βιβλίου όμως είναι το ίδιο το εμπορικό κέντρο.Το παρακολουθούμε να γεννιέται,να μεγαλώνει,να καταπίνει ένα ολόκληρο οικοδομικό τετράγωνο,βλέπουμε τον τρόπο που ζουν οι υπαλληλοι του,βλέπουμε τις βιτρίνες του και τα εμπορεύματα του με κάθε λεπτομέρεια(όσοι δεν αντέχουν τις λεπτομερείς περιγραφές ας μην το διαβάσουν το βιβλίο,το λέω τώρα και αμαρτίαν ουκ έχω ) και κυρίως βλέπουμε πώς στην πορεία του καταστρέφει σιγά σιγά τα υπόλοιπα μικρότερα μαγαζιά της γειτονιάς καταπίνοντας ανθρώπους και περιουσίες.Παρότι γράφτηκε το 19ο αιώνα οι ομοιότητες με το σήμερα είναι πάρα πολλές.
Είναι ένα βιβλίο με αρκετές ίντριγκες, αρκετό ρομαντισμό και πολύ ενδιαφέρον στο κοινωνικό κομμάτι του και το απόλαυσα πραγματικά.Πολύ χαίρομαι όταν ανακαλύπτω τέτοια βιβλία!
February 24, 2017
Una historia maravillosa que muy bien podría pasar hoy en día, en la que queda reflejada a la perfección las miserias del hombre. Una historia que posee todas las características para ser considerada una hermosa novela sobre la virtud y el amor.
February 28, 2021
E' un libro che contiene tutto: una grande storia d'amore, un'analisi delle differenze sociali dell'epoca (nobili, borghesi, nobili decaduti, uomini e donne di bassa estrazione che cercano, non sempre con successo, di risalire la scala sociale), ma anche di una situazione economica in una fase evoluzione la cui attualità è quasi sconcertante (la lotta dei piccoli commercianti per la sopravvivenza davanti all'avanzare della modernità incarnatasi nel grande magazzino che dà il titolo al libro).
Il grande magazzino è paragonato ad una macchina che stritola nei suoi ingranaggi chi non riesce a stare al passo e il ritratto dei piccoli negozianti e delle loro lotte per la sopravvivenza ad oltranza è a volte sconcertante per la rigidità molto umana che manifestano di fronte al cambiamento.
Se devo trovargli una pecca è che il personaggio di Denise tende ad essere un po' stereotipato e chiuso nel suo ruolo di innocente e, a volte, le descrizioni sono un po' lunghe. Peccati veniali. Per quanto mi riguarda, rimane un gran romanzo.
Il grande magazzino è paragonato ad una macchina che stritola nei suoi ingranaggi chi non riesce a stare al passo e il ritratto dei piccoli negozianti e delle loro lotte per la sopravvivenza ad oltranza è a volte sconcertante per la rigidità molto umana che manifestano di fronte al cambiamento.
Se devo trovargli una pecca è che il personaggio di Denise tende ad essere un po' stereotipato e chiuso nel suo ruolo di innocente e, a volte, le descrizioni sono un po' lunghe. Peccati veniali. Per quanto mi riguarda, rimane un gran romanzo.
March 9, 2021
”..toute révolution voulait des martyrs »
Nelle storie di Zola, c’è sempre un raggio di sole che illumina gli interni.
Piccoli raggi che filtrano perpendicolari, s’insinuano nelle stanze e con quel piccolo chiarore non fanno altro che sottolineare gli angoli bui.
Luce ed ombre, dunque, come fosse un Caravaggio letterario che con le sue pennellate non si lascia sfuggire nulla.
Si comincia con lo stupore dipinto sui volti della giovane Denise che assieme ai fratellini, Jean e Pépé, è appena arrivata a Parigi.
Occhi sbarrati di fronte alla città.
Bocche spalancate di fronte alle vetrine sfavillanti di un nuovo negozio “Au bonheur de femme”.
Comincia da subito un gioco degli opposti che accompagnerà tutta la lettura: tanto le Bonhuer è illuminato e pieno di vita, tanto sono umide e buie le stamberghe che lo circondano. Sono i negozietti del piccolo e vecchio commercio: locali umidi e bui su cui aleggia un velo di tristezza per contro a quell’atmosfera felice (Bonhuer significa, per l’appunto, “felicità”) dei nuovi magazzini.
Undicesimo romanzo del Ciclo dei Rougon- Maquart nell’ordine di pubblicazione; ottavo, invece, secondo il percorso indicato da Zola stesso.
Chi manovra la grande macchina del nuovo magazzino è quell’Octave Mouret presente sia ne “La conquista di Plassans” ma ancor di più in “Dietro la facciata”.
Il nuovo commercio si allinea con lo spirito che, nella seconda metà dell’ottocento, pervade Parigi. Una la frenesia sempre più incalzante che tende a distruggere e ricostruire nell’ottica del guadagno.
Il nuovo crea alfabeti che sono quelli della competizione che brama al possesso così la macchina de le Bonhuer si serve dei commessi come ingranaggi addestrati.
E’ la trasformazione del profano in sacro: il culto del dio denaro necessita un luogo culto così il magazzino diventa ”..chapelle élevée au culte des grâces de la femme”.
Un romanzo notevole, come sempre, Zola senza pietà calca la mano sulle meschinità umana e la violenta aggressione in nome del progresso.
Ma c’è sempre quel raggio di sole che filtra e forse c’è speranza che qualcosa si salvi.
”Mon Dieu ! que de tortures ! des familles qui pleurent, des vieillards jetés au pavé, tous les drames poignants de la ruine ! Et elle ne pouvait sauver personne, et elle avait conscience que cela était bon, qu’il fallait ce fumier de misères à la santé du Paris de demain. »
Rilettura in originale dopo alcuni anni.
Confermo le quattro stelle.
La quinta manca un po’ per un senso di soffocamento descrittivo.
Una quantità di vocaboli incredibile che mi ha consumato l’indice sfogliando il dizionario.
Strane sensazioni di quel troppo, di quell’abbondanza propinata in modo subdolo ed aggressivo.
Un fastidio accentuato dalla mia indole: io, un pomeriggio al centro commerciale, l’ho sempre vissuto come una sorta di punizione divina...
----------------------------------
-* Il Ciclo Rougon-Maquart è costituito da venti romanzi collegati fra loro.
In questo esperimento, l’autore vuole fornire la storia naturale e sociale di una famiglia (e nello stesso tempo dell’intera società francese), sotto l’impero di Napoleone III.
Viene narrato il destino di due famiglie con avventure e vicende spiacevoli.
L’obiettivo di Zola è dimostrare la tesi dell’ereditarietà: inclinazioni al vizio che diventano vere e proprie tare e si trasmettono di generazione in generazione (Alcoolismo, prostituzione, corruzione, istinto omicida).
Nonostante ciò ognuno dei venti romanzi può essere letto indipendentemente dagli altri.
Qui il Gdl -
Nelle storie di Zola, c’è sempre un raggio di sole che illumina gli interni.
Piccoli raggi che filtrano perpendicolari, s’insinuano nelle stanze e con quel piccolo chiarore non fanno altro che sottolineare gli angoli bui.
Luce ed ombre, dunque, come fosse un Caravaggio letterario che con le sue pennellate non si lascia sfuggire nulla.
Si comincia con lo stupore dipinto sui volti della giovane Denise che assieme ai fratellini, Jean e Pépé, è appena arrivata a Parigi.
Occhi sbarrati di fronte alla città.
Bocche spalancate di fronte alle vetrine sfavillanti di un nuovo negozio “Au bonheur de femme”.
Comincia da subito un gioco degli opposti che accompagnerà tutta la lettura: tanto le Bonhuer è illuminato e pieno di vita, tanto sono umide e buie le stamberghe che lo circondano. Sono i negozietti del piccolo e vecchio commercio: locali umidi e bui su cui aleggia un velo di tristezza per contro a quell’atmosfera felice (Bonhuer significa, per l’appunto, “felicità”) dei nuovi magazzini.
Undicesimo romanzo del Ciclo dei Rougon- Maquart nell’ordine di pubblicazione; ottavo, invece, secondo il percorso indicato da Zola stesso.
Chi manovra la grande macchina del nuovo magazzino è quell’Octave Mouret presente sia ne “La conquista di Plassans” ma ancor di più in “Dietro la facciata”.
Il nuovo commercio si allinea con lo spirito che, nella seconda metà dell’ottocento, pervade Parigi. Una la frenesia sempre più incalzante che tende a distruggere e ricostruire nell’ottica del guadagno.
Il nuovo crea alfabeti che sono quelli della competizione che brama al possesso così la macchina de le Bonhuer si serve dei commessi come ingranaggi addestrati.
E’ la trasformazione del profano in sacro: il culto del dio denaro necessita un luogo culto così il magazzino diventa ”..chapelle élevée au culte des grâces de la femme”.
Un romanzo notevole, come sempre, Zola senza pietà calca la mano sulle meschinità umana e la violenta aggressione in nome del progresso.
Ma c’è sempre quel raggio di sole che filtra e forse c’è speranza che qualcosa si salvi.
”Mon Dieu ! que de tortures ! des familles qui pleurent, des vieillards jetés au pavé, tous les drames poignants de la ruine ! Et elle ne pouvait sauver personne, et elle avait conscience que cela était bon, qu’il fallait ce fumier de misères à la santé du Paris de demain. »
Rilettura in originale dopo alcuni anni.
Confermo le quattro stelle.
La quinta manca un po’ per un senso di soffocamento descrittivo.
Una quantità di vocaboli incredibile che mi ha consumato l’indice sfogliando il dizionario.
Strane sensazioni di quel troppo, di quell’abbondanza propinata in modo subdolo ed aggressivo.
Un fastidio accentuato dalla mia indole: io, un pomeriggio al centro commerciale, l’ho sempre vissuto come una sorta di punizione divina...
----------------------------------
-* Il Ciclo Rougon-Maquart è costituito da venti romanzi collegati fra loro.
In questo esperimento, l’autore vuole fornire la storia naturale e sociale di una famiglia (e nello stesso tempo dell’intera società francese), sotto l’impero di Napoleone III.
Viene narrato il destino di due famiglie con avventure e vicende spiacevoli.
L’obiettivo di Zola è dimostrare la tesi dell’ereditarietà: inclinazioni al vizio che diventano vere e proprie tare e si trasmettono di generazione in generazione (Alcoolismo, prostituzione, corruzione, istinto omicida).
Nonostante ciò ognuno dei venti romanzi può essere letto indipendentemente dagli altri.
Qui il Gdl -
November 18, 2016
Introduction
Translator's Note
Select Bibliography
A Chronology of Émile Zola
Map
--The Ladies' Paradise
Explanatory Notes
Translator's Note
Select Bibliography
A Chronology of Émile Zola
Map
--The Ladies' Paradise
Explanatory Notes
December 10, 2010
The Ladies' Paradise (Les Rougon-Macquart, #11) used to be one of my all-time favorite books. In my teenage years. And now I remember why. Of course, it's the lurve.
In this novel, Denise, a lowly sales girl working at a huge department store, snags a husband who is this store's rich playboy owner, Octave Mouret. Somehow, what seemed uber-romantic to me at 13, isn't any more now. You see, Denise basically gets her man by not putting out. Octave is used to getting any woman he wants, but Denise, a virtuous woman she is, keeps saying "no." Of course, he is smitten. It's not that I have anything against virtue, but I prefer when romances are built on something bigger than that. And as for Denise herself, she is no longer the type of a heroine I admire. She is purer than first snow (when all other woman around her are loose tarts), she is a martyr, who takes abuse without a word (but with dignity - how do you do that?), is taken advantage of and endures instead of being proactive.
But do not let this deter you from reading this novel. Émile Zola is a remarkable writer. His 20-part Les Rougon-Macquart cycle is an ambitious work that explores many areas of French society during the Second French Empire. In this particular novel Zola depicts the world of a department store, an innovation of the 19th century that changed the landscape of the retail business. It is surprising that so many tricks that are used today in commerce, were invented over a hundred years ago - mail-order business, sales, commissions, employee benefits, even the layout of the stores where you can't find all you need in one place but have to roam around and get seduced by other goods you first didn't have any intentions to buy. Zola even touches upon shopaholics and shoplifters. Interesting stuff.
I am now curious if my opinion of other favorite books in this series will be different. Will I enjoy Zola's novels about prostitution (Nana) and coalminers (Germinal) as much as I did before?
In this novel, Denise, a lowly sales girl working at a huge department store, snags a husband who is this store's rich playboy owner, Octave Mouret. Somehow, what seemed uber-romantic to me at 13, isn't any more now. You see, Denise basically gets her man by not putting out. Octave is used to getting any woman he wants, but Denise, a virtuous woman she is, keeps saying "no." Of course, he is smitten. It's not that I have anything against virtue, but I prefer when romances are built on something bigger than that. And as for Denise herself, she is no longer the type of a heroine I admire. She is purer than first snow (when all other woman around her are loose tarts), she is a martyr, who takes abuse without a word (but with dignity - how do you do that?), is taken advantage of and endures instead of being proactive.
But do not let this deter you from reading this novel. Émile Zola is a remarkable writer. His 20-part Les Rougon-Macquart cycle is an ambitious work that explores many areas of French society during the Second French Empire. In this particular novel Zola depicts the world of a department store, an innovation of the 19th century that changed the landscape of the retail business. It is surprising that so many tricks that are used today in commerce, were invented over a hundred years ago - mail-order business, sales, commissions, employee benefits, even the layout of the stores where you can't find all you need in one place but have to roam around and get seduced by other goods you first didn't have any intentions to buy. Zola even touches upon shopaholics and shoplifters. Interesting stuff.
I am now curious if my opinion of other favorite books in this series will be different. Will I enjoy Zola's novels about prostitution (Nana) and coalminers (Germinal) as much as I did before?
June 20, 2020
This is novel #11 in the Rougon-Macquart series and was the 6th one in the series I had read so far (all selected at random). It so happened that all six are set in Paris. The Ladies’ Paradise (Au Bonheur Des Dames) is one where Zola is unwontedly light-handed with his prescription of human misery.
This novel tells how a country girl Denise tries to settle in the glamorous city of Paris and courageously confronts all the mishaps and humiliation that her job as a junior saleswoman in a prestigious department store entails. She witnesses how the innovative business model allows the establishment to grow from strength to strength under the management of the shrewd and handsome owner Octave Mouret, who is a young widower and womanizer. Her strong common sense, integrity and strength of will become her only tools of self defense in the material world filled with degrading temptations, to which most of her co-workers succumb. The worst trial comes when she realizes she has fallen in love with Mouret who, tired of his own dissolute private life, is deeply attracted to her.
As the backdrop of the story, Zola paints a living picture of how the business of a luxury department store is run on a daily basis in mid-1800s Paris and how a rapacious expansion plan is carried out in tandem with the city’s ambitious massive infrastructure development. Beneath all the glamour though, there is a strong undertow that grieves the inevitable demise of small business shops and afflictions of their owners. The story also gives a realist’s glimpse into the lives of the average salesman and saleswoman employed in high-class department stores.
This novel is said to have been inspired by the development of Les Grands Magasins du Louvre in the Place du Palais-Royal of that era.
As with other novels in the R-M series I'd read, Zola showed the same mastery in this one with his descriptions of minutiae. What I liked even better though, was still his keen insight into the human psyche and interpersonal relationships, and how he captures the social paradigm shift of the times. I feel that at heart he was very much a democratic socialist.
I’m giving this novel 4.5 stars rounded up.
Other R-M novels I had read:-
L’Oeuvre (The Masterpiece) – 4 stars
Le Ventre (The Belly of Paris) – 4 stars
L’Assommoir (The Dram Shop) – 5 stars
La Curee (The Kill) – 5 stars
Nana (Nana) – 4 stars
Non-R-M novel I had read:-
Therese Raquin – 3 stars
October 6, 2019
Having just finished a buddy read of Emile Zola’s The Ladies Paradise, I am in general agreement that this is a flawed four star book. Call it 3.5 with a major round up. Paradise is listed as the eleventh book in the “Rougon-Macquart" series, and is the sequel to Pot-Bouille, translated as Pot Luck in my English edition. In Pot Luck we are introduced to Octave Mouret, an aspiring barely middle class snot who marries his way into the ownership of a store, The Ladies Paradise. His wife and owner of this shop dies, falling into a hole that will become part of the reborn new invention, The Ladies’ Paradise modern Department store.
In this book Marat has built and continues to rebuild his newly invented store into a machine that industrializes the process of sales.
Into this set up arrives a new thread bare, overburdened young county mouse, Denise Baudu. Between these three characters, The Store, its, owner and its new, over matched, innocent girl Zola builds his novel.
Ladies’ Paradise is the result of fives years of Zola making a close study of the two department stores then making their debut in Paris. He relates to us with meticulous and exciting detail all of the inner mechanics and machination of this new living eating thing, the Department store. With equal parts resignation and road side accident curiosity he notes the effect of the new way of selling as a destructive, if un-stoppable force in retail. Local small stores of whatever age, tradition or hopes are bought out, literally undermined or simply withered under the effects of mass marketing, price wars and capitalistic competition. There are hints of back door deal making, but ultimately the success of the huge box store is that the small guys cannot compete. This should sound familiar in our age of internet based marketing challenging the big box, brick and mortar retailer.
Zola takes us from the board rooms to the shipping rooms where we meet the staff and in the internal workings of this company as a living presence. Staff is alternatively, slick, seductive, conniving, sincere, submissive and fearful. Employee rights and benefits are not yet meaningful terms and arbitrary hire fire and promotion keeps people complicit, when they are not working to cut each other out.
The great lie of the store is that it presents the promise that everything is about and for its predominately female fan base, that is customer. In fact, this promise is itself the deliberate cover for schemes, psychological machinations and applications of marketing over substance. Women are not so much the masters of this place as its pray. Women are intended to happily desire to feed their money into its always hungry maw.
With Denise we get to see and feel the conflicts of a well meaning every woman. She has personal loyalties towards her family and friends from the world of traditional retail. She will have to chose to stay with these loyalties or her apparently instinctive grasp that the department store and its new way of selling is the future. She is also romantically inclined toward her boss’s boss’s boss, Octave Mouret. He will also become attracted to her given she is one of thousands of employees and several concurrent mistresses.
It is the conflict represented by this may or may not be consummated romance that much of the human based plot is based. This is also the weakest part of the novel. We know Octave to be a serial womanizer and large-scale manipulator of women. Denise is not just innocent but highly principled, consciously, and conscientiously virginal. Given all of this what is a happy ending?
It was the consensus of the buddy read that this ending is, facile less than credible and perhaps incomplete.
For all, Zola is a good story teller. There is much of fact in his fiction. At least as it relates to the Store. The Ladies’ Paradise can be an exciting read, something few would associate with the story of a department store. There are several levels of human drama, most well presented. It is only in the resolution of the central human drama that our group of readers found disapointment.
In this book Marat has built and continues to rebuild his newly invented store into a machine that industrializes the process of sales.
Into this set up arrives a new thread bare, overburdened young county mouse, Denise Baudu. Between these three characters, The Store, its, owner and its new, over matched, innocent girl Zola builds his novel.
Ladies’ Paradise is the result of fives years of Zola making a close study of the two department stores then making their debut in Paris. He relates to us with meticulous and exciting detail all of the inner mechanics and machination of this new living eating thing, the Department store. With equal parts resignation and road side accident curiosity he notes the effect of the new way of selling as a destructive, if un-stoppable force in retail. Local small stores of whatever age, tradition or hopes are bought out, literally undermined or simply withered under the effects of mass marketing, price wars and capitalistic competition. There are hints of back door deal making, but ultimately the success of the huge box store is that the small guys cannot compete. This should sound familiar in our age of internet based marketing challenging the big box, brick and mortar retailer.
Zola takes us from the board rooms to the shipping rooms where we meet the staff and in the internal workings of this company as a living presence. Staff is alternatively, slick, seductive, conniving, sincere, submissive and fearful. Employee rights and benefits are not yet meaningful terms and arbitrary hire fire and promotion keeps people complicit, when they are not working to cut each other out.
The great lie of the store is that it presents the promise that everything is about and for its predominately female fan base, that is customer. In fact, this promise is itself the deliberate cover for schemes, psychological machinations and applications of marketing over substance. Women are not so much the masters of this place as its pray. Women are intended to happily desire to feed their money into its always hungry maw.
With Denise we get to see and feel the conflicts of a well meaning every woman. She has personal loyalties towards her family and friends from the world of traditional retail. She will have to chose to stay with these loyalties or her apparently instinctive grasp that the department store and its new way of selling is the future. She is also romantically inclined toward her boss’s boss’s boss, Octave Mouret. He will also become attracted to her given she is one of thousands of employees and several concurrent mistresses.
It is the conflict represented by this may or may not be consummated romance that much of the human based plot is based. This is also the weakest part of the novel. We know Octave to be a serial womanizer and large-scale manipulator of women. Denise is not just innocent but highly principled, consciously, and conscientiously virginal. Given all of this what is a happy ending?
It was the consensus of the buddy read that this ending is, facile less than credible and perhaps incomplete.
For all, Zola is a good story teller. There is much of fact in his fiction. At least as it relates to the Store. The Ladies’ Paradise can be an exciting read, something few would associate with the story of a department store. There are several levels of human drama, most well presented. It is only in the resolution of the central human drama that our group of readers found disapointment.
December 22, 2018
Ovvero la nascita della GDO.
Eccola Denise: gracile tanto da sembrare una bambina.
Il suo abbigliamento, il suo fare dimesso e, poi, quella meraviglia nello sguardo che scopre la grande città: tutto in lei denuncia le condizioni di un vivere modesto e di provincia.
Eccola dunque, con il piccolo Pepé attaccato ad un braccio e Jean, l'imberbe dongiovanni, che la segue.
Denise sorella. Denise madre.
Parigi è speranza in una nuova vita e, senza preamboli, da subito, gli occhi si riempiono di stupore alla vista delle risplendenti vetrine di un grande e spettacolare magazzino, qualcosa di mai visto: "Au bonheur des dames", "Al paradiso delle signore".
Pubblicato nel 1883 ed appartenente al ciclo di opere dei "Rougon-Macquart", si caratterizza per tutta una serie di dicotomie ricordando l'altro maestro del realismo, ossia, Honoré de Balzac.
▲ La prima è quella che sottolinea la semplicità e la genuinità della vita di provincia versus la dinamicità della metropoli parigina e della sua forza corruttrice.
▲ La seconda opposizione è quella che riguarda il commercio, ossia il fulcro della narrazione.
▲ "Al paradiso delle signore" c'è spazio, luce, vita. Le botteghe attorno, invece, sono antri angusti, bui e umidi.
Questo è il nuovo mondo che prende il sopravvento con un lento ed inesorabile movimento di mascelle e "purtroppo il quartiere poco alla volta era invaso e divorato.".
L'opera ha valoresoprattutto in questo senso dato che ci dà un'idea delle prime mosse di quel commercio a cui oggi siamo più che abituati:
▲ i dipendenti che agiscono come pescecani in mare aperto:
"Su qualsiasi oggetto, un pezzo di stoffa, un nonnulla dava loro una percentuale; e così otteneva che gli addetti alla vendita se ne curassero sul serio. E con questa innovazione aveva acceso tra i commessi una lotta per l’esistenza da cui s’arricchivano i padroni. Del resto, questa famosa lotta era la sua parola favorita, il principio dell’organizzazione che non si stancava mai di esplicare. Sguinzagliava le cupidigie, metteva una forza contro l’altra, tollerava che i grossi mangiassero i piccoli, e ricavava da questa battaglia il suo vantaggio.";
▲ le strategie di marketing rozze ma già efficaci;
▲ l'invasione in ogni settore che tanto mi ha fatto ricordare i nostri centri commerciali in una veste più primitiva...
Il vecchio mondo, dunque, è morto, o comunque sta esalando i suoi ultimi respiri.
Il nuovo avanza, "secolo di foga operosa e di progresso".
Una nuova religione, un nuovo culto che fa accalcare le donne nella sua cattedrale.
Nello splendore della merci esposte (dove Zola esprime al massimo la sua arte descrittiva) la donna va in estasi e si inchina allo spendere come farebbe di fronte ad una statua votiva.
E così, ecco anche anticipato lo shopping compulsivo e quella tensione all'avere che ne rende alcune cleptomani.
Schierati ci sono i solerti commessi che resistono all'assalto dei padroni senza nessuna corazza sindacale e rispondono ai sotterfugi dei colleghi arrivisti difendendosi con ogni arma possibile.
Un esercito che si maschera di servilismo nell'atto della vendita reso ormai perfetto ingranaggio della grande macchina.
E poi c'è Denise: un'anima candida.
Un'ostinata e spudorata purezza che ammanta la storia di un alone fiabesco addolcendo gli intenti di uno Zola "scienziato" della scrittura.
Forse Denise è come quel raggio di sole che così spesso si insinua tra i vetri e che scalda le stoffe facendole luccicare come preziose pietre.
Forse Denise è quella speranza che anche nel più sfrenato e cieco progresso rimanga un po' di umanità.
Eccola Denise: gracile tanto da sembrare una bambina.
Il suo abbigliamento, il suo fare dimesso e, poi, quella meraviglia nello sguardo che scopre la grande città: tutto in lei denuncia le condizioni di un vivere modesto e di provincia.
Eccola dunque, con il piccolo Pepé attaccato ad un braccio e Jean, l'imberbe dongiovanni, che la segue.
Denise sorella. Denise madre.
Parigi è speranza in una nuova vita e, senza preamboli, da subito, gli occhi si riempiono di stupore alla vista delle risplendenti vetrine di un grande e spettacolare magazzino, qualcosa di mai visto: "Au bonheur des dames", "Al paradiso delle signore".
Pubblicato nel 1883 ed appartenente al ciclo di opere dei "Rougon-Macquart", si caratterizza per tutta una serie di dicotomie ricordando l'altro maestro del realismo, ossia, Honoré de Balzac.
▲ La prima è quella che sottolinea la semplicità e la genuinità della vita di provincia versus la dinamicità della metropoli parigina e della sua forza corruttrice.
▲ La seconda opposizione è quella che riguarda il commercio, ossia il fulcro della narrazione.
▲ "Al paradiso delle signore" c'è spazio, luce, vita. Le botteghe attorno, invece, sono antri angusti, bui e umidi.
Questo è il nuovo mondo che prende il sopravvento con un lento ed inesorabile movimento di mascelle e "purtroppo il quartiere poco alla volta era invaso e divorato.".
L'opera ha valoresoprattutto in questo senso dato che ci dà un'idea delle prime mosse di quel commercio a cui oggi siamo più che abituati:
▲ i dipendenti che agiscono come pescecani in mare aperto:
"Su qualsiasi oggetto, un pezzo di stoffa, un nonnulla dava loro una percentuale; e così otteneva che gli addetti alla vendita se ne curassero sul serio. E con questa innovazione aveva acceso tra i commessi una lotta per l’esistenza da cui s’arricchivano i padroni. Del resto, questa famosa lotta era la sua parola favorita, il principio dell’organizzazione che non si stancava mai di esplicare. Sguinzagliava le cupidigie, metteva una forza contro l’altra, tollerava che i grossi mangiassero i piccoli, e ricavava da questa battaglia il suo vantaggio.";
▲ le strategie di marketing rozze ma già efficaci;
▲ l'invasione in ogni settore che tanto mi ha fatto ricordare i nostri centri commerciali in una veste più primitiva...
Il vecchio mondo, dunque, è morto, o comunque sta esalando i suoi ultimi respiri.
Il nuovo avanza, "secolo di foga operosa e di progresso".
Una nuova religione, un nuovo culto che fa accalcare le donne nella sua cattedrale.
Nello splendore della merci esposte (dove Zola esprime al massimo la sua arte descrittiva) la donna va in estasi e si inchina allo spendere come farebbe di fronte ad una statua votiva.
E così, ecco anche anticipato lo shopping compulsivo e quella tensione all'avere che ne rende alcune cleptomani.
Schierati ci sono i solerti commessi che resistono all'assalto dei padroni senza nessuna corazza sindacale e rispondono ai sotterfugi dei colleghi arrivisti difendendosi con ogni arma possibile.
Un esercito che si maschera di servilismo nell'atto della vendita reso ormai perfetto ingranaggio della grande macchina.
E poi c'è Denise: un'anima candida.
Un'ostinata e spudorata purezza che ammanta la storia di un alone fiabesco addolcendo gli intenti di uno Zola "scienziato" della scrittura.
Forse Denise è come quel raggio di sole che così spesso si insinua tra i vetri e che scalda le stoffe facendole luccicare come preziose pietre.
Forse Denise è quella speranza che anche nel più sfrenato e cieco progresso rimanga un po' di umanità.
June 21, 2022
Консьюмеризм, шопоголизм, болезненное пристрастие к покупкам, обладанию вещами и даже клептоманией, когда возбужденные дамы, включая богатых, не могли удержаться от воровства вещей в магазине, является объектом критики в романе «Дамское счастье» Золя. Писатель тонко подметил, на чем зиждется современный маркетинг – если женщина считает, что выигрывает от покупки, то она купит даже ненужную ей вещь. Он вскрывает все методы торговли, которые основаны на психологии жаждущей обновки покупательницы, те психологические оправдания, которые ей нужны, чтобы безрассудно тратить деньги – скидки, систему возвратов, создание ажиотажа в виде толпы, пробуждающей стадный инстинкт, концентрация товара в огромном магазине с максимальным ассортиментом, яркие витрины и огни, привлекающие покупателей издали, атмосфера праздника. Он показывает концентрацию капитала путем разорения мелких торговцев, то, что марксисты называли тогда монополистическим капиталом. Но сам роман показался мне откровенно слабым. Золя чересчур идеализирует Денизу, делая ее каким-то монолитом нравственности, и влюбленность Муре кажется какой-то далекой от реализма. История Золушки и олигарха, которые сейчас можно найти в любом «женском шик-лит» романе. Весь роман – это бесконечное описание бизнеса, правда высокохудожественное, но тем не менее. Да, идея критики консьюмеризма есть, но это просто констатация, наблюдение.
April 7, 2022
"Dāmu paradīzi" biju lasījusi pusaudzes gados, bet neko vairāk par galveno sižeta līniju neatcerējos. Vēl tolaik izlasīju "Lurdu", kas atmiņā palikusi kā kaut kas ļoti nomācošs. Tagad, izlēmusi, ka varbūt beidzot esmu izaugusi līdz Zolā, nolēmu pārlasīt un apzināti izvēlējos "vieglo galu" - "Dāmu paradīzi". Tomēr drīz vien noslīku visā tajā mežģīņu, korsešu, lentīšu un zīda auduma metru blāķī.
Interesanti, ka atšķirībā no samērā jaunā seriāla pēc romāna motīviem Zolā "Dāmu paradīze" nav vis nekāda slavas dziesma jaunajam, progresīvajam kapitālisma laikmetam, kas atbrīvo ceļu nedižciltīgiem, bet uzņēmīgiem cilvēkiem un ieved pilnvērtīgā darba tirgū sievietes. Nē! Zolā uzmanības centrā ir patēriņa laikmeta dzimšana: alkatība, izpārdošanas, skaudība, parādi, kleptomānija, dempings, mazo veikaliņu bankroti utt. Šīs parādības, protams, ir vienas medaļas divas puses. Jautājums, ko izceļ vairāk. Zolā ir daudz kritiskāks nekā BBC režisori.
Teikšu godīgi, man šajā darbā bija daudz par daudz veikala. Tiešām interesantās galveno varoņu attiecības burtiski noslīka izpārdošanu precēs. Brīžiem pieķēru sevi, ka kārtējo jauno preču pieveduma aprakstu jau lasu pa diagonāli, lai neteiktu, ka pāršķiru. Cieņā pret monumentālo ieceri un trāpīgo laikmeta vērojumu lieku četras zvaigznes, bet, ja pavisam godīgi, bija samērā garlaicīgi.
Varbūt kādam ir padoms, ko no Zolā jūs ieteiktu izlasīt, lai labotu iespaidu? :)
Interesanti, ka atšķirībā no samērā jaunā seriāla pēc romāna motīviem Zolā "Dāmu paradīze" nav vis nekāda slavas dziesma jaunajam, progresīvajam kapitālisma laikmetam, kas atbrīvo ceļu nedižciltīgiem, bet uzņēmīgiem cilvēkiem un ieved pilnvērtīgā darba tirgū sievietes. Nē! Zolā uzmanības centrā ir patēriņa laikmeta dzimšana: alkatība, izpārdošanas, skaudība, parādi, kleptomānija, dempings, mazo veikaliņu bankroti utt. Šīs parādības, protams, ir vienas medaļas divas puses. Jautājums, ko izceļ vairāk. Zolā ir daudz kritiskāks nekā BBC režisori.
Teikšu godīgi, man šajā darbā bija daudz par daudz veikala. Tiešām interesantās galveno varoņu attiecības burtiski noslīka izpārdošanu precēs. Brīžiem pieķēru sevi, ka kārtējo jauno preču pieveduma aprakstu jau lasu pa diagonāli, lai neteiktu, ka pāršķiru. Cieņā pret monumentālo ieceri un trāpīgo laikmeta vērojumu lieku četras zvaigznes, bet, ja pavisam godīgi, bija samērā garlaicīgi.
Varbūt kādam ir padoms, ko no Zolā jūs ieteiktu izlasīt, lai labotu iespaidu? :)
March 18, 2017
Strabordante, straripante, grandioso: sono gli aggettivi che mi vengono immediatamente da accostare al libro appena letto. Sono stata incerta fino all’ultimo sulle stelle da assegnargli perché da un lato la lettura è stata pesante, dall’altro mi ha comunque appassionato. La pesantezza è dipesa dalle accurate e approfondite descrizioni del grande magazzino Al paradiso delle signore, aperto al centro di Parigi, che Zola analizza con una ricchezza di particolari che viene da chiedersi quante ore abbia trascorso in mezzo ai nastri, trine, stoffe, abiti, cappelli, mantelli e merci di ogni svariato genere che sono vendute negli scaffali dei grandi magazzini (magari accompagnando la moglie a fare spese). A partire dal nome scelto, questo grande magazzino è una gioia per gli occhi; la ricchezza cromatica creata ad arte attraverso i più begli abbinamenti di stoffe di ogni genere e tipo, dai velluti alle sete, l’eleganza degli addobbi e degli arredi, l’efficienza dei commessi che vi lavorano, tutto è fatto per stupire, ammaliare e conquistare le donne, dalle nobildonne decadute ricche solo dell’orgoglio di casta, alle mogli di ricchi borghesi occupate a spendere i guadagni dei poveri mariti, fino alle giovanette di provincia che si ritrovano sperdute a Parigi senza lavoro, come capita alla protagonista Denise.
Sotto lo splendore e il luccichio delle sete e dei merletti, il paradiso nasconde però la sua “anima nera”, che Zola sottolinea definendolo più volte come un enorme mostro che spalanca le fauci inghiottendo quanto incontra sul suo passaggio: la solidarietà umana, il rispetto, l’onestà scompaiono e viene fuori la natura bestiale di ciascuno. “Homo homini lupus”è la regola della vita nel microcosmo fatto di commessi e clienti del grande magazzino, cui corrisponde, in campo economico, la triste (ed equivalente) realtà del “mors tua, vita mea”, che costituisce la parte più triste ed anche la più attuale del romanzo, consistente nella scomparsa delle piccole botteghe di una volta portate avanti col sudore della fronte del titolare e della sua famiglia, gettate sul lastrico dalla concorrenza inattaccabile dei grandi magazzini, quella che oggi chiamiamo la grande distribuzione.
L’amore tra la commessa Denise e Mouret, il milionario proprietario del supermercato, deciso a non farsi accalappiare da nessuna donna ma di essere soltanto il dominatore incontrastato del suo regno commerciale, ed alla fine folle d’amore per la vergine ritrosa, passa in secondo piano, anche perchè non è certo originale. Un merito riconosco alla fanciulla, verso la quale non ho avuto granchè simpatia: l’essere riuscita, grazie all’ascendente su Mouret, a introdurre nel Paradiso delle signore un inizio, importante, di tutela dei diritti delle donne lavoratrici, che venivano buttate in mezzo alla strada dal momento del matrimonio. Brava Denise!
Sotto lo splendore e il luccichio delle sete e dei merletti, il paradiso nasconde però la sua “anima nera”, che Zola sottolinea definendolo più volte come un enorme mostro che spalanca le fauci inghiottendo quanto incontra sul suo passaggio: la solidarietà umana, il rispetto, l’onestà scompaiono e viene fuori la natura bestiale di ciascuno. “Homo homini lupus”è la regola della vita nel microcosmo fatto di commessi e clienti del grande magazzino, cui corrisponde, in campo economico, la triste (ed equivalente) realtà del “mors tua, vita mea”, che costituisce la parte più triste ed anche la più attuale del romanzo, consistente nella scomparsa delle piccole botteghe di una volta portate avanti col sudore della fronte del titolare e della sua famiglia, gettate sul lastrico dalla concorrenza inattaccabile dei grandi magazzini, quella che oggi chiamiamo la grande distribuzione.
L’amore tra la commessa Denise e Mouret, il milionario proprietario del supermercato, deciso a non farsi accalappiare da nessuna donna ma di essere soltanto il dominatore incontrastato del suo regno commerciale, ed alla fine folle d’amore per la vergine ritrosa, passa in secondo piano, anche perchè non è certo originale. Un merito riconosco alla fanciulla, verso la quale non ho avuto granchè simpatia: l’essere riuscita, grazie all’ascendente su Mouret, a introdurre nel Paradiso delle signore un inizio, importante, di tutela dei diritti delle donne lavoratrici, che venivano buttate in mezzo alla strada dal momento del matrimonio. Brava Denise!
May 27, 2020
A little too on the nose at times, and the plot itself is pretty perfunctory, but his description of (and critique of) the emergence of the department store is brilliantly done. While his point about the commodification of women is hammered repeatedly over our heads, it is a good enough point, and is being said impressively early enough in the process, to warrant such repetition.
July 13, 2024
A 19th century novel that is a paean to the consumer welfare standard. A large department store the Ladies Paradise, one of the first in 19th century Paris, displaces a lot of local small businesses in sometimes painful ways. Denise, the heroine of the novel, argues, “Prices, instead of being fixed by about fifty shops as they used to be, are fixed nowadays by four or five, which have lowered them, thanks to the power of their capital and the number of their customers … So much the better for the public.” Protect competition not competitors in fictional form.
The department store is really the leading character in this book, the protagonist of the Bildungsroman. It is like a living, breathing creature with needs, desires and most importantly constant growth. It becomes increasing complex, mature and alive as it develops. From a few departments to many, takes over more and more of the square block—eventually engulfing the one stubborn holdout. The novel also has amazing depictions of innovations, not just classical invention (e.g., an improved type of umbrella at one point) but also management of inventory, holding sales, selling some products at a loss, advertising, managing inventories, and more. I never thought an entire chapter of a novel (and they’re long chapters) devoted to inventory management could be so thrilling but that one was nothing compared to the description of the sale.
In the shadow of the Ladies Paradise are a number of small shops that are having an increasingly difficult time competing. The larger shop buys out some, builds on innovations by others, and aggressively competes on price with still others. Émile Zola does not sugarcoat the pain of all of this, depicting deaths and suicide attempts in the wake of the store. But he does not blame all the maladies on the Ladies Paradise itself and, consistent with the consumer welfare standard, he keeps the focus on the ways in which this profit ultimately benefits customers. Moreover, some of the small businesses do innovate in ways that help keep themselves in business: “longing to create competition for the colossus; [a small business owner] believed that victory would be certain if several specialized shops where customers could find a very varied choice of goods could be created in the neighbourhood.”
Interestingly there is a chapter that reads like an explanation of an economic model, Bertrand competition, in which two competitors keep lowering prices by smaller and smaller amounts until they are pricing as low as they possibly can (their marginal cost). What made this especially interesting to me was that The Ladies Paradise was published in 1883, the same year Joseph Louis François Bertrand published his model.
And it is not just consumers. The novel depicts how the productivity gains the Ladies Paradise makes as a result of its scale and its innovations are passed through to workers in the form of higher pay and improved benefits. For example, early on there is a brutal depiction of the process of laying off workers during the slow time of year. Later on, the store develops a system that is more like furloughs with insurance. And also, unlike the small shops in the area, it has opportunities for advancement within the store, moving up the ranks of managerial positions. Notably, all of this is not because of the benevolence of the owner (as it is in a few other 19th century novels) but because of competition from other stores so the need to attract and retain talent.
All of this makes employment in the colossus considerably better than the smaller, neighboring shops where people are poorly paid, lack opportunities for advancement and face harassment. Although it is still not all wonderful—for example, the department store frowns on women who are married and dismisses them when they have children.
Overall, the combination of low prices for consumers and high expenses—including pay and benefits to attract and retain employees—mean that the business has a very thin profit margin but applies that margin to a very large base: “Doubtless with their heavy trade expenses and their system of low prices the net profit was at most four per cent. But a profit of sixteen hundred thousand francs was still a pretty good sum; one could be content with four per cent when one operated on such a scale.”
The biggest wrinkle in the consumer welfare standard is some of the ambivalence Zola has about consumer preferences themselves. The advent and spread of advertising as manufacturing desires is a big part of the book: “The sixty thousand francs spent on announcements in the newspapers, the ten thousand posters on walls, and the two hundred thousand catalogues which had been sent out had emptied the women’s purses and left their nerves suffering from the shock of their intoxication; they were still shaken by all Mouret’s devices: the reduced prices, the system of ‘returns’, his constantly renewed attentions.”
The idea that people—or women to be more specific—are buying things they do not “need” but “desire” is an issue it grapples with. And that desire can even rise to the level of a mad frenzy, like the sales it depicts or the shoplifters, some of them affluent but driven by an almost mad desire to acquire lace, silk, and more.
All of this is embedded in a larger economic and technological system that is operating in the background: large factories in Lyon that are producing at scale in a way that is symbiotic with the department store, rail transportation to bring the constant inflow of goods, a mail system that supports catalog purchases, and more.
Oh, and there are actual humans. A woman her two brothers comes to Paris from the countryside to support themselves. In typical Zola fashion she and her little brother go as far down as you could imagine into poverty and near starvation before she ascends meteorically. The stores owner becomes an interesting and more complex character as it goes along. There is a love story. All of this is quite good but none of it rises to the level of uniqueness of the depiction of the store and the market competition system it depicts.
I read this based on a recommendation from several people in response to a tweet, “I asked a colleague in the English department if any fiction had positive depictions of business and capitalism (other than Ayn Rand). He mischievously suggested George Bernard Shaw's Major Barbara to me--here is my review. Anyone else have other ideas?” Although it might not be as one-sided as I depict above, I’m still astounded about how breathtaking fiction can be made which understands and depicts the ways in which innovation and scale combine with competition to generate benefits for consumers and workers—while also not sugarcoating the many that lose from this process.
The department store is really the leading character in this book, the protagonist of the Bildungsroman. It is like a living, breathing creature with needs, desires and most importantly constant growth. It becomes increasing complex, mature and alive as it develops. From a few departments to many, takes over more and more of the square block—eventually engulfing the one stubborn holdout. The novel also has amazing depictions of innovations, not just classical invention (e.g., an improved type of umbrella at one point) but also management of inventory, holding sales, selling some products at a loss, advertising, managing inventories, and more. I never thought an entire chapter of a novel (and they’re long chapters) devoted to inventory management could be so thrilling but that one was nothing compared to the description of the sale.
In the shadow of the Ladies Paradise are a number of small shops that are having an increasingly difficult time competing. The larger shop buys out some, builds on innovations by others, and aggressively competes on price with still others. Émile Zola does not sugarcoat the pain of all of this, depicting deaths and suicide attempts in the wake of the store. But he does not blame all the maladies on the Ladies Paradise itself and, consistent with the consumer welfare standard, he keeps the focus on the ways in which this profit ultimately benefits customers. Moreover, some of the small businesses do innovate in ways that help keep themselves in business: “longing to create competition for the colossus; [a small business owner] believed that victory would be certain if several specialized shops where customers could find a very varied choice of goods could be created in the neighbourhood.”
Interestingly there is a chapter that reads like an explanation of an economic model, Bertrand competition, in which two competitors keep lowering prices by smaller and smaller amounts until they are pricing as low as they possibly can (their marginal cost). What made this especially interesting to me was that The Ladies Paradise was published in 1883, the same year Joseph Louis François Bertrand published his model.
And it is not just consumers. The novel depicts how the productivity gains the Ladies Paradise makes as a result of its scale and its innovations are passed through to workers in the form of higher pay and improved benefits. For example, early on there is a brutal depiction of the process of laying off workers during the slow time of year. Later on, the store develops a system that is more like furloughs with insurance. And also, unlike the small shops in the area, it has opportunities for advancement within the store, moving up the ranks of managerial positions. Notably, all of this is not because of the benevolence of the owner (as it is in a few other 19th century novels) but because of competition from other stores so the need to attract and retain talent.
All of this makes employment in the colossus considerably better than the smaller, neighboring shops where people are poorly paid, lack opportunities for advancement and face harassment. Although it is still not all wonderful—for example, the department store frowns on women who are married and dismisses them when they have children.
Overall, the combination of low prices for consumers and high expenses—including pay and benefits to attract and retain employees—mean that the business has a very thin profit margin but applies that margin to a very large base: “Doubtless with their heavy trade expenses and their system of low prices the net profit was at most four per cent. But a profit of sixteen hundred thousand francs was still a pretty good sum; one could be content with four per cent when one operated on such a scale.”
The biggest wrinkle in the consumer welfare standard is some of the ambivalence Zola has about consumer preferences themselves. The advent and spread of advertising as manufacturing desires is a big part of the book: “The sixty thousand francs spent on announcements in the newspapers, the ten thousand posters on walls, and the two hundred thousand catalogues which had been sent out had emptied the women’s purses and left their nerves suffering from the shock of their intoxication; they were still shaken by all Mouret’s devices: the reduced prices, the system of ‘returns’, his constantly renewed attentions.”
The idea that people—or women to be more specific—are buying things they do not “need” but “desire” is an issue it grapples with. And that desire can even rise to the level of a mad frenzy, like the sales it depicts or the shoplifters, some of them affluent but driven by an almost mad desire to acquire lace, silk, and more.
All of this is embedded in a larger economic and technological system that is operating in the background: large factories in Lyon that are producing at scale in a way that is symbiotic with the department store, rail transportation to bring the constant inflow of goods, a mail system that supports catalog purchases, and more.
Oh, and there are actual humans. A woman her two brothers comes to Paris from the countryside to support themselves. In typical Zola fashion she and her little brother go as far down as you could imagine into poverty and near starvation before she ascends meteorically. The stores owner becomes an interesting and more complex character as it goes along. There is a love story. All of this is quite good but none of it rises to the level of uniqueness of the depiction of the store and the market competition system it depicts.
I read this based on a recommendation from several people in response to a tweet, “I asked a colleague in the English department if any fiction had positive depictions of business and capitalism (other than Ayn Rand). He mischievously suggested George Bernard Shaw's Major Barbara to me--here is my review. Anyone else have other ideas?” Although it might not be as one-sided as I depict above, I’m still astounded about how breathtaking fiction can be made which understands and depicts the ways in which innovation and scale combine with competition to generate benefits for consumers and workers—while also not sugarcoating the many that lose from this process.
April 22, 2024
Prvi put citam Zolu i moram da priznam da me je odusevio njegov stil i sigurno cu citati jos njegovih knjiga. Deniz je jedna od najsimpaticnijih zenskih knjizevnih likova. Knjiga kao da nije napisana davne 1883-e nista se u mnogo nije promenio kapitalizam koji opisan kao masinerija melje zaposlene i kupce jednako stavise sve je postalo jos i gore jer uz put melje i prirodu. Pitam se sta bi Zola rekao za danasnje stanje kapitalizma koji nas je potpuno otudjio od prirode koju on cesto koristi u opisima robe i odece. Ono sto najvise iznenadjuje je to sto se nista nije promenilo u pogledu toga kako kapitalisti navode musterije na nepromisljenu kupovinu dajuci popuste, mogucnosti vracanja robe i praveci lavirinte u prodavnicama u kojima se musterije pogube pa kupe i ono sto im ne treba. Zatim tu su i reklame u novinama i katalozima ili one napisane na kocijama koje vuku konji sto je jedino arhaicno i sto se promenilo naravno pored toga da se sada kupuje vec sasivena odeca, ali ako to izuzmemo roman je mogao biti napisan i juce u nekoj tekstilnoj fabrici u tipa Kini ili Bangladesu gde se i dalje radi po trinaest sati.
June 28, 2021
3.5 Okej, ali šta je ovaj kraj? Zašto ovakav kraj? Toliko detaljisanja kroz celu knjigu da bi kraj bio nedorečen🥲
August 31, 2016
This one deals with the monstrous effects of capitalism in France's Second Empire. Zola modeled The Ladies' Paradise after Bon Marché, a Paris shop which revolutionized consumer culture by acting as a sort of indoor bazaar, where one could find housewares, furniture, cloth, readymade clothing etc. in one place rather than traveling all around Paris to different little independent shops--like a mall, but all owned by the same company. Okay, fine, like a Walmart (with real silk). Workers assigned to each department sell mostly on commission, their meager yearly salaries increasing with their positions, thus introducing the concept of "climbing the corporate ladder" to Paris' impoverished young workers. This results in a mind-numbing cycle of exploitation and reward; for those at the bottom there is nowhere else to go, due to the smaller businesses being swallowed up and the competitive wages of The Ladies' Paradise (despite being cruelly degraded by entitled customers, given inedible food, and having the constant anxiety of arbitrarily being told to "go and get paid!" a.k.a. "you're fired!" by Octave Mouret and other higher-ups). Those who are persistent or well-connected enough to ascend the ranks are convinced there is nowhere else but up, inciting them to clear their own paths up the ladder by any means necessary, with no attention to fairness, using the mangled bodies of others as their stepping stones. One class system is demolished only to give rise to another. Zola (as ever) writes convincing portraits of ruined lives and exhausted ambition, though in this novel no class is safe: the rich, the bourgeoisie, and the poor are all uniformly ground up in the machine. The individuals who do escape have the moral burden of having done so at the expense of many others.
Paris' love affair with capitalism, paralleled in Denise's love affair with Octave: "Mouret had invented this mechanism for crushing the world, and its brutal working shocked her; he had sown ruin all over the neighborhood, despoiled some, killed others; and yet she loved him for the grandeur of his work, she loved him still more at every excess of his power, notwithstanding the flood of tears which overcame her, before the sacred misery of the vanquished."
Paris' love affair with capitalism, paralleled in Denise's love affair with Octave: "Mouret had invented this mechanism for crushing the world, and its brutal working shocked her; he had sown ruin all over the neighborhood, despoiled some, killed others; and yet she loved him for the grandeur of his work, she loved him still more at every excess of his power, notwithstanding the flood of tears which overcame her, before the sacred misery of the vanquished."
July 9, 2022
This is a great read! In ‘The Ladies’ Paradise’ Zola charts the rise of the department store alongside the modernisation of Paris as the streets are widened and old hovels knocked down, the Paradise grows to take up a whole block and small family run stores are priced out and eventually ruined. Throughout the novel it’s referred to as a machine rolling on, noisy and an irresistible force. “And it was all regulated and organized with the remorselessness of a machine: the vast horde of women were as if caught in the wheels of an inevitable force.”
Octave Mouret is the head of the department store, it’s his dream and creation and he sees himself as a power over women, he attracts them to his store, he seduces them into buying by all sorts of clever and innovative ways. (of course all still used today, price cuts and bargains, returns, gifts, unpopular depts must be walked through to get to the popular one, bargains at the door, trinkets and and other temptations in all available space, things to attract children, advertising, undercutting competitors etc). The counterpoint to Octave is Denise Baudu, a young woman from the country who heads to Paris with her two young brothers after her parents die. Her uncle owns a small fabric store across the road from The Ladies Paradise and can’t give Denise any work as his business is already suffering. Denise is attracted to the new store, she sees it as logical and modern, like a new revolution sweeping away the old. She gets a job at the Paradise but she has heart and won’t say yes to Octave (he literally seduces many of the salesgirls).
In the excellent introduction by Brian Nelson I learnt “The term ‘window-shopping’ in French is, of course, suggestively sensual: ‘lèche-vitrines’—literally, licking windows.”
Seems highly appropriate after reading this novel!
Octave Mouret is the head of the department store, it’s his dream and creation and he sees himself as a power over women, he attracts them to his store, he seduces them into buying by all sorts of clever and innovative ways. (of course all still used today, price cuts and bargains, returns, gifts, unpopular depts must be walked through to get to the popular one, bargains at the door, trinkets and and other temptations in all available space, things to attract children, advertising, undercutting competitors etc). The counterpoint to Octave is Denise Baudu, a young woman from the country who heads to Paris with her two young brothers after her parents die. Her uncle owns a small fabric store across the road from The Ladies Paradise and can’t give Denise any work as his business is already suffering. Denise is attracted to the new store, she sees it as logical and modern, like a new revolution sweeping away the old. She gets a job at the Paradise but she has heart and won’t say yes to Octave (he literally seduces many of the salesgirls).
In the excellent introduction by Brian Nelson I learnt “The term ‘window-shopping’ in French is, of course, suggestively sensual: ‘lèche-vitrines’—literally, licking windows.”
Seems highly appropriate after reading this novel!
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