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A review by blueyorkie
Le Ventre de Paris by Émile Zola
4.0
The Zola that abuses our senses the most! Taste, sight, smell, touch, hardly anything but hearing that spared, and more.
One of the masters of the description uses his talent to immerse us in the overcrowded, overheated, and overabundant world of the new Halles de Paris, the cathedral of glass and steel. The temple of the consumption of perishable foodstuffs beats in the heart of the capital, day and night, like a heart in a man's chest. This powerful machine, both the source of wealth and the haven of misery, harbors a people with disparate aspirations.
Emile Zola often cloisters his reader from the novel's beginning in a restricted space; he wraps up the neighborhood. His characters become familiar to us; we become their intimate. At this price, we can see, stripped bare, the beauty or the ugliness of their souls, spy on their gestures, analyze their thoughts, and anticipate their destiny.
"The belly of Paris" is not my favorite Zola, but it is so consistent with the Rougon-Macquart saga that it is a stunning building block nonetheless. Once again, Emile Zola understands there is a need to reserve literature for everyone.
One of the masters of the description uses his talent to immerse us in the overcrowded, overheated, and overabundant world of the new Halles de Paris, the cathedral of glass and steel. The temple of the consumption of perishable foodstuffs beats in the heart of the capital, day and night, like a heart in a man's chest. This powerful machine, both the source of wealth and the haven of misery, harbors a people with disparate aspirations.
Emile Zola often cloisters his reader from the novel's beginning in a restricted space; he wraps up the neighborhood. His characters become familiar to us; we become their intimate. At this price, we can see, stripped bare, the beauty or the ugliness of their souls, spy on their gestures, analyze their thoughts, and anticipate their destiny.
"The belly of Paris" is not my favorite Zola, but it is so consistent with the Rougon-Macquart saga that it is a stunning building block nonetheless. Once again, Emile Zola understands there is a need to reserve literature for everyone.