Les Rougon-Macquart (English)

Although it is little known in this country, The Belly of Paris is considered one of Émile Zola's best novels. Set in the newly built food markets of Paris, it is a story of wealth and poverty set against a sumptuous banquet of food and commerce. Having just escaped from prison after being wrongfully accused, young Florent arrives at Paris' food market, Les Halles, half starved, surrounded by all he can't have, and indignant at his world, which he now knows to be unjust. He finds that the city's working classes have been displaced to make way for bigger streets and bourgeois living quarters, so he settles in with his brother's family. Gradually, he takes up with the local socialists, who are more at home in bars than on the revolutionary streets. Slowly, the ever-widening gap between the rich and the poor drags the city to the breaking point.

Brutal, gripping and heart wrenching, L'Assommoir (also known as The Drinking Den) chronicles the tragic downward spiral of Gervaise Macquart, a good-natured and hardworking laundress who slides into alcoholism and despair. After her lover abandons her and their two children, Gervaise marries a tin worker, Coupeau, who helps her rebuild her life. She starts her own business and the two have a daughter, Anna (the protagonist of Zola's later novel, Nana). But their happiness is short-lived as a freak accident leaves Coupeau seriously injured, beginning the family's fall into alcohol, desperation and violence. Disturbingly realistic, L'Assommoir is a vivid portrayal of life in late 19th-century Paris.

Nana Coupeau is a beautiful woman, able to attract men of enormous wealth with the crook of her finger. Part-time prostitute, part-time actress, she makes her debut in a mediocre operetta The Blonde Venus at the bustling Paris World's Fair of 1867. She can't sing, act or dance, yet she is stunning. Nana soon rockets through elite Parisian society, and, blinded by desire, men crawl to her feet, yielding to her every demand. Affections are manipulated, hearts are broken; fortunes are gutted and inheritances squandered. The poverty and violence of Nana's upbringing have led her to a cold and profligate life – a metaphoric indictment of the excesses of France's Second Empire, and a striking example of Zola's Naturalism.

Zola's The Ladies' Paradise (Au Bonheur des Dames, 1883) plays out in a colossal and opulent Parisian department store of the same name. Its owner, Octave Mouret, builds his innovative, upmarket women's fashion empire at the expense of the city's smaller, traditional shops. A self-declared manipulator of women, Mouret not only plays on his female customers' personal insecurities and social aspirations to keep his takings high, but also exploits his mostly female staff who work long hours in harsh conditions. After a difficult start, one young recruit, Denise Baudu, ends up giving Mouret much more than he bargained for.

Orphaned with a substantial inheritance at the age of ten, Pauline Quenu is taken from Paris to live with her relatives, Monsieur and Madame Chanteau and their son Lazare, in the village of Bonneville on the wild Normandy coast. Her presence enlivens the household and Pauline is the only one who can ease Chanteau's gout-ridden agony. Her love of life contrasts with the insularity and pessimism that infects the family, especially Lazare, for whom she develops a devoted passion. Gradually, Madame Chanteau starts to take advantage of Pauline's generous nature, and jealousy and resentment threaten to blight all their lives. The arrival of a pretty family friend, Louise, brings tensions to a head. The twelfth novel in the Rougon Macquart series, The Bright Side of Life is remarkable for its depiction of intense emotions and physical and mental suffering. The precarious location of Bonneville and the changing moods of the sea mirror the turbulent relations of the characters, and as the story unfolds its title comes to seem ever more ironic.

Germinal is one of the most striking novels in the French tradition. Widely regarded as Zola's masterpiece, the novel describes the working conditions of French coalminers in the 1860s in harsh and realistic terms. It is visceral, graphic and unrelenting. Its strong socialist principles and vivid accounts of the miners' strikes meant that the novel became a key symbol in the workers' fight against oppression, with chants of 'Germinal! Germinal!' resonating high above the author's funeral.

In the Maheus family, the father and three of seven children work brutal hours to extract coal far beneath the earth amid hazards of landslides, fire, poisoned air, and poisoned health. Then comes the idea of a workers' revolt, and soon the settlement is aflame. Zola chronicles the conflicts, lusts, and deprivation of life in the coal fields of nineteenth-century France.

Perhaps the most autobiographical of Zola's Rougon-Macquart cycle of novels, The Masterpiece is a hard, bleak and raw portrait of unrecognised artistic genius. Claude Lantier, brother to Nana and son of Gervaise, is a struggling painter who dreams of conquering Paris's art scene with his revolutionary 'open air' style of painting. Discouraged and mocked, Claude retreats to the countryside with a young woman from Clermont, with whom he has fallen in love, before returning to Paris, where he continues to experience rejection at every turn. Zola's depiction of a frustrated artist is said to have drawn heavily on the real-life experiences of Édouard Manet and Paul Cézanne, the latter of whom broke off his friendship with the author upon reading the novel.

Against the backdrop of political and legal corruption in Second Empire France, La Bête Humaine (1890) contrasts the technological advancements of the Machine Age with the primitive and timeless human impulse to possess through killing and to kill through possession. The lives of two railwaymen on the Paris to Le Havre line are fatally entwined by their love for the same woman in this shocking account of brutal violence, greed, revenge and repression. In the wider cast of Zola's characters, too, we see just how close to the surface of civilisation the beast within us lurks.

Zola's Money (L'Argent, 1891) shows the corrupting effect of untrammelled stock-market speculation. While some seek redemption through philanthropic and evangelical ventures, others - such as the main protagonist, Saccard - embrace their own avarice. Speculators illegally push up share prices so that ordinary citizens are feverishly swept up in an epidemic of small-scale investment. After unsustainable growth, there follows the inevitable crash, unleashing widespread misery and playing out against a backdrop of looming European conflict, colonialism, economic instability and political revolution. As Saccard tries to keep ahead of the financial authorities, he finds himself increasingly haunted by a serious crime from his past.