AN OVERLOOKED CLASSIC, 30 Aug 2008
WE is a treasure. A classic of Russian literature, unjustly overlooked. Yes, it isn't easy to read, but get into it and it's worth the effort for the rewards. A must.

Very significant novel, but didn't care for the writing style, 02 Aug 2008
This book was important conceptually, as the precursor of Brave New World and 1984. As such, it deserves a significant place in world and Russian literature. It is easy to see why it was banned in the Soviet Union, with the unanimous elections in chapter 24 and the Benefactor sounding like Stalin, even though the latter had not yet acquired power at the time the book was written.

However, as a story I found this dull. It takes place in a dream-like atmosphere, making the action difficult to follow, and draining some of the force from the potentially powerful ideas. As nameless numbered ciphers - a powerfully frightening idea - the characters lack the human believability of Winston Smith and Julia in 1984. The twist in the ending made me doubt what had happened anyway, though was very like the more brutally straightforward end of 1984.


Better than 1984 or Brave New World in my opinion, 25 Jul 2008
Not only the original for 1984 and Brave New World and the other dystopian novels, but better than them too, in my view. Some people have knocked it for its complexity, for its comparative lack of plausibility, but the truth is that "We" is far more subtle, and its society is far more unsettling and terrifying. Some have criticised the translations, but I found the Penguin translation very good and readable: Zamyatin called it a "prose poem", and it had that quality, particularly when read aloud.

The narrator is not like the comparatively rational but disaffected characters of 1984 or Brave New World, he is a deeply confused, emotionally traumatised atomised ant, trying to gain some control over his thoughts and feelings to find a way to crawl out of his suffering. It has both the sense of wonder of a good SF novel, while having at times the psychological feeling of Dostoyevsky.

Very hard work to read, but rewarding if you can finish it, 28 Jun 2008
It's unfortunate that this tale of emancipation and discovery in a dreary ultra-totalitarian state, one far beyond what Orwell or Huxley later wrote about, is so difficult to engage with, because I really want to like it. It's beautifully written and the protagonist's anguish feels real. But I just couldn't, and have, after carrying the book around in my pocket for a good few months reading a page here and there, eventually admitted defeat. I'm not going to finish it. Even so, although it's not for me the underlying quality is obvious, and hence four stars.

We is an interesting classic, 08 Apr 2006
WE is a true classic and an extraordinary novel in many senses. It was the inspiration behind George Orwell's book 1984, and other subsequent books of the utopian/dystopian sub-genre, such as UNION MOUJIK, BRAVE NEW WORLD. The age-old conflict between individual self and the collective being that man has grappled with in our efforts to become more human is treated beautifully in thus book. What is peculiar about it is that the author never allowed politics to dominate. Overall, the Utopian-Fantasy is a recommended read.

AN OVERLOOKED CLASSIC, 30 Aug 2008
WE is a treasure. A classic of Russian literature, unjustly overlooked. Yes, it isn't easy to read, but get into it and it's worth the effort for the rewards. A must.

Very significant novel, but didn't care for the writing style, 02 Aug 2008
This book was important conceptually, as the precursor of Brave New World and 1984. As such, it deserves a significant place in world and Russian literature. It is easy to see why it was banned in the Soviet Union, with the unanimous elections in chapter 24 and the Benefactor sounding like Stalin, even though the latter had not yet acquired power at the time the book was written.

However, as a story I found this dull. It takes place in a dream-like atmosphere, making the action difficult to follow, and draining some of the force from the potentially powerful ideas. As nameless numbered ciphers - a powerfully frightening idea - the characters lack the human believability of Winston Smith and Julia in 1984. The twist in the ending made me doubt what had happened anyway, though was very like the more brutally straightforward end of 1984.


Better than 1984 or Brave New World in my opinion, 25 Jul 2008
Not only the original for 1984 and Brave New World and the other dystopian novels, but better than them too, in my view. Some people have knocked it for its complexity, for its comparative lack of plausibility, but the truth is that "We" is far more subtle, and its society is far more unsettling and terrifying. Some have criticised the translations, but I found the Penguin translation very good and readable: Zamyatin called it a "prose poem", and it had that quality, particularly when read aloud.

The narrator is not like the comparatively rational but disaffected characters of 1984 or Brave New World, he is a deeply confused, emotionally traumatised atomised ant, trying to gain some control over his thoughts and feelings to find a way to crawl out of his suffering. It has both the sense of wonder of a good SF novel, while having at times the psychological feeling of Dostoyevsky.

Very hard work to read, but rewarding if you can finish it, 28 Jun 2008
It's unfortunate that this tale of emancipation and discovery in a dreary ultra-totalitarian state, one far beyond what Orwell or Huxley later wrote about, is so difficult to engage with, because I really want to like it. It's beautifully written and the protagonist's anguish feels real. But I just couldn't, and have, after carrying the book around in my pocket for a good few months reading a page here and there, eventually admitted defeat. I'm not going to finish it. Even so, although it's not for me the underlying quality is obvious, and hence four stars.

We is an interesting classic, 08 Apr 2006
WE is a true classic and an extraordinary novel in many senses. It was the inspiration behind George Orwell's book 1984, and other subsequent books of the utopian/dystopian sub-genre, such as UNION MOUJIK, BRAVE NEW WORLD. The age-old conflict between individual self and the collective being that man has grappled with in our efforts to become more human is treated beautifully in thus book. What is peculiar about it is that the author never allowed politics to dominate. Overall, the Utopian-Fantasy is a recommended read.

An Amazing Thriller, 16 Sep 2007
This book is brilliant. The story is set around a nineteenth century Parisian haberdashers and the apartment above. The number of characters is small, leading to a tightly plotted and deeply psychological thriller. A world falls apart when a lodger arrives and the actions and reactions of the characters is fully analysed in a novel that has not dated. If you like muder/crime thrillers you will love this book, there is no modern thriller to rival this.

Disapointing, 25 Feb 2007
This is my first review so bare with me.

I found Zola's writing style very difficult to stomach. He certainly created two characters whose actions were very believable and their consequent reactions realistic. The problem I found was at no point did I care about the characters. While creating this unbearable atmosphere between the characters I too found myself avoiding returning home to the book. I would make excuses to avoid reading it just as Therese and Laurent would avoid coming home.

The ending was extremely disappointing. It just felt as if he ran out of ideas and made for a swift ending. Several of the chapters seemed completely surplus to requirement and added nothing to the story.

As I said, he did create two believable characters whose actions were wholly believable. Zola succeeded in creating an claustrophobic atmosphere. This said I unfortunately do not feel this was enough.
Basically, I'd never read it again and would advise against people reading it. I'll admit I am not a literary genius and so it is possible some of the quality of the writing as eluded me, however, I have to admit I regret following this through to it's conclusion.

R

Brilliant in its simplicty, 21 Jan 2007
A brilliant book which has a simple plot, wonderful characters and the little written dialogue seems to jump off the page at you.

What has made me love this book so much is the way that Zola has writen it so that the reader wants Therese and Laurent to strive and to be in love again because they are right for each other. The reader also does not grieve for the loss of Camille.

I wish to add that if you are a coward with a vivid imagination (like myself) you may find some descriptions of the lovers scaring themselves with images of the dead Camille a little scary.

Highly Enjoyable, 24 Sep 2006
At first glance, the plot seems to be fairly routine, and perhaps a little boring. I thought this to be in the same vein as Chopin's "Awakening" or perhaps even "Moll Flanders". The title and blurb for this book are misleading, seeming to sell this novel as a romance, especially with the description of Laurent as 'earthy' and the 'animal passion' he shares with Therese, and did not immediately appeal to me. This is near-criminal, as it fails to stress the books chilling and pscyhological aspects that make it such an interesting read.

For this is far more than a simple passion/crime novel, but rather an intense, claustrophobic and highly enjoyable insight into the fracturing of two guilt-ridden, egotistical and self-pitying characters, so fully realised and superbly depicted, and shades of both Balzac and Dostoyevsky abound.

This novel might be described as a horror, a moral fable or a tragic romance. Above all of this though, it is a pscyhological thriller, highly symbolic, yet exciting and morbidly appealing in its entirety.

Gritty, stark and grim, 21 Sep 2006
This is a grim little tale of physical lust, crime and guilt set in the seedy world of 19th century Paris. The anti-hero falls in lust with Therese, the wife of his pathetic friend Laurent, and together they conspire to murder him so they can marry (as much for her money as their mutual passion). But the crime comes back to haunt them, quite literally with joint hallucinations of the murdered, drowned man.

Zola takes the new science (at that point) of psychology and applies it here, showing man to be no more than an animal driven by physiological appetites. It's not an edifying view of humanity, and in fact there is little humanity in the book at all, but it's somehow not a depressing read for all that. perhaps Zola's own ghoulish energy lifts it, or the sublime writing? If your French is good enough, then read it in the original, but if not this is an excellent translation.

AN OVERLOOKED CLASSIC, 30 Aug 2008
WE is a treasure. A classic of Russian literature, unjustly overlooked. Yes, it isn't easy to read, but get into it and it's worth the effort for the rewards. A must.

Very significant novel, but didn't care for the writing style, 02 Aug 2008
This book was important conceptually, as the precursor of Brave New World and 1984. As such, it deserves a significant place in world and Russian literature. It is easy to see why it was banned in the Soviet Union, with the unanimous elections in chapter 24 and the Benefactor sounding like Stalin, even though the latter had not yet acquired power at the time the book was written.

However, as a story I found this dull. It takes place in a dream-like atmosphere, making the action difficult to follow, and draining some of the force from the potentially powerful ideas. As nameless numbered ciphers - a powerfully frightening idea - the characters lack the human believability of Winston Smith and Julia in 1984. The twist in the ending made me doubt what had happened anyway, though was very like the more brutally straightforward end of 1984.


Better than 1984 or Brave New World in my opinion, 25 Jul 2008
Not only the original for 1984 and Brave New World and the other dystopian novels, but better than them too, in my view. Some people have knocked it for its complexity, for its comparative lack of plausibility, but the truth is that "We" is far more subtle, and its society is far more unsettling and terrifying. Some have criticised the translations, but I found the Penguin translation very good and readable: Zamyatin called it a "prose poem", and it had that quality, particularly when read aloud.

The narrator is not like the comparatively rational but disaffected characters of 1984 or Brave New World, he is a deeply confused, emotionally traumatised atomised ant, trying to gain some control over his thoughts and feelings to find a way to crawl out of his suffering. It has both the sense of wonder of a good SF novel, while having at times the psychological feeling of Dostoyevsky.

Very hard work to read, but rewarding if you can finish it, 28 Jun 2008
It's unfortunate that this tale of emancipation and discovery in a dreary ultra-totalitarian state, one far beyond what Orwell or Huxley later wrote about, is so difficult to engage with, because I really want to like it. It's beautifully written and the protagonist's anguish feels real. But I just couldn't, and have, after carrying the book around in my pocket for a good few months reading a page here and there, eventually admitted defeat. I'm not going to finish it. Even so, although it's not for me the underlying quality is obvious, and hence four stars.

We is an interesting classic, 08 Apr 2006
WE is a true classic and an extraordinary novel in many senses. It was the inspiration behind George Orwell's book 1984, and other subsequent books of the utopian/dystopian sub-genre, such as UNION MOUJIK, BRAVE NEW WORLD. The age-old conflict between individual self and the collective being that man has grappled with in our efforts to become more human is treated beautifully in thus book. What is peculiar about it is that the author never allowed politics to dominate. Overall, the Utopian-Fantasy is a recommended read.

An Amazing Thriller, 16 Sep 2007
This book is brilliant. The story is set around a nineteenth century Parisian haberdashers and the apartment above. The number of characters is small, leading to a tightly plotted and deeply psychological thriller. A world falls apart when a lodger arrives and the actions and reactions of the characters is fully analysed in a novel that has not dated. If you like muder/crime thrillers you will love this book, there is no modern thriller to rival this.

Disapointing, 25 Feb 2007
This is my first review so bare with me.

I found Zola's writing style very difficult to stomach. He certainly created two characters whose actions were very believable and their consequent reactions realistic. The problem I found was at no point did I care about the characters. While creating this unbearable atmosphere between the characters I too found myself avoiding returning home to the book. I would make excuses to avoid reading it just as Therese and Laurent would avoid coming home.

The ending was extremely disappointing. It just felt as if he ran out of ideas and made for a swift ending. Several of the chapters seemed completely surplus to requirement and added nothing to the story.

As I said, he did create two believable characters whose actions were wholly believable. Zola succeeded in creating an claustrophobic atmosphere. This said I unfortunately do not feel this was enough.
Basically, I'd never read it again and would advise against people reading it. I'll admit I am not a literary genius and so it is possible some of the quality of the writing as eluded me, however, I have to admit I regret following this through to it's conclusion.

R

Brilliant in its simplicty, 21 Jan 2007
A brilliant book which has a simple plot, wonderful characters and the little written dialogue seems to jump off the page at you.

What has made me love this book so much is the way that Zola has writen it so that the reader wants Therese and Laurent to strive and to be in love again because they are right for each other. The reader also does not grieve for the loss of Camille.

I wish to add that if you are a coward with a vivid imagination (like myself) you may find some descriptions of the lovers scaring themselves with images of the dead Camille a little scary.

Highly Enjoyable, 24 Sep 2006
At first glance, the plot seems to be fairly routine, and perhaps a little boring. I thought this to be in the same vein as Chopin's "Awakening" or perhaps even "Moll Flanders". The title and blurb for this book are misleading, seeming to sell this novel as a romance, especially with the description of Laurent as 'earthy' and the 'animal passion' he shares with Therese, and did not immediately appeal to me. This is near-criminal, as it fails to stress the books chilling and pscyhological aspects that make it such an interesting read.

For this is far more than a simple passion/crime novel, but rather an intense, claustrophobic and highly enjoyable insight into the fracturing of two guilt-ridden, egotistical and self-pitying characters, so fully realised and superbly depicted, and shades of both Balzac and Dostoyevsky abound.

This novel might be described as a horror, a moral fable or a tragic romance. Above all of this though, it is a pscyhological thriller, highly symbolic, yet exciting and morbidly appealing in its entirety.

Gritty, stark and grim, 21 Sep 2006
This is a grim little tale of physical lust, crime and guilt set in the seedy world of 19th century Paris. The anti-hero falls in lust with Therese, the wife of his pathetic friend Laurent, and together they conspire to murder him so they can marry (as much for her money as their mutual passion). But the crime comes back to haunt them, quite literally with joint hallucinations of the murdered, drowned man.

Zola takes the new science (at that point) of psychology and applies it here, showing man to be no more than an animal driven by physiological appetites. It's not an edifying view of humanity, and in fact there is little humanity in the book at all, but it's somehow not a depressing read for all that. perhaps Zola's own ghoulish energy lifts it, or the sublime writing? If your French is good enough, then read it in the original, but if not this is an excellent translation.

Brilliant Prose, 29 Feb 2008
I began reading We with some trepidation. From what I had heard of the book, I was expecting a rather clumsy, dusty work with limited characterisation and a plot which simply supported some of the author's more politically charged ideas.
I was pleasantly surprised. The plot is genuinely exciting and drives the short novel on to its conclusion. The confusion of the narrative character's ideology is wonderfully rendered. The quality of the prose - certainly this novel's finest feature - is a delight to read. Zamyatin mimics the icy, transparent and glassy landscape of his imaginary city with precise and frosty language.
This is certainly the edition to look out for. As she explains in her introduction, Randall (the translator of this new edition) firmly feels the importance of creating a prose structure as similar to Zamyatin's as she can make it. Will Self's lively introduction is also very well placed.

AN OVERLOOKED CLASSIC, 30 Aug 2008
WE is a treasure. A classic of Russian literature, unjustly overlooked. Yes, it isn't easy to read, but get into it and it's worth the effort for the rewards. A must.

Very significant novel, but didn't care for the writing style, 02 Aug 2008
This book was important conceptually, as the precursor of Brave New World and 1984. As such, it deserves a significant place in world and Russian literature. It is easy to see why it was banned in the Soviet Union, with the unanimous elections in chapter 24 and the Benefactor sounding like Stalin, even though the latter had not yet acquired power at the time the book was written.

However, as a story I found this dull. It takes place in a dream-like atmosphere, making the action difficult to follow, and draining some of the force from the potentially powerful ideas. As nameless numbered ciphers - a powerfully frightening idea - the characters lack the human believability of Winston Smith and Julia in 1984. The twist in the ending made me doubt what had happened anyway, though was very like the more brutally straightforward end of 1984.


Better than 1984 or Brave New World in my opinion, 25 Jul 2008
Not only the original for 1984 and Brave New World and the other dystopian novels, but better than them too, in my view. Some people have knocked it for its complexity, for its comparative lack of plausibility, but the truth is that "We" is far more subtle, and its society is far more unsettling and terrifying. Some have criticised the translations, but I found the Penguin translation very good and readable: Zamyatin called it a "prose poem", and it had that quality, particularly when read aloud.

The narrator is not like the comparatively rational but disaffected characters of 1984 or Brave New World, he is a deeply confused, emotionally traumatised atomised ant, trying to gain some control over his thoughts and feelings to find a way to crawl out of his suffering. It has both the sense of wonder of a good SF novel, while having at times the psychological feeling of Dostoyevsky.

Very hard work to read, but rewarding if you can finish it, 28 Jun 2008
It's unfortunate that this tale of emancipation and discovery in a dreary ultra-totalitarian state, one far beyond what Orwell or Huxley later wrote about, is so difficult to engage with, because I really want to like it. It's beautifully written and the protagonist's anguish feels real. But I just couldn't, and have, after carrying the book around in my pocket for a good few months reading a page here and there, eventually admitted defeat. I'm not going to finish it. Even so, although it's not for me the underlying quality is obvious, and hence four stars.

We is an interesting classic, 08 Apr 2006
WE is a true classic and an extraordinary novel in many senses. It was the inspiration behind George Orwell's book 1984, and other subsequent books of the utopian/dystopian sub-genre, such as UNION MOUJIK, BRAVE NEW WORLD. The age-old conflict between individual self and the collective being that man has grappled with in our efforts to become more human is treated beautifully in thus book. What is peculiar about it is that the author never allowed politics to dominate. Overall, the Utopian-Fantasy is a recommended read.

An Amazing Thriller, 16 Sep 2007
This book is brilliant. The story is set around a nineteenth century Parisian haberdashers and the apartment above. The number of characters is small, leading to a tightly plotted and deeply psychological thriller. A world falls apart when a lodger arrives and the actions and reactions of the characters is fully analysed in a novel that has not dated. If you like muder/crime thrillers you will love this book, there is no modern thriller to rival this.

Disapointing, 25 Feb 2007
This is my first review so bare with me.

I found Zola's writing style very difficult to stomach. He certainly created two characters whose actions were very believable and their consequent reactions realistic. The problem I found was at no point did I care about the characters. While creating this unbearable atmosphere between the characters I too found myself avoiding returning home to the book. I would make excuses to avoid reading it just as Therese and Laurent would avoid coming home.

The ending was extremely disappointing. It just felt as if he ran out of ideas and made for a swift ending. Several of the chapters seemed completely surplus to requirement and added nothing to the story.

As I said, he did create two believable characters whose actions were wholly believable. Zola succeeded in creating an claustrophobic atmosphere. This said I unfortunately do not feel this was enough.
Basically, I'd never read it again and would advise against people reading it. I'll admit I am not a literary genius and so it is possible some of the quality of the writing as eluded me, however, I have to admit I regret following this through to it's conclusion.

R

Brilliant in its simplicty, 21 Jan 2007
A brilliant book which has a simple plot, wonderful characters and the little written dialogue seems to jump off the page at you.

What has made me love this book so much is the way that Zola has writen it so that the reader wants Therese and Laurent to strive and to be in love again because they are right for each other. The reader also does not grieve for the loss of Camille.

I wish to add that if you are a coward with a vivid imagination (like myself) you may find some descriptions of the lovers scaring themselves with images of the dead Camille a little scary.

Highly Enjoyable, 24 Sep 2006
At first glance, the plot seems to be fairly routine, and perhaps a little boring. I thought this to be in the same vein as Chopin's "Awakening" or perhaps even "Moll Flanders". The title and blurb for this book are misleading, seeming to sell this novel as a romance, especially with the description of Laurent as 'earthy' and the 'animal passion' he shares with Therese, and did not immediately appeal to me. This is near-criminal, as it fails to stress the books chilling and pscyhological aspects that make it such an interesting read.

For this is far more than a simple passion/crime novel, but rather an intense, claustrophobic and highly enjoyable insight into the fracturing of two guilt-ridden, egotistical and self-pitying characters, so fully realised and superbly depicted, and shades of both Balzac and Dostoyevsky abound.

This novel might be described as a horror, a moral fable or a tragic romance. Above all of this though, it is a pscyhological thriller, highly symbolic, yet exciting and morbidly appealing in its entirety.

Gritty, stark and grim, 21 Sep 2006
This is a grim little tale of physical lust, crime and guilt set in the seedy world of 19th century Paris. The anti-hero falls in lust with Therese, the wife of his pathetic friend Laurent, and together they conspire to murder him so they can marry (as much for her money as their mutual passion). But the crime comes back to haunt them, quite literally with joint hallucinations of the murdered, drowned man.

Zola takes the new science (at that point) of psychology and applies it here, showing man to be no more than an animal driven by physiological appetites. It's not an edifying view of humanity, and in fact there is little humanity in the book at all, but it's somehow not a depressing read for all that. perhaps Zola's own ghoulish energy lifts it, or the sublime writing? If your French is good enough, then read it in the original, but if not this is an excellent translation.

Brilliant Prose, 29 Feb 2008
I began reading We with some trepidation. From what I had heard of the book, I was expecting a rather clumsy, dusty work with limited characterisation and a plot which simply supported some of the author's more politically charged ideas.
I was pleasantly surprised. The plot is genuinely exciting and drives the short novel on to its conclusion. The confusion of the narrative character's ideology is wonderfully rendered. The quality of the prose - certainly this novel's finest feature - is a delight to read. Zamyatin mimics the icy, transparent and glassy landscape of his imaginary city with precise and frosty language.
This is certainly the edition to look out for. As she explains in her introduction, Randall (the translator of this new edition) firmly feels the importance of creating a prose structure as similar to Zamyatin's as she can make it. Will Self's lively introduction is also very well placed.

Zola's masterpiece, 09 Mar 2008
With l'Assommoir, the best novel by Zola. This story of a young courtisane who breaks all rich men's hearts is a metaphor for the revenge of the working class against the bourgeoisie. Nana avenges the poor in her own way, she never forgets her origins, and that is what will be her downfall, eventually.
I also highly recommend the TV miniseries 'Nana' with Véronique Genest, broadcast in the 80's (available on amazon.fr). You'll agree that generally, film adaptations of novels are disappointing, in that case it's not. The adaptation is brilliant and perfectly captures the novel's atmosphere; the actress Veronique Genest incarnates a wonderful Nana, very faithful to the essence of the character.
But read the novel first!

A female rake's progress, 10 Dec 2001
This is a fantastic book - powerful in its critical exposure of the decadence and moral emptiness of its characters and their environment, as well as of the social and political backdrop in which the novel is set. Nana is a product of the Parisian underclass, and this is the story of her rise from the gutter, how she uses her body to capture the attentions of wealthy, foolish middle-aged men, and how she brings down destruction on all those she entraps and manipulates. It is a highly moral tale, despite the fact that the book initially suffered from the censors of the day. Zola's descriptions of the sleazy Paris theatre house where Nana is first discovered - he always meticulously researched his subjects - are totally convincing and evocative of the era and location. Nana rises and falls, and rises again, she is an embodiment, a symbol of all that Zola found rotten and corrupt in the politics and society of his day. Please buy this book - it is unforgettable - the gruesome final paragraph of the novel will stay in your mind forever.

Girl Power in the 1860s, 14 Sep 1999
No drugs, no rock 'n' roll but plenty of sex. Great entertainment in itself, this book is best read as a sequel to "L'Assommoir" ("Drunkard") whose tragic downtrodden heroine can be said, in a way, to have got her revenge on society through her daughter, Nana. You might say it's a case of the underclass striking back and one wonders how today's acting and modelling scene compares with Second Empire Paris. Someone once said that every woman is sitting on a gold mine and Nana certainly proves it. Trouble is, she also proves the old saying "easy come, easy go". What would have happened if they'd had smallpox jabs in those days?

AN OVERLOOKED CLASSIC, 30 Aug 2008
WE is a treasure. A classic of Russian literature, unjustly overlooked. Yes, it isn't easy to read, but get into it and it's worth the effort for the rewards. A must.

Very significant novel, but didn't care for the writing style, 02 Aug 2008
This book was important conceptually, as the precursor of Brave New World and 1984. As such, it deserves a significant place in world and Russian literature. It is easy to see why it was banned in the Soviet Union, with the unanimous elections in chapter 24 and the Benefactor sounding like Stalin, even though the latter had not yet acquired power at the time the book was written.

However, as a story I found this dull. It takes place in a dream-like atmosphere, making the action difficult to follow, and draining some of the force from the potentially powerful ideas. As nameless numbered ciphers - a powerfully frightening idea - the characters lack the human believability of Winston Smith and Julia in 1984. The twist in the ending made me doubt what had happened anyway, though was very like the more brutally straightforward end of 1984.


Better than 1984 or Brave New World in my opinion, 25 Jul 2008
Not only the original for 1984 and Brave New World and the other dystopian novels, but better than them too, in my view. Some people have knocked it for its complexity, for its comparative lack of plausibility, but the truth is that "We" is far more subtle, and its society is far more unsettling and terrifying. Some have criticised the translations, but I found the Penguin translation very good and readable: Zamyatin called it a "prose poem", and it had that quality, particularly when read aloud.

The narrator is not like the comparatively rational but disaffected characters of 1984 or Brave New World, he is a deeply confused, emotionally traumatised atomised ant, trying to gain some control over his thoughts and feelings to find a way to crawl out of his suffering. It has both the sense of wonder of a good SF novel, while having at times the psychological feeling of Dostoyevsky.

Very hard work to read, but rewarding if you can finish it, 28 Jun 2008
It's unfortunate that this tale of emancipation and discovery in a dreary ultra-totalitarian state, one far beyond what Orwell or Huxley later wrote about, is so difficult to engage with, because I really want to like it. It's beautifully written and the protagonist's anguish feels real. But I just couldn't, and have, after carrying the book around in my pocket for a good few months reading a page here and there, eventually admitted defeat. I'm not going to finish it. Even so, although it's not for me the underlying quality is obvious, and hence four stars.

We is an interesting classic, 08 Apr 2006
WE is a true classic and an extraordinary novel in many senses. It was the inspiration behind George Orwell's book 1984, and other subsequent books of the utopian/dystopian sub-genre, such as UNION MOUJIK, BRAVE NEW WORLD. The age-old conflict between individual self and the collective being that man has grappled with in our efforts to become more human is treated beautifully in thus book. What is peculiar about it is that the author never allowed politics to dominate. Overall, the Utopian-Fantasy is a recommended read.

An Amazing Thriller, 16 Sep 2007
This book is brilliant. The story is set around a nineteenth century Parisian haberdashers and the apartment above. The number of characters is small, leading to a tightly plotted and deeply psychological thriller. A world falls apart when a lodger arrives and the actions and reactions of the characters is fully analysed in a novel that has not dated. If you like muder/crime thrillers you will love this book, there is no modern thriller to rival this.

Disapointing, 25 Feb 2007
This is my first review so bare with me.

I found Zola's writing style very difficult to stomach. He certainly created two characters whose actions were very believable and their consequent reactions realistic. The problem I found was at no point did I care about the characters. While creating this unbearable atmosphere between the characters I too found myself avoiding returning home to the book. I would make excuses to avoid reading it just as Therese and Laurent would avoid coming home.

The ending was extremely disappointing. It just felt as if he ran out of ideas and made for a swift ending. Several of the chapters seemed completely surplus to requirement and added nothing to the story.

As I said, he did create two believable characters whose actions were wholly believable. Zola succeeded in creating an claustrophobic atmosphere. This said I unfortunately do not feel this was enough.
Basically, I'd never read it again and would advise against people reading it. I'll admit I am not a literary genius and so it is possible some of the quality of the writing as eluded me, however, I have to admit I regret following this through to it's conclusion.

R

Brilliant in its simplicty, 21 Jan 2007
A brilliant book which has a simple plot, wonderful characters and the little written dialogue seems to jump off the page at you.

What has made me love this book so much is the way that Zola has writen it so that the reader wants Therese and Laurent to strive and to be in love again because they are right for each other. The reader also does not grieve for the loss of Camille.

I wish to add that if you are a coward with a vivid imagination (like myself) you may find some descriptions of the lovers scaring themselves with images of the dead Camille a little scary.

Highly Enjoyable, 24 Sep 2006
At first glance, the plot seems to be fairly routine, and perhaps a little boring. I thought this to be in the same vein as Chopin's "Awakening" or perhaps even "Moll Flanders". The title and blurb for this book are misleading, seeming to sell this novel as a romance, especially with the description of Laurent as 'earthy' and the 'animal passion' he shares with Therese, and did not immediately appeal to me. This is near-criminal, as it fails to stress the books chilling and pscyhological aspects that make it such an interesting read.

For this is far more than a simple passion/crime novel, but rather an intense, claustrophobic and highly enjoyable insight into the fracturing of two guilt-ridden, egotistical and self-pitying characters, so fully realised and superbly depicted, and shades of both Balzac and Dostoyevsky abound.

This novel might be described as a horror, a moral fable or a tragic romance. Above all of this though, it is a pscyhological thriller, highly symbolic, yet exciting and morbidly appealing in its entirety.

Gritty, stark and grim, 21 Sep 2006
This is a grim little tale of physical lust, crime and guilt set in the seedy world of 19th century Paris. The anti-hero falls in lust with Therese, the wife of his pathetic friend Laurent, and together they conspire to murder him so they can marry (as much for her money as their mutual passion). But the crime comes back to haunt them, quite literally with joint hallucinations of the murdered, drowned man.

Zola takes the new science (at that point) of psychology and applies it here, showing man to be no more than an animal driven by physiological appetites. It's not an edifying view of humanity, and in fact there is little humanity in the book at all, but it's somehow not a depressing read for all that. perhaps Zola's own ghoulish energy lifts it, or the sublime writing? If your French is good enough, then read it in the original, but if not this is an excellent translation.

Brilliant Prose, 29 Feb 2008
I began reading We with some trepidation. From what I had heard of the book, I was expecting a rather clumsy, dusty work with limited characterisation and a plot which simply supported some of the author's more politically charged ideas.
I was pleasantly surprised. The plot is genuinely exciting and drives the short novel on to its conclusion. The confusion of the narrative character's ideology is wonderfully rendered. The quality of the prose - certainly this novel's finest feature - is a delight to read. Zamyatin mimics the icy, transparent and glassy landscape of his imaginary city with precise and frosty language.
This is certainly the edition to look out for. As she explains in her introduction, Randall (the translator of this new edition) firmly feels the importance of creating a prose structure as similar to Zamyatin's as she can make it. Will Self's lively introduction is also very well placed.

Zola's masterpiece, 09 Mar 2008
With l'Assommoir, the best novel by Zola. This story of a young courtisane who breaks all rich men's hearts is a metaphor for the revenge of the working class against the bourgeoisie. Nana avenges the poor in her own way, she never forgets her origins, and that is what will be her downfall, eventually.
I also highly recommend the TV miniseries 'Nana' with Véronique Genest, broadcast in the 80's (available on amazon.fr). You'll agree that generally, film adaptations of novels are disappointing, in that case it's not. The adaptation is brilliant and perfectly captures the novel's atmosphere; the actress Veronique Genest incarnates a wonderful Nana, very faithful to the essence of the character.
But read the novel first!

A female rake's progress, 10 Dec 2001
This is a fantastic book - powerful in its critical exposure of the decadence and moral emptiness of its characters and their environment, as well as of the social and political backdrop in which the novel is set. Nana is a product of the Parisian underclass, and this is the story of her rise from the gutter, how she uses her body to capture the attentions of wealthy, foolish middle-aged men, and how she brings down destruction on all those she entraps and manipulates. It is a highly moral tale, despite the fact that the book initially suffered from the censors of the day. Zola's descriptions of the sleazy Paris theatre house where Nana is first discovered - he always meticulously researched his subjects - are totally convincing and evocative of the era and location. Nana rises and falls, and rises again, she is an embodiment, a symbol of all that Zola found rotten and corrupt in the politics and society of his day. Please buy this book - it is unforgettable - the gruesome final paragraph of the novel will stay in your mind forever.

Girl Power in the 1860s, 14 Sep 1999
No drugs, no rock 'n' roll but plenty of sex. Great entertainment in itself, this book is best read as a sequel to "L'Assommoir" ("Drunkard") whose tragic downtrodden heroine can be said, in a way, to have got her revenge on society through her daughter, Nana. You might say it's a case of the underclass striking back and one wonders how today's acting and modelling scene compares with Second Empire Paris. Someone once said that every woman is sitting on a gold mine and Nana certainly proves it. Trouble is, she also proves the old saying "easy come, easy go". What would have happened if they'd had smallpox jabs in those days?

Stunning and disturbing, 14 Feb 2007
This book is masterful. I defy anyone to read certain episodes in this book (the cruel death of little Lalie Bijard, and the sad decline of Per Bru to name but two) without being deeply moved. Gervaise tried to live the medium-to-high life by her own hard work and efforts, but due to various troubles, many not of her own making, she eventually experiences degradation, poverty and starvation. Another reviewer has remarked that the depths of humanity portrayed in 'L'Assommoir' are still very relevant to this day.

A desperate tale of poverty and hardship in the 19th Century, 14 Feb 2006
The books of Emile Zola were recommended to me by a friend so I decided to try this one. It exceeded all of my expectations; I was prepared for a difficult, laborious read and instead found myself instantly engrossed. I find it incredible that a book written over 125 years ago could be so enjoyable today. I don't often read classic literature, finding it sometimes to be a struggle, but can honestly say that this entire book was a pleasure to read (even if some of the scenes were unbelievably disturbing).

The book ultimately recounts the life of Gervaise, a young French woman. We see her climb high and achieve happiness and success, but then witness the downwards spiral of her destruction. But the book isn't solely about Gervaise, as Zola introduces many other characters, whose traits all juxtapose with one another, creating a melting pot of comedy, drama and tension. He also depicts the most dreadful scenes of poverty and hardship, scenes that are almost unbelievable to imagine living in the luxury of the 21st Century. Zola's talent in slowly building up characters and plot make the book the success it is; he takes his time to describe scenes, for example he spends the whole of Chapter 7 describing Gervaise's great feast. But these lengthy scenes don't hinder the novel in the slightest, instead they give the reader time to slowly and gradually absorb all of the details. I felt as though I had stepped into the pages of this book.

Overall a remarkable piece of writing. This will certainly not be my last novel by Zola.

By far the best classic novel!, 17 Aug 2005
I studied this book for part of my English Literature dissertation and can safely say it is the best piece of literature I have ever encountered, on or off my university course. Once I managed to pry it away from myself long enough to write a review, I found it nearly impossible to find the right words to give this book the justice it deserves.

Zola chose to defy the modesty and restraint exercised by many authors in the nineteenth-century, and instead exposed the harrowing lifestyles and troubled relationships of working class Paris. He focused on the immense hardships the poor struggled to overcome and brought to light the harsh realities of the lower classes in their daily struggle to survive. He accurately portrays nineteenth-century working class Paris, combining sorrow, misery, anguish, desperation and despair to produce one of the finest, most descriptive and most moving texts the period can boast.

Zola's frank, yet touching manner of expressing himself without glorifying any details ensured the text was given my full attention from start to finish. I found the base treatment of women and the crude behaviour and beliefs of certain characters deliciously shocking, and this was in the year 2005! I couldn't help but wonder how reading audiences reacted to it in 1877 and found myself compelled to research this text as part of my university studies and learn more about it.

I haven't yet discovered a book that has generated so much power and feeling, having summarised my own thoughts of this book and having read through other reviews of it. It is so much more intense and heart-felt than many modern texts. I have since ordered Nana and am keen to experience more of Zola's works; fortunately there are plenty more of them to keep me satisfied! If they are anything like L'Assommoir, then I know I won't be disappointed.

Amazing Story, 17 Dec 2002
The fact this was written in France over a hundred years ago takes absolutely nothing away from the understanding of the reader. The story is gripping, I literally could not put it down, and the characters are so realistic and recognisable even from the perspective of a person in 2002. The futility of Gervaise's life and the descent into degeneration was so superbly and subtely written that the impact of this was that anyone could descend downwards given the right circumstances. Hard to find the right words to convey the power of this book or it's impact.

Absolutely stunning, 11 Aug 2002
I could not put this book down. Following the life of 'banban' through the tradgedies and depravities of 18Century paris was absolutely captivating.

AN OVERLOOKED CLASSIC, 30 Aug 2008
WE is a treasure. A classic of Russian literature, unjustly overlooked. Yes, it isn't easy to read, but get into it and it's worth the effort for the rewards. A must.

Very significant novel, but didn't care for the writing style, 02 Aug 2008
This book was important conceptually, as the precursor of Brave New World and 1984. As such, it deserves a significant place in world and Russian literature. It is easy to see why it was banned in the Soviet Union, with the unanimous elections in chapter 24 and the Benefactor sounding like Stalin, even though the latter had not yet acquired power at the time the book was written.

However, as a story I found this dull. It takes place in a dream-like atmosphere, making the action difficult to follow, and draining some of the force from the potentially powerful ideas. As nameless numbered ciphers - a powerfully frightening idea - the characters lack the human believability of Winston Smith and Julia in 1984. The twist in the ending made me doubt what had happened anyway, though was very like the more brutally straightforward end of 1984.


Better than 1984 or Brave New World in my opinion, 25 Jul 2008
Not only the original for 1984 and Brave New World and the other dystopian novels, but better than them too, in my view. Some people have knocked it for its complexity, for its comparative lack of plausibility, but the truth is that "We" is far more subtle, and its society is far more unsettling and terrifying. Some have criticised the translations, but I found the Penguin translation very good and readable: Zamyatin called it a "prose poem", and it had that quality, particularly when read aloud.

The narrator is not like the comparatively rational but disaffected characters of 1984 or Brave New World, he is a deeply confused, emotionally traumatised atomised ant, trying to gain some control over his thoughts and feelings to find a way to crawl out of his suffering. It has both the sense of wonder of a good SF novel, while having at times the psychological feeling of Dostoyevsky.

Very hard work to read, but rewarding if you can finish it, 28 Jun 2008
It's unfortunate that this tale of emancipation and discovery in a dreary ultra-totalitarian state, one far beyond what Orwell or Huxley later wrote about, is so difficult to engage with, because I really want to like it. It's beautifully written and the protagonist's anguish feels real. But I just couldn't, and have, after carrying the book around in my pocket for a good few months reading a page here and there, eventually admitted defeat. I'm not going to finish it. Even so, although it's not for me the underlying quality is obvious, and hence four stars.

We is an interesting classic, 08 Apr 2006
WE is a true classic and an extraordinary novel in many senses. It was the inspiration behind George Orwell's book 1984, and other subsequent books of the utopian/dystopian sub-genre, such as UNION MOUJIK, BRAVE NEW WORLD. The age-old conflict between individual self and the collective being that man has grappled with in our efforts to become more human is treated beautifully in thus book. What is peculiar about it is that the author never allowed politics to dominate. Overall, the Utopian-Fantasy is a recommended read.

An Amazing Thriller, 16 Sep 2007
This book is brilliant. The story is set around a nineteenth century Parisian haberdashers and the apartment above. The number of characters is small, leading to a tightly plotted and deeply psychological thriller. A world falls apart when a lodger arrives and the actions and reactions of the characters is fully analysed in a novel that has not dated. If you like muder/crime thrillers you will love this book, there is no modern thriller to rival this.

Disapointing, 25 Feb 2007
This is my first review so bare with me.

I found Zola's writing style very difficult to stomach. He certainly created two characters whose actions were very believable and their consequent reactions realistic. The problem I found was at no point did I care about the characters. While creating this unbearable atmosphere between the characters I too found myself avoiding returning home to the book. I would make excuses to avoid reading it just as Therese and Laurent would avoid coming home.

The ending was extremely disappointing. It just felt as if he ran out of ideas and made for a swift ending. Several of the chapters seemed completely surplus to requirement and added nothing to the story.

As I said, he did create two believable characters whose actions were wholly believable. Zola succeeded in creating an claustrophobic atmosphere. This said I unfortunately do not feel this was enough.
Basically, I'd never read it again and would advise against people reading it. I'll admit I am not a literary genius and so it is possible some of the quality of the writing as eluded me, however, I have to admit I regret following this through to it's conclusion.

R

Brilliant in its simplicty, 21 Jan 2007
A brilliant book which has a simple plot, wonderful characters and the little written dialogue seems to jump off the page at you.

What has made me love this book so much is the way that Zola has writen it so that the reader wants Therese and Laurent to strive and to be in love again because they are right for each other. The reader also does not grieve for the loss of Camille.

I wish to add that if you are a coward with a vivid imagination (like myself) you may find some descriptions of the lovers scaring themselves with images of the dead Camille a little scary.

Highly Enjoyable, 24 Sep 2006
At first glance, the plot seems to be fairly routine, and perhaps a little boring. I thought this to be in the same vein as Chopin's "Awakening" or perhaps even "Moll Flanders". The title and blurb for this book are misleading, seeming to sell this novel as a romance, especially with the description of Laurent as 'earthy' and the 'animal passion' he shares with Therese, and did not immediately appeal to me. This is near-criminal, as it fails to stress the books chilling and pscyhological aspects that make it such an interesting read.

For this is far more than a simple passion/crime novel, but rather an intense, claustrophobic and highly enjoyable insight into the fracturing of two guilt-ridden, egotistical and self-pitying characters, so fully realised and superbly depicted, and shades of both Balzac and Dostoyevsky abound.

This novel might be described as a horror, a moral fable or a tragic romance. Above all of this though, it is a pscyhological thriller, highly symbolic, yet exciting and morbidly appealing in its entirety.

Gritty, stark and grim, 21 Sep 2006
This is a grim little tale of physical lust, crime and guilt set in the seedy world of 19th century Paris. The anti-hero falls in lust with Therese, the wife of his pathetic friend Laurent, and together they conspire to murder him so they can marry (as much for her money as their mutual passion). But the crime comes back to haunt them, quite literally with joint hallucinations of the murdered, drowned man.

Zola takes the new science (at that point) of psychology and applies it here, showing man to be no more than an animal driven by physiological appetites. It's not an edifying view of humanity, and in fact there is little humanity in the book at all, but it's somehow not a depressing read for all that. perhaps Zola's own ghoulish energy lifts it, or the sublime writing? If your French is good enough, then read it in the original, but if not this is an excellent translation.

Brilliant Prose, 29 Feb 2008
I began reading We with some trepidation. From what I had heard of the book, I was expecting a rather clumsy, dusty work with limited characterisation and a plot which simply supported some of the author's more politically charged ideas.
I was pleasantly surprised. The plot is genuinely exciting and drives the short novel on to its conclusion. The confusion of the narrative character's ideology is wonderfully rendered. The quality of the prose - certainly this novel's finest feature - is a delight to read. Zamyatin mimics the icy, transparent and glassy landscape of his imaginary city with precise and frosty language.
This is certainly the edition to look out for. As she explains in her introduction, Randall (the translator of this new edition) firmly feels the importance of creating a prose structure as similar to Zamyatin's as she can make it. Will Self's lively introduction is also very well placed.

Zola's masterpiece, 09 Mar 2008
With l'Assommoir, the best novel by Zola. This story of a young courtisane who breaks all rich men's hearts is a metaphor for the revenge of the working class against the bourgeoisie. Nana avenges the poor in her own way, she never forgets her origins, and that is what will be her downfall, eventually.
I also highly recommend the TV miniseries 'Nana' with Véronique Genest, broadcast in the 80's (available on amazon.fr). You'll agree that generally, film adaptations of novels are disappointing, in that case it's not. The adaptation is brilliant and perfectly captures the novel's atmosphere; the actress Veronique Genest incarnates a wonderful Nana, very faithful to the essence of the character.
But read the novel first!

A female rake's progress, 10 Dec 2001
This is a fantastic book - powerful in its critical exposure of the decadence and moral emptiness of its characters and their environment, as well as of the social and political backdrop in which the novel is set. Nana is a product of the Parisian underclass, and this is the story of her rise from the gutter, how she uses her body to capture the attentions of wealthy, foolish middle-aged men, and how she brings down destruction on all those she entraps and manipulates. It is a highly moral tale, despite the fact that the book initially suffered from the censors of the day. Zola's descriptions of the sleazy Paris theatre house where Nana is first discovered - he always meticulously researched his subjects - are totally convincing and evocative of the era and location. Nana rises and falls, and rises again, she is an embodiment, a symbol of all that Zola found rotten and corrupt in the politics and society of his day. Please buy this book - it is unforgettable - the gruesome final paragraph of the novel will stay in your mind forever.

Girl Power in the 1860s, 14 Sep 1999
No drugs, no rock 'n' roll but plenty of sex. Great entertainment in itself, this book is best read as a sequel to "L'Assommoir" ("Drunkard") whose tragic downtrodden heroine can be said, in a way, to have got her revenge on society through her daughter, Nana. You might say it's a case of the underclass striking back and one wonders how today's acting and modelling scene compares with Second Empire Paris. Someone once said that every woman is sitting on a gold mine and Nana certainly proves it. Trouble is, she also proves the old saying "easy come, easy go". What would have happened if they'd had smallpox jabs in those days?

Stunning and disturbing, 14 Feb 2007
This book is masterful. I defy anyone to read certain episodes in this book (the cruel death of little Lalie Bijard, and the sad decline of Per Bru to name but two) without being deeply moved. Gervaise tried to live the medium-to-high life by her own hard work and efforts, but due to various troubles, many not of her own making, she eventually experiences degradation, poverty and starvation. Another reviewer has remarked that the depths of humanity portrayed in 'L'Assommoir' are still very relevant to this day.

A desperate tale of poverty and hardship in the 19th Century, 14 Feb 2006
The books of Emile Zola were recommended to me by a friend so I decided to try this one. It exceeded all of my expectations; I was prepared for a difficult, laborious read and instead found myself instantly engrossed. I find it incredible that a book written over 125 years ago could be so enjoyable today. I don't often read classic literature, finding it sometimes to be a struggle, but can honestly say that this entire book was a pleasure to read (even if some of the scenes were unbelievably disturbing).

The book ultimately recounts the life of Gervaise, a young French woman. We see her climb high and achieve happiness and success, but then witness the downwards spiral of her destruction. But the book isn't solely about Gervaise, as Zola introduces many other characters, whose traits all juxtapose with one another, creating a melting pot of comedy, drama and tension. He also depicts the most dreadful scenes of poverty and hardship, scenes that are almost unbelievable to imagine living in the luxury of the 21st Century. Zola's talent in slowly building up characters and plot make the book the success it is; he takes his time to describe scenes, for example he spends the whole of Chapter 7 describing Gervaise's great feast. But these lengthy scenes don't hinder the novel in the slightest, instead they give the reader time to slowly and gradually absorb all of the details. I felt as though I had stepped into the pages of this book.

Overall a remarkable piece of writing. This will certainly not be my last novel by Zola.

By far the best classic novel!, 17 Aug 2005
I studied this book for part of my English Literature dissertation and can safely say it is the best piece of literature I have ever encountered, on or off my university course. Once I managed to pry it away from myself long enough to write a review, I found it nearly impossible to find the right words to give this book the justice it deserves.

Zola chose to defy the modesty and restraint exercised by many authors in the nineteenth-century, and instead exposed the harrowing lifestyles and troubled relationships of working class Paris. He focused on the immense hardships the poor struggled to overcome and brought to light the harsh realities of the lower classes in their daily struggle to survive. He accurately portrays nineteenth-century working class Paris, combining sorrow, misery, anguish, desperation and despair to produce one of the finest, most descriptive and most moving texts the period can boast.

Zola's frank, yet touching manner of expressing himself without glorifying any details ensured the text was given my full attention from start to finish. I found the base treatment of women and the crude behaviour and beliefs of certain characters deliciously shocking, and this was in the year 2005! I couldn't help but wonder how reading audiences reacted to it in 1877 and found myself compelled to research this text as part of my university studies and learn more about it.

I haven't yet discovered a book that has generated so much power and feeling, having summarised my own thoughts of this book and having read through other reviews of it. It is so much more intense and heart-felt than many modern texts. I have since ordered Nana and am keen to experience more of Zola's works; fortunately there are plenty more of them to keep me satisfied! If they are anything like L'Assommoir, then I know I won't be disappointed.

Amazing Story, 17 Dec 2002
The fact this was written in France over a hundred years ago takes absolutely nothing away from the understanding of the reader. The story is gripping, I literally could not put it down, and the characters are so realistic and recognisable even from the perspective of a person in 2002. The futility of Gervaise's life and the descent into degeneration was so superbly and subtely written that the impact of this was that anyone could descend downwards given the right circumstances. Hard to find the right words to convey the power of this book or it's impact.

Absolutely stunning, 11 Aug 2002
I could not put this book down. Following the life of 'banban' through the tradgedies and depravities of 18Century paris was absolutely captivating.

claustrophobic excellence., 21 Mar 2008
I read this book for an ou course. If it had not been on the list there is no way I could have finished it.
It is so well written that you can see smell and hear everything in it. It scared me and it upset me. I found myself sympathising with violence-not something I am used to.
Would you enjoy this book? no definately not that is the wrong word. Should you read it anyway? definately! it is worth getting out of your comfort zone for. I wanted to give this very few stars for making me angry and for making me cry but it's just written so well. Just because I didn't laugh or enjoy the storyline does not alter the fact that I will forever remember this book it has challenged so many of my ideas.

I don't believe I'll read a better book, 28 May 2007
I love this book. I read it over twenty years ago but the closing chapters, set in the mine, will never leave me. It is brilliant. One of my all time top novels.

One of the best books ever written, 19 Sep 2006
I first read this when I was about 12 years old (in an English translation, I hasten to add) as I had run out of reading matter and came across this book in my grandfather's study.

I am now 62 years of age, but have never forgotten the initial impact this made on me. Somehow Zola's writing is so descriptive and evocative that one feels that one is really there in the suffering and squalor along with the characters. The suffering and social deprivation of those times is quite unbelievable as we look back over 150 years.

I do not know who translated that edition but I have read it in the original French since, where it is even more
moving.

If you haven't read it, please do, you'll be glad you did and, as someone else wrote in review, it could even change your life or, at the very least give you much pause for thought.

Strike another match..., 13 Jan 2006
I read this (for pure pleasure) during my A-Levels and it was so literally unputdownable that I got told off countless times for reading it under the desk while I should have been concentrating on my Maths and Chemistry exam study. I think I ended up in tears with the school counsellor after I finished it. That's what a good book should do to even the most harded cynic.

The plot is quite simple and yet quite complex - Etienne (Stephen) Lantier is a character from the Rougon-Macquart family followed in the series' other books - particularly "L'Assomoir", which is a parallel book, "Nana", which follows the fortunes of his sister, and "La Bete Humaine", which is about his brother. After losing his job in Lille he travels to the mining district nearby in search of work, and falls in with the Maheu family. Fomenting a strike from the embers of an ongoing dispute, Lantier rouses the miners against the bourgeoisie, who, in Zola's characteristically even-handed style, also have their own point of view. To go any further into the plot would be to spoil a good story.

OK, so I read it in the Penguin translation rather than the original (I'd like to try though since I can read French better than I can speak, understand it spoken or write it), but a good translation should get underneath the skin of the author and bring the milieu alive, not only staying faithful to the original but evoking for English readers the sticky, grimy world of Montsou and Le Voreux. I am reading it in Polish translation as well, to see how it reads in a language which is better at capturing magic and mystery rather than the down-to-earth grittiness of English. This edition was also published under the Soviet regime as a piece of "socialist realism" - though Zola would have turned in his grave at some of the small ...changes... that translation has made to some of the incidents.

Great literature should be worth reading for the plot as well as for the language, and Zola succeeds on both counts, taking up the baton from Balzac and Hugo and pushing on towards the modernist literature of Orwell, Sartre and Huxley. Dostoyevsky created the same sort of racy stories in Russia, and both "Crime and Punishment" and "Germinal" are masterpieces of storytelling that don't waste as much time on philosophical rambling as Tolstoy did in "Anna Karenina", in which the plot got lost among a lot of padding.

Although a great period piece, I have seen Zola's stories adapted into other times and places such as wartime London and the Home Counties, and the failed strike could be seen as prophesising the upheavals in recent British politics, with the rise and fall of the fortunes of the Conservative Party as they try to unseat Labour from power. Good literature is always timeless and "Germinal" is one of the books I would recommend to any aspiring politician of any colour, on how to run an effective campaign - or not as the case might be.

Mandatory reading and socially harrowing, 10 Feb 2005
Some classic novels are worthy but a chore; others are great to study academically; fewer combine adept social commentary with genius literary ability and a compelling plot.

This book had a major impact on me when I read it as a teenager - a Realist novel read in my own time to contrast with the Romantic works of Flaubert which I was dealing with for A level. I then returned to it at University - but importantly have subsequently re-read it more than once for pleasure as well as confidently giving it as a present to friends with a ""great read" recommendation.

It is hard to believe that society has changed so much and that we are so ignorant of the massive poverty and social injustice which existed relatively recently in Europe. This epic novel, as with many of Zola's novels, takes you into the startling detail of life in industrial France - with wonderful characterisation, really moving human stories and exciting & distressing plot .

It really has everything - and it may well change your outlook on life . I wholeheartedly recommend this as one of the greats

AN OVERLOOKED CLASSIC, 30 Aug 2008
WE is a treasure. A classic of Russian literature, unjustly overlooked. Yes, it isn't easy to read, but get into it and it's worth the effort for the rewards. A must.

Very significant novel, but didn't care for the writing style, 02 Aug 2008
This book was important conceptually, as the precursor of Brave New World and 1984. As such, it deserves a significant place in world and Russian literature. It is easy to see why it was banned in the Soviet Union, with the unanimous elections in chapter 24 and the Benefactor sounding like Stalin, even though the latter had not yet acquired power at the time the book was written.

However, as a story I found this dull. It takes place in a dream-like atmosphere, making the action difficult to follow, and draining some of the force from the potentially powerful ideas. As nameless numbered ciphers - a powerfully frightening idea - the characters lack the human believability of Winston Smith and Julia in 1984. The twist in the ending made me doubt what had happened anyway, though was very like the more brutally straightforward end of 1984.


Better than 1984 or Brave New World in my opinion, 25 Jul 2008
Not only the original for 1984 and Brave New World and the other dystopian novels, but better than them too, in my view. Some people have knocked it for its complexity, for its comparative lack of plausibility, but the truth is that "We" is far more subtle, and its society is far more unsettling and terrifying. Some have criticised the translations, but I found the Penguin translation very good and readable: Zamyatin called it a "prose poem", and it had that quality, particularly when read aloud.

The narrator is not like the comparatively rational but disaffected characters of 1984 or Brave New World, he is a deeply confused, emotionally traumatised atomised ant, trying to gain some control over his thoughts and feelings to find a way to crawl out of his suffering. It has both the sense of wonder of a good SF novel, while having at times the psychological feeling of Dostoyevsky.

Very hard work to read, but rewarding if you can finish it, 28 Jun 2008
It's unfortunate that this tale of emancipation and discovery in a dreary ultra-totalitarian state, one far beyond what Orwell or Huxley later wrote about, is so difficult to engage with, because I really want to like it. It's beautifully written and the protagonist's anguish feels real. But I just couldn't, and have, after carrying the book around in my pocket for a good few months reading a page here and there, eventually admitted defeat. I'm not going to finish it. Even so, although it's not for me the underlying quality is obvious, and hence four stars.

We is an interesting classic, 08 Apr 2006
WE is a true classic and an extraordinary novel in many senses. It was the inspiration behind George Orwell's book 1984, and other subsequent books of the utopian/dystopian sub-genre, such as UNION MOUJIK, BRAVE NEW WORLD. The age-old conflict between individual self and the collective being that man has grappled with in our efforts to become more human is treated beautifully in thus book. What is peculiar about it is that the author never allowed politics to dominate. Overall, the Utopian-Fantasy is a recommended read.

An Amazing Thriller, 16 Sep 2007
This book is brilliant. The story is set around a nineteenth century Parisian haberdashers and the apartment above. The number of characters is small, leading to a tightly plotted and deeply psychological thriller. A world falls apart when a lodger arrives and the actions and reactions of the characters is fully analysed in a novel that has not dated. If you like muder/crime thrillers you will love this book, there is no modern thriller to rival this.

Disapointing, 25 Feb 2007
This is my first review so bare with me.

I found Zola's writing style very difficult to stomach. He certainly created two characters whose actions were very believable and their consequent reactions realistic. The problem I found was at no point did I care about the characters. While creating this unbearable atmosphere between the characters I too found myself avoiding returning home to the book. I would make excuses to avoid reading it just as Therese and Laurent would avoid coming home.

The ending was extremely disappointing. It just felt as if he ran out of ideas and made for a swift ending. Several of the chapters seemed completely surplus to requirement and added nothing to the story.

As I said, he did create two believable characters whose actions were wholly believable. Zola succeeded in creating an claustrophobic atmosphere. This said I unfortunately do not feel this was enough.
Basically, I'd never read it again and would advise against people reading it. I'll admit I am not a literary genius and so it is possible some of the quality of the writing as eluded me, however, I have to admit I regret following this through to it's conclusion.

R

Brilliant in its simplicty, 21 Jan 2007
A brilliant book which has a simple plot, wonderful characters and the little written dialogue seems to jump off the page at you.

What has made me love this book so much is the way that Zola has writen it so that the reader wants Therese and Laurent to strive and to be in love again because they are right for each other. The reader also does not grieve for the loss of Camille.

I wish to add that if you are a coward with a vivid imagination (like myself) you may find some descriptions of the lovers scaring themselves with images of the dead Camille a little scary.

Highly Enjoyable, 24 Sep 2006
At first glance, the plot seems to be fairly routine, and perhaps a little boring. I thought this to be in the same vein as Chopin's "Awakening" or perhaps even "Moll Flanders". The title and blurb for this book are misleading, seeming to sell this novel as a romance, especially with the description of Laurent as 'earthy' and the 'animal passion' he shares with Therese, and did not immediately appeal to me. This is near-criminal, as it fails to stress the books chilling and pscyhological aspects that make it such an interesting read.

For this is far more than a simple passion/crime novel, but rather an intense, claustrophobic and highly enjoyable insight into the fracturing of two guilt-ridden, egotistical and self-pitying characters, so fully realised and superbly depicted, and shades of both Balzac and Dostoyevsky abound.

This novel might be described as a horror, a moral fable or a tragic romance. Above all of this though, it is a pscyhological thriller, highly symbolic, yet exciting and morbidly appealing in its entirety.

Gritty, stark and grim, 21 Sep 2006
This is a grim little tale of physical lust, crime and guilt set in the seedy world of 19th century Paris. The anti-hero falls in lust with Therese, the wife of his pathetic friend Laurent, and together they conspire to murder him so they can marry (as much for her money as their mutual passion). But the crime comes back to haunt them, quite literally with joint hallucinations of the murdered, drowned man.

Zola takes the new science (at that point) of psychology and applies it here, showing man to be no more than an animal driven by physiological appetites. It's not an edifying view of humanity, and in fact there is little humanity in the book at all, but it's somehow not a depressing read for all that. perhaps Zola's own ghoulish energy lifts it, or the sublime writing? If your French is good enough, then read it in the original, but if not this is an excellent translation.

Brilliant Prose, 29 Feb 2008
I began reading We with some trepidation. From what I had heard of the book, I was expecting a rather clumsy, dusty work with limited characterisation and a plot which simply supported some of the author's more politically charged ideas.
I was pleasantly surprised. The plot is genuinely exciting and drives the short novel on to its conclusion. The confusion of the narrative character's ideology is wonderfully rendered. The quality of the prose - certainly this novel's finest feature - is a delight to read. Zamyatin mimics the icy, transparent and glassy landscape of his imaginary city with precise and frosty language.
This is certainly the edition to look out for. As she explains in her introduction, Randall (the translator of this new edition) firmly feels the importance of creating a prose structure as similar to Zamyatin's as she can make it. Will Self's lively introduction is also very well placed.

Zola's masterpiece, 09 Mar 2008
With l'Assommoir, the best novel by Zola. This story of a young courtisane who breaks all rich men's hearts is a metaphor for the revenge of the working class against the bourgeoisie. Nana avenges the poor in her own way, she never forgets her origins, and that is what will be her downfall, eventually.
I also highly recommend the TV miniseries 'Nana' with Véronique Genest, broadcast in the 80's (available on amazon.fr). You'll agree that generally, film adaptations of novels are disappointing, in that case it's not. The adaptation is brilliant and perfectly captures the novel's atmosphere; the actress Veronique Genest incarnates a wonderful Nana, very faithful to the essence of the character.
But read the novel first!

A female rake's progress, 10 Dec 2001
This is a fantastic book - powerful in its critical exposure of the decadence and moral emptiness of its characters and their environment, as well as of the social and political backdrop in which the novel is set. Nana is a product of the Parisian underclass, and this is the story of her rise from the gutter, how she uses her body to capture the attentions of wealthy, foolish middle-aged men, and how she brings down destruction on all those she entraps and manipulates. It is a highly moral tale, despite the fact that the book initially suffered from the censors of the day. Zola's descriptions of the sleazy Paris theatre house where Nana is first discovered - he always meticulously researched his subjects - are totally convincing and evocative of the era and location. Nana rises and falls, and rises again, she is an embodiment, a symbol of all that Zola found rotten and corrupt in the politics and society of his day. Please buy this book - it is unforgettable - the gruesome final paragraph of the novel will stay in your mind forever.

Girl Power in the 1860s, 14 Sep 1999
No drugs, no rock 'n' roll but plenty of sex. Great entertainment in itself, this book is best read as a sequel to "L'Assommoir" ("Drunkard") whose tragic downtrodden heroine can be said, in a way, to have got her revenge on society through her daughter, Nana. You might say it's a case of the underclass striking back and one wonders how today's acting and modelling scene compares with Second Empire Paris. Someone once said that every woman is sitting on a gold mine and Nana certainly proves it. Trouble is, she also proves the old saying "easy come, easy go". What would have happened if they'd had smallpox jabs in those days?

Stunning and disturbing, 14 Feb 2007
This book is masterful. I defy anyone to read certain episodes in this book (the cruel death of little Lalie Bijard, and the sad decline of Per Bru to name but two) without being deeply moved. Gervaise tried to live the medium-to-high life by her own hard work and efforts, but due to various troubles, many not of her own making, she eventually experiences degradation, poverty and starvation. Another reviewer has remarked that the depths of humanity portrayed in 'L'Assommoir' are still very relevant to this day.

A desperate tale of poverty and hardship in the 19th Century, 14 Feb 2006
The books of Emile Zola were recommended to me by a friend so I decided to try this one. It exceeded all of my expectations; I was prepared for a difficult, laborious read and instead found myself instantly engrossed. I find it incredible that a book written over 125 years ago could be so enjoyable today. I don't often read classic literature, finding it sometimes to be a struggle, but can honestly say that this entire book was a pleasure to read (even if some of the scenes were unbelievably disturbing).

The book ultimately recounts the life of Gervaise, a young French woman. We see her climb high and achieve happiness and success, but then witness the downwards spiral of her destruction. But the book isn't solely about Gervaise, as Zola introduces many other characters, whose traits all juxtapose with one another, creating a melting pot of comedy, drama and tension. He also depicts the most dreadful scenes of poverty and hardship, scenes that are almost unbelievable to imagine living in the luxury of the 21st Century. Zola's talent in slowly building up characters and plot make the book the success it is; he takes his time to describe scenes, for example he spends the whole of Chapter 7 describing Gervaise's great feast. But these lengthy scenes don't hinder the novel in the slightest, instead they give the reader time to slowly and gradually absorb all of the details. I felt as though I had stepped into the pages of this book.

Overall a remarkable piece of writing. This will certainly not be my last novel by Zola.

By far the best classic novel!, 17 Aug 2005
I studied this book for part of my English Literature dissertation and can safely say it is the best piece of literature I have ever encountered, on or off my university course. Once I managed to pry it away from myself long enough to write a review, I found it nearly impossible to find the right words to give this book the justice it deserves.

Zola chose to defy the modesty and restraint exercised by many authors in the nineteenth-century, and instead exposed the harrowing lifestyles and troubled relationships of working class Paris. He focused on the immense hardships the poor struggled to overcome and brought to light the harsh realities of the lower classes in their daily struggle to survive. He accurately portrays nineteenth-century working class Paris, combining sorrow, misery, anguish, desperation and despair to produce one of the finest, most descriptive and most moving texts the period can boast.

Zola's frank, yet touching manner of expressing himself without glorifying any details ensured the text was given my full attention from start to finish. I found the base treatment of women and the crude behaviour and beliefs of certain characters deliciously shocking, and this was in the year 2005! I couldn't help but wonder how reading audiences reacted to it in 1877 and found myself compelled to research this text as part of my university studies and learn more about it.

I haven't yet discovered a book that has generated so much power and feeling, having summarised my own thoughts of this book and having read through other reviews of it. It is so much more intense and heart-felt than many modern texts. I have since ordered Nana and am keen to experience more of Zola's works; fortunately there are plenty more of them to keep me satisfied! If they are anything like L'Assommoir, then I know I won't be disappointed.

Amazing Story, 17 Dec 2002
The fact this was written in France over a hundred years ago takes absolutely nothing away from the understanding of the reader. The story is gripping, I literally could not put it down, and the characters are so realistic and recognisable even from the perspective of a person in 2002. The futility of Gervaise's life and the descent into degeneration was so superbly and subtely written that the impact of this was that anyone could descend downwards given the right circumstances. Hard to find the right words to convey the power of this book or it's impact.

Absolutely stunning, 11 Aug 2002
I could not put this book down. Following the life of 'banban' through the tradgedies and depravities of 18Century paris was absolutely captivating.

claustrophobic excellence., 21 Mar 2008
I read this book for an ou course. If it had not been on the list there is no way I could have finished it.
It is so well written that you can see smell and hear everything in it. It scared me and it upset me. I found myself sympathising with violence-not something I am used to.
Would you enjoy this book? no definately not that is the wrong word. Should you read it anyway? definately! it is worth getting out of your comfort zone for. I wanted to give this very few stars for making me angry and for making me cry but it's just written so well. Just because I didn't laugh or enjoy the storyline does not alter the fact that I will forever remember this book it has challenged so many of my ideas.

I don't believe I'll read a better book, 28 May 2007
I love this book. I read it over twenty years ago but the closing chapters, set in the mine, will never leave me. It is brilliant. One of my all time top novels.

One of the best books ever written, 19 Sep 2006
I first read this when I was about 12 years old (in an English translation, I hasten to add) as I had run out of reading matter and came across this book in my grandfather's study.

I am now 62 years of age, but have never forgotten the initial impact this made on me. Somehow Zola's writing is so descriptive and evocative that one feels that one is really there in the suffering and squalor along with the characters. The suffering and social deprivation of those times is quite unbelievable as we look back over 150 years.

I do not know who translated that edition but I have read it in the original French since, where it is even more
moving.

If you haven't read it, please do, you'll be glad you did and, as someone else wrote in review, it could even change your life or, at the very least give you much pause for thought.

Strike another match..., 13 Jan 2006
I read this (for pure pleasure) during my A-Levels and it was so literally unputdownable that I got told off countless times for reading it under the desk while I should have been concentrating on my Maths and Chemistry exam study. I think I ended up in tears with the school counsellor after I finished it. That's what a good book should do to even the most harded cynic.

The plot is quite simple and yet quite complex - Etienne (Stephen) Lantier is a character from the Rougon-Macquart family followed in the series' other books - particularly "L'Assomoir", which is a parallel book, "Nana", which follows the fortunes of his sister, and "La Bete Humaine", which is about his brother. After losing his job in Lille he travels to the mining district nearby in search of work, and falls in with the Maheu family. Fomenting a strike from the embers of an ongoing dispute, Lantier rouses the miners against the bourgeoisie, who, in Zola's characteristically even-handed style, also have their own point of view. To go any further into the plot would be to spoil a good story.

OK, so I read it in the Penguin translation rather than the original (I'd like to try though since I can read French better than I can speak, understand it spoken or write it), but a good translation should get underneath the skin of the author and bring the milieu alive, not only staying faithful to the original but evoking for English readers the sticky, grimy world of Montsou and Le Voreux. I am reading it in Polish translation as well, to see how it reads in a language which is better at capturing magic and mystery rather than the down-to-earth grittiness of English. This edition was also published under the Soviet regime as a piece of "socialist realism" - though Zola would have turned in his grave at some of the small ...changes... that translation has made to some of the incidents.

Great literature should be worth reading for the plot as well as for the language, and Zola succeeds on both counts, taking up the baton from Balzac and Hugo and pushing on towards the modernist literature of Orwell, Sartre and Huxley. Dostoyevsky created the same sort of racy stories in Russia, and both "Crime and Punishment" and "Germinal" are masterpieces of storytelling that don't waste as much time on philosophical rambling as Tolstoy did in "Anna Karenina", in which the plot got lost among a lot of padding.

Although a great period piece, I have seen Zola's stories adapted into other times and places such as wartime London and the Home Counties, and the failed strike could be seen as prophesising the upheavals in recent British politics, with the rise and fall of the fortunes of the Conservative Party as they try to unseat Labour from power. Good literature is always timeless and "Germinal" is one of the books I would recommend to any aspiring politician of any colour, on how to run an effective campaign - or not as the case might be.

Mandatory reading and socially harrowing, 10 Feb 2005
Some classic novels are worthy but a chore; others are great to study academically; fewer combine adept social commentary with genius literary ability and a compelling plot.

This book had a major impact on me when I read it as a teenager - a Realist novel read in my own time to contrast with the Romantic works of Flaubert which I was dealing with for A level. I then returned to it at University - but importantly have subsequently re-read it more than once for pleasure as well as confidently giving it as a present to friends with a ""great read" recommendation.

It is hard to believe that society has changed so much and that we are so ignorant of the massive poverty and social injustice which existed relatively recently in Europe. This epic novel, as with many of Zola's novels, takes you into the startling detail of life in industrial France - with wonderful characterisation, really moving human stories and exciting & distressing plot .

It really has everything - and it may well change your outlook on life . I wholeheartedly recommend this as one of the greats

The Underbelly, 11 Nov 2007
I am an unashamed devotee of Zola, and find very little to fault in any of his novels. This is especially true of the more recent translations which are much easier to read than those by Vizetelly, admittedly written over a hundred years ago. Zola's novels are much more "earthy" and "real" than those by Dickens and Thackery for example, and being much, much shorter and sharper make them, in my opinion, superior pieces of literature. As this is the newest release of a modern translation, as it were, it can receive 5 stars on behalf of all the other Zola works out there.