‘L’Argent’ Cover Images

L’Argent was first published in 1891 and has been translated as Money by Vizetelly and more recently by Valerie Minogue for Oxford University Press.

For images of other covers please look on the Images page.

L’Argent (Money) Illustrations

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Thank you to Horvallis for providing these images via the French Literature group.

Money (L’Argent), by Emile Zola, translated by Valerie Minogue

I was justifiably excited by this new translation of Emile Zola’s novel Money: there are scenes that were excised completely from the prudently self-censored Vizetelly translation which make the characterisation more complex and much more interesting…

Money (L’Argent) was first published in 1891, the eighteenth of Zola’s Rougon-Macquart cycle, but fourth in the recommended reading order because it follows logically on from The Kill (La Curée) published almost twenty years before in 1871-2. It follows the extraordinary career of Aristide Saccard, the youngest son of Pierre and Félicité Rougon, a financial wheeler-and-dealer to rival any of the rogues who engineered the recent Global Financial Crisis or the financial scandals of the 1980s. But this is no simplistic morality tale excoriating the greed of financiers: Saccard is a much more complicated character in Money than he was in The Kill, and speculation with money for all its drawbacks is shown to be essential to the growth and development of nations.

Most interesting of all in this novel is the characterisation of Caroline Hamelin, and this is the character to whom Vizetelly’s prunings do a disservice, because in Minogue’s translation Caroline’s knowledge of Saccard’s flaws is complete. It’s not just that he has drawn countless innocent vulnerable people into his web of shady dealings, it’s also that he is sexually depraved (by 19th century Parisian standards, that is) and yet she still finds it hard to condemn him. The man has a magnetism that is irresistible even to the woman who is the moral compass of the novel. She knows about his lack of restraint, and is compromised by it.

One thing I do like in the Vizetelly version in The Complete Works of Emile Zola on my Kindle is the illustrations. There is a beaut B&W drawing of the Bourse, the Parisian stock exchange in 1867, showing the room packed with investors shoulder to shoulder and the brokers frantically responding to the calls to buy or sell. There’s also a plan of the Bourse drawn by Zola as part of his research and a raunchy publicity poster for the novel. On the other hand, there aren’t any pictures in this new Oxford World Classics edition, but there is a very useful introduction by the translator, who is Emeritus Professor of French at the University of Wales and President of the London Emile Zola Society. (BTW I was very pleased to see the warning that there were spoilers in this introduction. That gives the reader the choice to risk them or not). It is the illustrations in the Vizetelly version, however, which convey the excitement of this novel much better.

It is an exciting novel. I wasn’t expecting that, after all, banking and finance has to be one of the most boring aspects of our everyday lives if you’re an ordinary person for whom banking means electronic payment of salary, payment of bills, a mortgage, a credit card and the occasional miserly payment of some interest. But Saccard is an inveterate salesman and when we find him bankrupt and outcast at the beginning of the novel, we can’t help but be lured in by his grand ambitions. He seizes on and fascinates us with the vision of Georges Hamelin to mount a new crusade in the Middle East, a crusade to restore Christianity to its birthplace with majestic transportation systems of roads, rail and steamships. For Georges, the vision is religious – he wants to develop the ‘wasted’ lands of the Middle East so that the Pope (under siege in the Papal States from the unification of Italy under Victor Emmanuel) can move to Jerusalem. Saccard thinks this is absurd, but he is captivated by the idea of French capital developing ‘idle’ land and bringing ‘civilisation’ to the inhabitants. He loves to see money moving around, doing something, and achieving great things…

With nothing more than his powers of persuasion, his few remaining contacts and his ability to do a shady deal when he needs to, Saccard sets up his new bank, the Universal. Along the way he captures the imagination of Paris, attracting investors large and small. By the time of the Universal Exhibition in 1867 when all the world flocked to Paris, Saccard’s bank has moved to lavish new premises and the share price has reached astronomical proportions. The reader knows it is doomed to fail, and as the novel moves towards its climax there are portents which illuminate the lives of those destined to be ruined. There is pathos and schadenfreude in equal measure in Money, and of course there are also those who profit, those who lose but don’t pay their debts, and those who get off scot-free without any apparent sense of guilt as well.

As the rain fell in torrents on Saccard at the beginning of the novel when he was broke and friendless, it falls too in cascades as the denouement at the stock exchange looms. Zola writes this compelling chapter with all the verve of a battle, because that’s what it is, a battle between the bear market and the bull market, with Saccard fighting for financial survival against compelling odds. Among the crowd are the strategists and tacticians, prophets of doom and barrackers, loyal supporters and betrayers, and the tension is maintained as the share price goes up and down. Saccard’s composure almost never falters, and when it does, it is not because of his own fortunes – it is because he sees in the crowd the faces of the humble investors who trusted his word and are depending on him now.

It is this Saccard who challenges the image of the decadent greedy speculator that was dominant in The Kill. This Saccard gives his expertise to help underprivileged children in Princess Orviedo’s foundling homes and hospitals – even though he thinks she’s mad to be deliberately divesting herself of a fortune ill-gotten in speculation by her now dead husband. This Saccard confronts the rapacious Busch to force him to cancel an egregious debt against the hapless author Jordan; this Saccard weeps when he realises the enormity of the wrong he has done to his natural son and the terrible consequences of that. It is this combination of good intentions, wild reckless ambition and addiction to making money grow no matter the risk to others, that troubles Caroline – because she finds herself unable to resist him. Intelligent, sensible, prudent and scrupulously honest, she feels herself complicit in his shady dealings because she can see the benefits too. Zola shows us that it is indeed Saccard’s bank that has realised Georges’ dream of a thriving transport industry in the Middle East, and the beginnings of development such as the Carmel Silver Mine. (Today of course, we interpret this development differently, as part of European colonisation and exploitation, with few benefits filtering through to the locals. But that’s not how anybody looked at it in the 19th century, not even the people in the Middle East who agreed to let them to do it.)

One aspect of this novel will bother modern readers, quite a bit. Saccard’s rival for pre-eminence is the Jewish banker Gundermann, and there are anti-Semitic references to him in some of Saccard’s tirades. This is countered a little by Caroline’s mild remonstrance that Jews are no different to anybody else and of course Zola is famous for risking his career in his defence of the Jewish officer Dreyfus, but still, anti-Semitism is always uncomfortable reading.

The translation is generally very good. I detected a couple of glitches which might have been picked up by an assiduous editor: a tautologous died ingloriously in Rome without any glory (p. 341) and an incongruous ticked all the right boxes p. 102) but these are easy enough to rectify in future editions. Overall the text is fluid and reads as if it were not translation at all. Helpful notes at the back of the book explain references which might otherwise elude readers unfamiliar with events in European history, but as I’ve said above, this translation is the first unabridged edition for more than a century and that is why any reader of Zola in English will be delighted by it.

Perhaps as you find yourself chuckling over the adventures of the Baroness with Sabatini, you too will be tempted to read some parts of Money in both versions to see what else is missing. For as I know from reading The Censor’s Library by Nicole Moore, it wasn’t just salacious material that was censored, though that is bad enough as you can see if you read the Vizetelly version and try to make sense of Victor’s crime. Zola’s compassionate understanding of the impact on the victim is missing too and I am quite sure that if I look it up I’ll find that his rather endearing concern for other exploited women will be obscured or omitted altogether as well.

Next up in my Zola project is The Dream (La Rêve) but alas there is no modern translation of that one. If only my French were good enough to read it in the original! I’m working on it, I’ve translated a short story by Zola but it would take me forever to read a whole novel in French and I’d probably misunderstand parts of it anyway. I’m hoping that there are other translations of the remaining novels on the way!

Author: Emile Zola
Title: Money
Publisher: Oxford World Classics, 2014
ISBN: 9780199608379
Source: Review copy courtesy of Oxford University Press

Cross-posted at Lisa Hill’s blog as part of the Zola Project at ANZ LitLovers.

Money (L’Argent)

Money is abstract, but that does not make it less powerful. Hold a dollar bill in your hand. Now imagine setting a match to it. It doesn’t feel like an easy thing to do. Now, continue to hold that dollar bill in one hand and hold a $20 bill in the other. Both are pieces of paper of identical size and construction. One would burn as easily as the other, but they don’t feel the same at all. You can try this with a $100 bill also, but by now you I am sure you have the idea.

Emila Zola’s novel about speculation in the Paris stock exchange in the 1860s is L’Argent, Money. As in his other novels in the Rougon-Macquart series, Zola provides  a host of characters and subplots, but the center is money and what it means. For some money is power.

 Oh! Let us understand each other; he doesn’t love money like a miser, for the sake of having a huge pile of it and hiding it in his cellar. No; if he wishes to make it gush forth on every side, if he draws it from no matter what sources, it is to see it flow around him in torrents; it is for the sake of all the enjoyments he derives from it – luxury, pleasure, power.

The man who makes the money gush forth, Saccard, wins over Lady Caroline, his severest critic. Power and luxury do not impress her, but she longs for what money can be the means to accomplish.

 She had cursed money, and now she fell in awe-stricken admiration before it; for was not money the sole force that can level a mountain, fill up an arm of the sea – briefly, render the earth inhabitable by men, who, once relieved of labour, would become but the conductors of machines. From this force, which was the root of all evil, there also sprang everything that was good.

Another voice is heard in the novel. It is heard faintly, but it is there. The idealistic brother of one of the petty speculators is a devout Marxist. He lives for the day when the concentration of capital will bring the demise of capitalism itself. He explains it to Saccard.

 I have followed your enterprise with passionate interest; yes, from this quiet out-of-the-way room I have studied its development day by day, and I know it as well as you do, and I say that you are giving us a famous lesson; for the collectivist State will only have to do what you are doing, expropriate you in bulk when you have expropriated the smaller capitalists in detail. And in this wise… to absorb all the capital in the world, to become the one bank, the one general warehouse of public wealth.

Saccard makes the money gush forth both for himself and, temporarily, for others. They love him for it. He loves them too when the money flows, but feels no pity when the crash comes. Madame Caroline is now undeceived and she does have pity.

 What frightful silent tragedies were here! – the whole throng of petty capitalists, petty shareholders, who have invested all their saving in the same securities, the retired door-porters, the pale old maids living with their cats, the provincial pensioners who had regulated their lives with maniacal rigidity, the country priests stripped by almsgiving – all those humble beings who budgets consist of a few sous…. And suddenly nothing was left, the threads of life were severed, swept away….

Bernard Madoff and the banksters are not new creations. Zola knew them well in the Paris of Napoleon III. The cautionary nature of the tale is not that there are always scoundrels who will manipulate if they can. It is rather that we ourselves join in the bubble they create because we too want money.