Zola's most acerbic social satire, Pot Luck is set in a newly constructed block of flats in the Rue de Choiseul, Paris. Although it seems a place of prosperity and harmony, it is riddled with snobbery and hypocrisy. Systematically exposing the contradictions that pervade bourgeois life, Zola reveals a multitude of adulteries and betrayals, and depicts a veritable `melting pot' of moral and sexual degeneracy. This new translation captures the directness and robustness of Zola's language, and restores the omissions of earlier abridged versions.

Florent Quenu returns to Paris after being unjustly imprisoned and finds the city utterly changed. The great new food market, Les Halles, has been built, and food dominates the political and social life of the capital. The third in Zola's Rougon-Macquart series, The Belly of Paris appears in a vibrant new translation.

Thérèse Raquin is a clinically observed, sinister tale of adultery and murder among the lower orders in nineteenth-century Paris. Zola's dispassionate dissection of the motivations of his characters, mere `human beasts' who kill in order to satisfy their lust, is much more than an atmospheric Second Empire period-piece. Many readers were scandalized by an approach to character-drawing which seemed to undermine not only the moral values of a deeply conservative society, but also the whole code of psychological description on which the realist novel was based. Together with the important `Preface to the Second Edition' in which Zola defended himself against charges of immorality, Thérèse Raquin stands as a key early manifesto of the French Naturalist movement, of which Zola was the founding father. Even today, this novel has lost none of its power to shock. This new translation is based on the second edition of 1868. The Introduction situates the novel in the context of Naturalism, medicine, and the scientific ideas of Zola's day.

The Masterpiece is the tragic story of Claude Lantier, an ambitious and talented young artist from the provinces who has come to conquer Paris and is conquered by the flaws in his own genius. While his boyhood friend Pierre Sandoz becomes a successful novelist, Claude's originality is mocked at the Salon and turns gradually into a doomed obsession with one great canvas. Life - in the form of his model and wife Christine and their deformed child Jacques - is sacrificed on the altar of Art. The Masterpiece is the most autobiographical of the twenty novels in Zola's Rougon-Macquart series. Set in the 1860s and 1870s, it provides a unique insight into his career as a writer and his relationship with Cézanne, a friend since their schooldays in Aix-en-Provence. It also presents a well-documented account of the turbulent Bohemian world in which the Impressionists came to prominence despite the conservatism of the Academy and the ridicule of the general public.

El 13 de enero de 1898, el diario parisino L’Aurore publica en primera página una carta abierta de Émile Zola dirigida a Félix Faure, presidente de la República Francesa, bajo el título impactante J'’ccuse! En el Yo acuso, Zola denuncia con fervor y lucidez la trama de imposturas, manipulaciones y mentiras, nutridas de antisemitismo y ramplón patriotismo, que habían conducido, tres años antes, a condenar al capitán Alfred Dreyfus a la reclusión perpetua en el infame presidio de la isla del Diablo. Pero el texto de Zola es mucho más que eso: es el acto legitimador y el modelo de la intervención de los intelectuales en los asuntos públicos. No en vano la palabra misma, “intelectual”, fue acuñada a la sazón para describir —si bien con ribetes despectivos que el tiempo se ha encargado de limar— la actitud adoptada por Zola, que el mismo Anatole France definió como “un momento privilegiado de la conciencia humana”. El lector hallará en este libro, claro está, el célebre manifiesto, pero también todas las intervenciones hechas por Zola en torno al caso Dreyfus, cuyo feliz desenlace el autor de Germinal no alcanzó a ver.

Antes de que le cesen por su oposición a un proyecto apoyado por la emperatriz Eugenia de Montijo, Eugène Rougon presenta su dimisión como presidente del Consejo de Estado. Conserva su cargo de senador, pero su influencia se resiente considerablemente, para decepción de sus amigos –a los que se les llama «la banda»–, que dependían de él para obtener toda clase de prebendas. Entre ellos destaca Clorinde Balbi, hija de una oscura condesa italiana, más dispuesta que nadie a que Rougon recupere el favor del emperador Luis Napoleón III; no son amantes, él no quiere casarse con ella (de hecho cada uno se casa por su lado), pero entre los dos hay una constante tensión erótica que nunca se sabe cómo se va a resolver.