The Fortune of Rougons - Émile Zola

The Fortune of the Rougons by Émile Zola is the first novel in his monumental Les Rougon-Macquart cycle. Set during the rise of the French Second Empire, the story unfolds around the 1851 coup d’état by Louis-Napoléon Bonaparte. At that time, France was deeply divided politically: the aristocracy tended to support the monarchy, much of the bourgeoisie aligned with the new Empire (Bonapartist), and many workers and republicans fought for democratic ideals. Through this conflict, Zola reveals how politics, class ambition, and moral compromise profoundly shaped both public events and everyday life. As the foundational novel of the cycle, it marks the point of origin from which everything unfolds—the beginning of the hereditary forces that will determine the fate of the Rougon-Macquart family across generations.

Set in the provincial town of Plassans, The Fortune of the Rougons centers on Pierre Rougon, an ambitious man determined to climb the social ladder. Pierre is the son of Adélaïde Fouque—known as Tante Dide—the matriarch at the origin of the Rougon-Macquart family line. Married to Félicité, he fathers several children who will later play important roles in the series. Pierre’s half-brother, Antoine Macquart, and his half-sister, Ursule Mouret (née Macquart), represent the other branch of the family. But contrast with Pierre, Antoine drinks a lot and lives carelessly. His drinking shows his bitterness, laziness, and lack of discipline. Zola portrays Macquart side are jealousy, bitterness, and long-standing resentment, highlighting the deep internal divisions that run through the same bloodline. 

The conflict between Pierre and his half-brother Antoine Macquart is not only about family inheritance, but also about politics. At first, Pierre seems to support the monarchy largely because of his wife and her relatives, who influence his ambitions and social position. Antoine, who identifies as a republican, uses these political differences as a weapon to take revenge on Pierre. This deepens their personal hatred and shows how national political conflict can divide even members of the same family.

In this novel, Zola also offers subtle hints and brief introductions to the Rougon and Macquart children, suggesting their distinct personalities and ambitions. Many of these children later become central figures in other novels in the Les Rougon-Macquart series, making The Fortune of the Rougons not only a family drama but also the foundation of a much larger literary saga.

But, Zola represented Silvère Mouret true political belief that comes from the heart. He likes reading republican and democratic pamphlets at Tante Dide’s house, especially ideas about equality and people’s rights that were popular around the 1848 Revolution. Unlike Pierre, who uses politics for personal gain, Silvère believes politics should improve society. His pursuit is not mainly for his own success, but for justice and a better future for the people. 

In conclusion, The Fortune of the Rougons shows that politics and family cannot be separated. Through Pierre and Antoine, we see how political beliefs can be used not only for ideals but also for ambition and revenge. The novel makes me question whether success comes from morality or from manipulation, especially through Pierre and Félicité’s desire for wealth and status. Overall, this book feels like a strong beginning to a larger story about family, power, and the consequences of ambition. Through Silvère Zola shows what idealistic and sincere political belief looks like, even when it faces a harsh reality, making the story feel emotional and symbolic.

Ruang Buku Megga Rated : ✬✬✬✬✬ (5/5)

Title :  The Fortune of Rougons 
Author : Émile Zola
Publisher : Oxford World Classics
Year : September, 2012 (First Published in 1871)
Format / Pages : Softcover / 301 pages
ISBN : 9780199560998

Little Dorrit - Charles Dickens

I have always been interested in stories that involve legal issues, so it felt natural for me to choose Little Dorrit. I was also curious because I learned that the novel exposes the inefficiency of the Marshalsea Prison as a debtors’ prison and criticizes the corruption of the Circumlocution Office as British system of patronage, how powerful government posts were controlled by elite families instead of earned by merit. Being aware of the powerful satire of Charles Dickens, I became even more eager to read it and understand what made the story so influential.

An important part of the story takes place in the Marshalsea Prison, where twenty-two-year-old Amy Dorrit, known as “Little Dorrit,” was born and raised. Her father, William Dorrit, was imprisoned there because he was unable to pay his debts. Amy lives in the prison with her father and her brother, Edward “Tip” Dorrit, while her sister Fanny lives outside with their uncle, Frederick, and works as a dancer. Together, they struggle to earn a living in order to support themselves and help repay their father’s debts.

But, the novel opens with the story of two French prisoners in Marseilles, Cavalletto and Rigaud. Later, we discover that Rigaud has several connections to the main characters. At first, I felt slightly confused, especially because the names Marshalsea and Marseilles sound so similar. The narrative then shifts to introduce Arthur Clennam, who is returning to England after completing his business in China. On board the ship, he travels with the Meagles family and Miss Wade, both of whom will later play important roles in the development of the story.

This book is 800 pages long, that we will wait to meet Amy Dorrit in. Amy's fate first crosses with Arthur Clennam when she goes to work at Mrs. Clennam’s house as a seamstress, using her needle to mend and sew. It is there that Arthur notices her quiet patience and gentle character. Gradually, he begins to suspect that Little Dorrit is not just an ordinary seamstress, is someone who is somehow connected to his own family’s past. 

The Dorrit family turns out to be victims of the delay and inefficiency of the Circumlocution Office, whose complicated and negligent administration caused the rightful legacy to remain buried for years. Instead Arthur Clennam search for his family past, he discovers a dramatic change to the Dorrit family’s life, transforming them from poverty to sudden wealth. This major shift is reflected in the structure of the novel itself, which is divided into two parts to show the contrast between their life in hardship and their life in riches. However, Arthur keep searching his own family past, make this novel turn into mystery.

In Little Dorrit, Dickens constructs a complex and interconnected story by combining several different plotlines involving the Dorrits, the Clennams, the Merdles, the Meagles family, the Casby and others. Each storyline has a different tone: some parts are full of emotional suffering, others contain comedy, and many sections strongly express social satire. 

One of the most memorable parts for me is when Amy travels to Europe. The tone of the novel suddenly changes from the bleak, gloomy, and hazy atmosphere of London to the bright, pleasant, and colorful setting of Italy. This contrast makes the story feel lighter and more hopeful. I especially like the moment when Amy meets Minnie “Pet” Meagles and becomes her friend, as it shows Amy’s gentle and sincere character in a new environment. The comic interactions between Fanny Dorrit and Mrs. Merdle also add humor to the story. Their conversations and social pretensions provide comic relief and give a lighter touch to the narrative, balancing the more serious and emotional parts of the novel. But what I really waiting for is the triangle love story between John - Amy - Arthur.

The phrase “Do Not Forget” is closely related to the psychological struggles of the characters. Mr. Dorrit strongly wants to forget his painful past in the Marshalsea Prison because he feels ashamed of it and wants to protect his new social status. On the other hand, Mrs. Clennam refuses to forget the past and holds on to guilt and old grievances, similar to Miss Havisham in Great Expectations.

Marshalsea Prison

Dickens also criticizes the financial elite through the character of Mr. Merdle, whose reputation as a successful and brilliant businessman is built more on public illusion than on real honesty. Many people trust and admire him simply because he appears wealthy and powerful. Another example is the figure of the “Patriarch,” Mr. Casby. In front of his tenants, he presents himself as kind and generous, almost like a Santa Claus figure. However, in reality, he is selfish and manipulative. He forces his agent, Mr. Pancks, to collect high rents and pressure the tenants, while he keeps his own reputation clean. Through these characters, Dickens shows how appearances can be deceiving and how those in power often hide their exploitation behind a respectable image.

Speak about The Marshalsea institution was established as part of the legal system at the time, based on the belief that imprisoning debtors would pressure them or their families to settle their debts. However, as Dickens shows in the novel, the system was often cruel and ineffective, trapping families in long-term poverty rather than solving their financial problems. 

In the end, the moral message of the story seems to question what “home” truly means. Is home a place of wealth and social status, or is it where love, loyalty, and sincerity exist?

Amy Dorrit, as the emotional heart of the novel, shows a beautiful and sincere ability to forgive and to reconcile with the past. She does not care about status, money, or social ambition. Even after experiencing wealth and traveling abroad, she still feels deeply connected to the Marshalsea Prison, because it is the place where her love and sacrifices were rooted. Through Amy, Dickens suggests that a true home is not defined by riches or reputation, but by compassion, memory, and genuine human connection. 

"None of us clearly know to whom or to what we are indebted in this wise, until some marked stop in the whirling wheel of life brings the right perception with it. It comes with sickness, it comes with sorrow, it comes with the loss of the dearly loved, it is one of the most frequent uses of adversity. "

Finally, I give Little Dorrit four stars. Although the novel is rich and meaningful, I often found the conversations overly long and repetitive—especially Flora’s rambling speeches and Mr. Meagles’ lengthy remarks. The extended satire of the Circumlocution Office and the detailed descriptions of the Barnacle elite sometimes felt excessive and made parts of the book is bored.

Ruang Buku Megga Rated : ✬✬✬✬(4/5)
Title : Little Dorrit
Author : Charles Dickens
Publisher : Wordsworth Classics
Year : 2013 (First Published in 1857)
Format / Pages : Softcover / 848 pages
ISBN :  9781853261824

Review Villette - Charlotte Brontë

Villette is one of Charlotte Brontë’s lesser-known works compared with Jane Eyre, and it became the last novel she published. The story is often understood as drawing on her own experiences teaching English at a continental pensionnat, alongside her sister Emily, who worked as a music teacher. Published in 1853, Villette stood apart from many Victorian novels of its time: It's obvious that we as reader expecting the romance, but what we found: the tone is quiet and often gloomy, and it is especially notable for its deep psychological insight and introspective narration.

The story begins with Lucy’s retrospective memories of childhood at her godmother’s home in Bretton. Very little is revealed about Lucy’s own background, and she is presented largely as an orphaned, rootless figure. At Bretton she lives with her godmother, Mrs. Bretton, and her lively son, Graham. Their quiet domestic life changes when Paulina (Polly) Home arrives, a young child whose mother has just died. While her grieving father travels, Polly is entrusted to Mrs. Bretton’s care, and the three children share the household for a time. Lucy, however, often places herself on the margins, observing their interactions more than actively participating in them. 

Lucy embark her journey abroad

After leaving Bretton, Lucy begins an independent and uncertain life. She finds work as a companion to Miss Marchmont, an elderly and lonely woman. When Miss Marchmont dies, Lucy is once again left alone, without employment or support. This personal crisis ultimately pushes her to travel abroad, leading to her arrival in the foreign city of Villette, where the main events of the novel unfold.

Brontë’s portrayal feels realistic and deeply informative, shaped by her firsthand experience of the time and place that inspired the fictional city of Villette, often understood as a version of Brussels. I especially appreciate how she creates a genuine sense of foreignness: the frequent French dialogue, the cultural distance, and Lucy’s isolation all make the reader feel as though we are truly sharing her position as an outsider in an unfamiliar world.

Lucy’s childhood memories serve as a form of foreshadowing for her present experiences; Brontë introduces Graham and Polly not simply as past companions, but as figures whose roles become deeply intertwined with Lucy’s later emotional journey. In fact, the early chapters show Lucy’s role as a marginal one, but in the second part, I think it becomes more interesting: Lucy shifts from being merely an observer to taking on a more emotional role. This change takes us deeper into the story because we finally begin to understand how she truly feels. We come to understand that Lucy is deeply skeptical. I think she is a very complex character: she is pessimistic, stoical, and always feels isolated in Villette. We also see that she struggles with her mental health; her hallucination-like visions reflect how profoundly lonely she feels. This is unique—Lucy’s attitude is “expect nothing, and you won’t be hurt,” a kind of defense mechanism to protect herself.  Indeed, Lucy is gave up, hopeless with her unrequieted love.

Despite finding a sense of freedom, she becomes trapped once again in isolation at the boarding school, under the watchful authority of a strict headmistress who always wants to know everything. Can't say that the headmistress—Madame Beck as the villain; rather, she functions as a quiet antagonist who prefers to maintain control over everyone in the pensionnat. Monsieur Paul (Mme. Beck's cousin) is a complex and passionate man whose relationship with Lucy is marked by both intellectual connection and emotional tension, once again, Lucy struglle with her feeling and her faith as a protestant. 

So many questions come to mind that I wish I could ask Charlotte Brontë—why, in the end, does she never describe Lucy’s early life with her family? How did her parents die, or did they simply pass away without leaving any inheritance? It can be assumed that Lucy did not come from deep poverty, given her connection to her godmother, Mrs. Bretton. Once again, this shows how uncommon the novel was for its time: it is not just another Victorian romance. Brontë’s narrative feels advanced, almost modern. She seems to suggest that Lucy’s past and family background do not truly matter; there are parts of her history that Lucy chooses not to reveal, perhaps connected to trauma or grief. What ultimately matters is Lucy’s present experience and the story she is living now.

Speaking about the nun ghost, I assume that Lucy’s struggles with her mental health make her experience hallucination-like visions, especially when she is grieving. The nun appears mainly within the pensionnat, and, much like in Jane Eyre, Brontë presents the mystery in a way that seems supernatural at first but is ultimately given a logical explanation.

I’m not going to say that this book is an easy read—you can’t just breeze through it. I had to concentrate more deeply to absorb it, especially at the beginning when Brontë presents Lucy mainly as an observer and a somewhat unreliable narrator. There is also a great deal of French dialogue, so readers who don’t understand French may need to rely on footnotes. However, with a little patience, you begin to uncover the subtle depth of Lucy’s emotions and enjoy the rich, fascinating descriptions of place—even without any visual references from film adaptations, azzz they should make this into film.

Ruang Buku Megga Rated : ✬✬✬✬(4/5)
Title : Villette
Author : Charlotte Brontë
Publisher : Penguin English Library
Year : 2012 (First Published in 1853)
Format / Pages : Softcover / 616 pages
ISBN :  9780141199887