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50 pages 1 hour read

Émile Zola, Transl. Gerhard Krüger

Nana

Fiction | Novel | Adult | Published in 1880

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Chapters 1-2Chapter Summaries & Analyses

Chapter 1 Summary

On an April night in 1867 Paris, journalist Léon Fauchery and his cousin Hector de la Faloise, arrive early to a play, The Blond Venus, on its debut night at the Théâtre des Variétés. When they encounter the director and producer Bordenave, he assures them that the play’s star, whom he has advertised heavily, cannot act or sing well at all, but will nevertheless be a sensation because “Nana has something else, […] something that makes all the other stuff superfluous” (6).

More audience members stream into their seats: a wealthy banker named Steiner; the husband of one of the actresses, Auguste Mignon; a well-known man-about-town, Labordette; and a handsome but poor ladies’ man rumored to be Nana’s lover, Paul Daguenet. The members of one of the most prominent families are also in attendance: the Comte de Muffat, his wife Sabine, and his father-in-law the Marquis de Chouard.

In the lobby, the crowd eagerly awaits the play, joyfully shouting the name of the star advertised on nearby placards, carried away to the point of ripping each other’s clothes. When the play begins, however, it is hardly an immediate triumph. The first and second acts are dull as the audience impatiently awaits Nana’s entrance. When Nana finally does take the stage, the audience’s first reaction is annoyance: Bordenave was not wrong to say she could not act or sing. However, one captivated teenager stares at her in adoration and loudly declares her “Très chic!” (14). His praise seems infectious: Soon, the entire theater has reversed its opinion on Nana, reveling in her beauty, sexuality, and confidence on stage.

Fauchery and La Faloise can see that Steiner is infatuated with Nana. Fauchery suspects Auguste Mignon can introduce him to her. Auguste has a unique arrangement with his wife Rose, another actress in the play: He acts as her manager, but also as her pimp, arranging affairs with rich men that will profit them both. Steiner is one of Rose’s clients, but Auguste knows he needs to keep Steiner happy by introducing occasional dalliances with other women.

In the third act, Nana takes the stage naked except for a thin, gauzy robe. The audience falls even further under her spell. When it ends, Fauchery and La Faloise once again run into Bordenave and tell him his prediction was correct.

Chapter 2 Summary

The next morning, Nana wakes up and looks at the empty spot in bed next to her in puzzlement; her maid, Zoë, tells her that Paul Daguenet, her lover, has left. In addition to being an actress, Nana is also a sex worker. She lives on the second floor of a large house, a luxurious dwelling that a lover from Moscow rented for her. He paid six months’ rent, but since his departure Nana struggles to support herself: “It all smacked of a young woman who had been left in the lurch by her first real protector, and who had fallen foul of men of dubious character” (29).

Zoe tells Nana that she will have to rearrange some of her clients if she wants to avoid them running into each other. Nana has two regulars in addition to Daguenet, who cannot pay at all and whom Nana sees for pleasure. Despite these responsibilities, Nana wakes up excited—her aunt Madame Lerat is picking up Nana’s son Louis from the wet nurse who has been raising him. Nana wants him to live at Madame Lerat’s home so she can see him whenever she pleases. The wet nurse is demanding 300 francs to give Louis back, however, and Nana does not have the sum.

Madame Tricon, the woman who arranges Nana’s and many other sex workers’ clients, appears at the house and offers Nana a client who will supply the 300 francs. Nana accepts. Nana’s hairdresser Francis brings her a copy of the newspaper the Figaro, in which Fauchery has written glowingly of her magnetism (if not her actual talent).

As the day wears on, a steady stream of male visitors shows up at Nana’s door, including Georges Hugon, the 17-year-old boy who instigated the audience’s adoration of her the night before, as well as Steiner and the Comte Muffat. Nana makes all the men wait while she goes out to meet her client. When she returns much later, she has more than the necessary 300 francs. Exhausted and annoyed, she does not want to see any of her callers, but her finances are in a dire state, so she agrees to see two of the wealthiest visitors: Steiner and Muffat. To preserve appearances, they pretend to have come to solicit a donation to a charity, as now she is a respected member of the artistic community. Flattered, she gives them 50 francs from the sum she has just earned. She also happily accepts Georges’s flowers, amused that such a young man has come to call on her (even though she is only one year older than him).

The doorbell continues to ring so often for the rest of the day, that Nana and Zoe realize Bordenave has given out Nana’s address to anyone who asked for it after last night’s performance. Zoe initially tries to place them all in different parts of the house so they will not run into each other, but there are soon so many that this is impossible. Just as Nana begins to feel overwhelmed and slightly frightened, Zoe shows in Labordette. He has recently paid off one of her bills and is known widely as a friend to women. Nana accompanies him to dinner, leaving her busy apartment with a sigh of relief.

Chapters 1-2 Analysis

The narrator is harsh in his judgment of Nana, portraying her as a woman with no particular talent and also periodically referring to her lack of talent and intelligence. This insistence seems to belie what readers see: Nana may not be a gifted actor, but her ascent through Paris society suggests that she is very good at exploiting the shallowness of the Second Empire Parisian society that finds her entrancing. They quickly devolve into a silly, unthinking mob in the theater lobby, exciting themselves merely by chanting Nana’s name. During the performance, they allow a 17-year-old boy’s opinion to alter their own. Nana is the perfect object of desire for the silly and vapid society surrounding her.

Nana’s captivating sexuality has mythic proportions: Everyone finds her so incontrovertibly alluring that most of Chapter 2 evolves farcically, with Zoe stashing Nana’s callers in any random corner she can find to keep them from running into each other. However, this appeal carries with it elements of danger and exploitation. The would-be lovers are only there because the theater manager has offered her address to anyone who inquires, hoping to profit from her newfound celebrity. Her popularity does little to stabilize her life: Though she has many wealthy lovers, she had no training in money management in her poverty-stricken family, so her financial situation is a precarious one in which to raise the child now returning from his time with the wet nurse (a commonplace practice at the time). Even more threateningly, Nana has a house full of strange men who all think of her as someone they should be able to have sex with easily.

Complicating her life further, she must maintain an aura of luxury if she wants to attract high-class clients; men will pay top dollar for a courtesan only if she looks like a top-dollar courtesan. Her life and the lives of her fellow sex workers, many of whom get introduced in the next few chapters, constantly balance on the edge of farce and danger, ready to tip over into either side by the slightest provocation.

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