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If there is anything on which contemporary readers of Zola’sLa Débâclehave tended to agree, it is that the novel evinces an ideological complexity which belies the relative simplicity of its characterization. Lucienne Frappier-Mazur, for example, shows how competing conceptions of national identity in Zola’s 1892 novel on the Franco– Prussian war and subsequent Paris Commune reemerge as an “oscillation” between a pacifistic acceptance of the other and a call for purificatory retribution (“Guerre,” 180 ).
Sandy Petrey speaks ofLa Débâcleas imprisoned in an interstice insofar as it chooses both natureandartifice, natureandhistory (94,