Tuesday, November 7th., Rue de Calais, Paris.
I have just finished reading "L'Oeuvre". It has taken me a long time because I left it in the middle to read Wells's "Kipps". What a colossal affair it seems by the side of "Kipps"! So serious, tremendous, and imposing. The middle parts seem rather carelessly done; the detail piled up without sufficient attention to the form. But the final scene between Claude and Christine - the fight between love and art - is simply magnificent; it moved me; it is one of the finest things in Zola. It is overdone, it goes farther than the truth; but purposely; Zola has stepped into the heroic in this scene, as he does now and then. All the close of the book is most affecting.
As regards "Kipps", I am writing to Wells with my thoughts. The only real sizeable fault I can find is the engagement of Helen, which entirely failed to convince me. In fact it is useless to tell me they ever were engaged. I do not believe it! Helen is a real and lifelike figure, but Ann is more so, and the Ann scenes are the best in the book. After agreeing with myself that I read the book through with eagerness and joy, and after telling myself that I must not expect in Wells's 'human interest' novels those aspects of life which he disdains to see, I find myself asking what this book proves, and not getting any answer. Perhaps no question was intended? I think I must point out to Wells that I am deeply offended by his beginning a sentence: "Next to starting a haberdasher's shop ...." I hope he will take it in good part as I hope to avail myself of their hospitality when I am next in England!
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