'It then became necessary to see the places, to study the geography of my book, for at that period I did not know where my scenes were to be laid, whether on the banks of the Rhine, or elsewhere. So, with my rough draft in my pocket, and my head teeming with the shadows of my marionettes, and of the things that they were to do and to explain, I set off for Rheims and went carefully over the whole ground, driving from Rheims to Sedan, and following foot by foot the road by which the Seventh Corps—already then decided upon as the milieu in which my novel was to develop—marched to their disaster. During that drive I picked up an immense quantity of material, halting in farmhouses and peasants' cottages, and taking copious notes. Then came Sedan, and after a careful study of the place and the people, I saw that my novel must deal largely, for the full comprehension of my story, not only with the locality, but with the people of the town. This gave me the bourgeois of Sedan, who play an important part in my tale. Little by little, the geography gave me also the physiology of my book. Each new place that it became necessary to describe supplied its type, its characters.
'So, on my return to Paris, I was in an immense workshop or yard surrounded with huge mountains of hewn stones, mortar and bricks, and all that remained then to do was to build the best structure that I could build of these materials. But before that, the architect's plan was necessary, and that I next carefully evolved. My plan of work is most rigorous. Each chapter is marked out in advance, but it is only as I am writing that the various incidents which I have collected fall into place.... My labour has been one of reconciliation of divergent statements in the first place, and of condensation in the second. I had to reduce to one page what I could easily, and without prolixity, have treated in a dozen pages; so that with each page, nay with each sentence, I have been confronted with the question what to leave out and what to say. Then, when each page was written, I began to torture myself with the doubt whether I had left unsaid things I ought to have said, whether I had sacrificed good to inferior material.
'"La Débâcle" is divided into three parts. The first part treats of the action of the luckless Seventh Army Corps, in which is the fictitious regiment in which my hero or heroes are placed. I say heroes, because I have really two heroes in this story. One is Jean, of my novel 'La Terre,' who is a corporal in this regiment; the other is a new character named Maurice, who goes through Sedan as a private soldier. Between these two men a great friendship exists, and, indeed, it is from this friendship in the face of death and danger, this comradeship of arms malgré tout, that I draw the chief effects of sentiment with which my novel is seasoned. For "La Débâcle" is not a love story. The female characters in it play only secondary rôles; there is no love-making worth speaking about, at the most, only the "intention" of love, the indication of courtship. Jean and Maurice, my two heroes, moreover, present types of the France of the day. Maurice, who is represented as a young man who has recently been admitted to the bar, is the man of the world—light, cynical, sceptical, the type of the France of the Empire, embodying her grace and her faults. He is the type of the France that, sated with pleasure, rushed to disaster. Jean represents the new social couche, a new stratum, and is in some way emblematic of the France of the future. Now, I will confess that when I began writing my book, and had this idea of this friendship, I expected to be able to produce by its means a much greater effect than I think I have done. This friendship has not yielded all that I had hoped for from it.
'The first section of eight chapters opens with allusion to the trifling defeats on the frontier, it shows the Seventh Corps crowded back on to Rheims; but the principal subject of these chapters is the terrible march from Rheims to Sedan. It is an epic event, pregnant with the irony of fate, and, to my thinking, one of the most tragic military episodes that history records. There is no fighting described in this part; indeed, the only battle that I describe is Sedan. The tragedy lies in the exposition of the faults that gradually led up to the terrible disaster. The reader follows the movements of this ill-fated corps, knowing what a terrible shadow of defeat, disaster, and death overhangs it. It was a wonderful corps, and the way it was managed was wonderful in its crass stupidity.
'My second part is entirely devoted to a description of the battle of Sedan in all its phases, seen from all sides. I have omitted nothing which can help to a comprehension of that enormous episode in the histories of France and of the world. Now we are with Napoleon, now with the Emperor of Germany, now with the bourgeois of Sedan, now with the Francs-tireurs in the woods. Each movement of troops that contributed to the final dénouement is exposed. I have endeavoured to be complete, but as I have said, I had too little space for the immense amount of material in my hands. I have also endeavoured to speak the plain truth without either fear or favour. The reader will be aroused to compassion with the sufferings, bodily and mental, of the heroic and martyred army, just as he will be aroused to indignation at the conduct of its chiefs, which fell little short of downright dementia. It has been my duty to be severely critical, and I have not shrunk from the responsibility of wounding, where it was right and just to do so, susceptibilities which I see no reason for respecting. I dare say there will be some outcry at my blame, but I am indifferent, having spoken the truth.
'The last part of my novel is played out in Sedan, after the battle. From thence the reader follows the rest of the history of the war as it develops itself in other parts of France, until it culminates in the outbreak of the Commune and the final collapse of Paris in a sea of fire and an ocean of blood. The last chapter of the book is an account of Paris in flames, of Paris with its gutters running with blood. I hope by this means to produce a gradation of effect—the catastrophe of Sedan, which ends the second part, followed up by the still greater catastrophe of the last chapter. To resume: The first part of my novel is the march from Rheims to Sedan; the second is the catastrophe of Sedan, from inception to dénouement; and the third the collapse not of Paris alone, but of the whole of old-time France, with the dénouement of the burning of Paris, the flames of which clear away not only an old régime, but a whole psychological state, and prepare a fresh field for a new and regenerated people. For observe, that my book, as far as outward construction goes, divided into three parts, may also be divided into a novel of historical and a novel of psychological interest. It tells a tale of many adventures, but it also aims to give a full list of psychological studies of French society as it was at the outbreak of the war.
'My novels have always been written with a higher aim than merely to amuse. I have so high an opinion of the novel as a means of expression—I consider it parallel with lyrical poetry, as the highest form of literary expression, just as in the last century the drama was the highest form of expression—that it is on this account that I have chosen it as the form in which to present to the world what I wish to say on the social, scientific, and psychological problems that occupy the minds of thinking men. But for this I might have said what I wanted to say to the world in another form. But the novel has to-day risen from the place which it held in the last century at the table of the banquet of letters. It was then the idle pastime of the hour, and sat low down between the fable and the idyll. To-day it contains, or may be made to contain, everything; and it is because that is my creed that I am a novelist. I have, to my thinking, certain contributions to make to the thought of the world on certain subjects, and I have chosen the novel as the best way of communicating these contributions to the world. Thus "La Débâcle," in the form of a very precise and accurate relation of a series of historical facts—in other words, in the form of a realistic historical novel—is a document on the psychology of France in 1870. This will explain the enormous number of characters which figure in the book. Each character represents one état d'âme psychologique of the France of the day. If my work be well done, the reader will be able to understand what was in men's minds and what was the bent of men's minds—what they thought, and how they thought, at that period.'
As might have been expected with a work dealing with such a question as the last Franco-German War, 'La Débâcle' has given rise to considerable controversy in France. Some ultra-bellicose Frenchmen, and among them M. de Vogue of the Academy, have taunted the author with a lack of patriotism, their notion being apparently that they ought never to be told the truth concerning themselves. Other persons have impeached M. Zola's accuracy with regard to various matters of detail, and a few have gone so far as to accuse him of having written that which he must have known to be untrue. It may be as well to notice some of the charges here.