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This item is a 1 page article by Henri Nouwen entitled ‘A Response from Henri J.M. Nouwen” published in The Christian Ministry, Vol. 18, No. 1, January 1987, p. 20. This item is a response to an article published in this same volume entitled: ‘The Minister as Narrator’ by John Robert McFarland in which the ‘model’ of the minister presented by Nouwen in ‘The Wounded Healer’ and that of James D. Glasse in ‘Profession: Minister: Confronting the Identity Crisis of the Parish Clergy’ is critically evaluated and found wanting. Nouwen responds by noting that his concept of wounded healer was simply ‘an attempt to say something – not everything – about ministry’. Nouwen suggests that McFarland’s ideas have merit and much to offer, ‘if he does not try to offer too much’.

This item is a three page article by Henri Nouwen entitled, ‘A Self-Emptied Heart: The Disciplines of spiritual formation’, published in Sojourners, Vol. 10, No. 8, August , 1981, pp. 20 – 22. This is part three of a three part series. Nouwen begins this article by stating that discipleship requires discipline. He identifies three disciplines in particular: 1) the discipline of the church – ‘by which we remain in touch with the true story of God in history. Nouwen identifies the importance of the church community ,’ The attention to the presence of Christ in our own personal story can only remain free from self-deception when we remain attentive to the presence of Christ in the daily life of the church’. 2) The discipline of the book – here Nouwen emphasizes the necessity of reading the scriptures deeply and meditatively. 3) The discipline of the heart – ‘The discipline of the heart is the discipline of personal prayer which…leads us not just to our own heart, but to the heart of God’. Nouwen concludes this series of three articles, ‘We are called to follow Christ on his downwardly mobile road, tempted to choose the broad path of success, notoriety, and influence, and challenged to subject ourselves to spiritual disciplines in order to gradually conform to the image of our Lord Jesus Christ’.

Item consists of a book in which Nouwen has written the foreword, reflecting on his own visit with Merton and a friend, Joe Ahearn, in 1966. Nouwen concludes in part: "When I read Esther de Waal's [book] I said to myself: 'What better guide can there be than this earthy, yet so spiritual man, whom I met with my friend Joe at the pond in Gethsemani.'"

Item consists of a book collected by Nouwen. The book is a work of fiction and mentions dwarf clowns.

Item consists of a booklet featuring Nouwen's writings on "waiting".

This item is a 12 page article by Henri Nouwen entitled: ‘A Spirituality of Waiting: Being Alert to God’s presence in our Lives’, published in Weavings, January/February 1987, pp. 6 – 17. Nouwen begins by suggesting two aspects of waiting: waiting for God and the waiting of God. Nouwen identifies these two aspects of waiting found first in the beginning of Luke’s Gospel and then, at the end of Luke’s Gospel. In the first section Nouwen points out how hard it is for most of us to wait; that waiting is considered as wasting time. He then points to the people in Luke’s Gospel who are waiting: Zechariah and Elizabeth, Mary, Simeon and Anna. Nouwen then discusses 1) the nature of waiting as waiting with a sense of promise and 2) waiting as active. In the scripture the figures he writes of are waiting for the fulfilment of a promise and they are waiting very actively. ‘The secret of waiting is the faith that the seed has been planted, that something has begun. Active waiting means to be present fully to the moment, in the conviction that something is happening where you are and that you want to be present of it’. Nouwen also describes a waiting person as a patient person. In a section on the practice of waiting Nouwen describes the need we have of community and mutual support along with an alertness to the word. Nouwen then looks at the waiting found in the last part of Luke’s Gospel , in the passion of Jesus. Nouwen states that this material is outlined in a book by W.H. Vanstone called ‘The Stature of Waiting’. Nouwen begins by describing the concerns of a friend who was dying of cancer and didn’t see how to live the passivity of his life. The remainder of the article enlarges on the idea by Vanstone that Jesus moved from action to passion, losing control of his life and waiting and allowing it to happen. Jesus and God are waiting to see how people will respond, how we will respond and they do not have control over that. Nouwen concludes by stating, ‘If it is true that God in Jesus Christ is waiting for our response to divine love then we can discover a whole new perspective on how to wait in life’.

This item is a 6 page article by Henri Nouwen entitled, ‘A Sudden Trip to Lourdes, published in New Oxford Review, Vol. LVII, No.7, September, 1990, pp. 7 - 13. Nouwen begins by stating that he is writing this in Lourdes during an unexpected divergence from his planned visit to Berlin. ‘The question for me was: How to live [the next decade]? The answer came quietly: In deep communion with Jesus’. Nouwen reflects on the water – of Baptism, of healing at the baths, on the rain. Nouwen goes to confession where the priests says to him, ‘Don’t be afraid to be poor, alone, naked, stripped of all your familiar ways of doing things. God is not finished with you yet’. Nouwen reflects on the innocence of Mary, of Bernadette and of his own. He reflects on Jesus’ passion in the Stations of the Cross and on the resurrection. After three days in Lourdes, Nouwen feels it is time to leave and he returns to the L’Arche community at Trosly. Nouwen, reflects as he is in the train returning to Paris, ‘I know that every time I choose for my innocence I don’t have to worry about the next 10 years. I can be sure I am not alone, but with him who called me to live as God’s child’.

This item is a half page article by Henri Nouwen entitled, ‘ A Time for Quiet, a Time for Action’ published in the National Catholic Reporter, April 26, 1974, p.11. This article begins with a quotation from Mark 1:32 -39, “In the morning long before dawn he got up and left the house, and went off to a lonely place and prayed there”. Nouwen then points to all the action in Jesus’ life that surrounds these words and develops the idea of the importance to Jesus’ fulfillment of his ministry of these moments alone and at prayer. “ In the lonely place Jesus finds the courage to follow God’s will and not his own, to speak God’s words and not his own, to do God’s work and not his own”. He then states as the goal of this article, “I want to reflect on this lonely place in our own lives”. Nouwen suggests that we tend to know that we too need a lonely place and silence and that without it there is a danger that our lives will be governed only by what we ‘do’. He says, “practically all of us think about ourselves in terms of our contribution to life”. In the remainder of the article Nouwen suggests that our attempts to find our identity in the busyness of the world is leading many people to depression and anxiety. Nouwen emphasizes the importance then of silence and solitude in human life: “ Somewhere we know that without silence words lose their meaning, that without listening speaking no longer heals, that without distance closeness cannot cure. Somewhere we know that without a lonely place our actions quickly become empty gestures”.

This item is a 2 page article by Henri Nouwen entitled, ‘A Time to mourn, a time to dance’, published in the Toronto Catholic New Times, mediation section, 15 March, 1992, Vol. 16, No.6, pp. 8-9. It is indicated that this is taken from a talk by Nouwen given to ‘Celebration 25’ honouring the 25th anniversary of the founding of Christian Counselling Services in Toronto. It is part one of five parts. The archives has only the first 3 parts of the series. In the Introduction, Nouwen points to his sense that healing is not strictly the preserve of professionals. ‘It belongs to the heart of our Christian vision that all of us, whether we have degrees or not, are called to be healers’ through the Holy Spirit. Nouwen goes on to suggest however that the ‘first thing the Healing Spirit within us calls us to do is to mourn our losses…’. Nouwen identifies the many kinds of losses people experience and to suggest that ‘our survival instinct is to live as if they are not real, as if life goes on as usual nothing really happens’. Nouwen goes on to say, ‘true healing starts at the moment that we can face the reality of our losses and let go of the illusions of control…I do believe that the Spirit of Jesus, the Spirit of love, is given to us to reach out beyond our fears and embrace the reality of our losses. That is what mourning is all about’.

Item consists of 1 picture postcard with a divided back of two people walking though snow. The postcard has 1 George V admiral issue two cents Canada postage stamp.

Item consists of a book collected by Nouwen pertaining to the circus. This book about one woman's one year encounter with a Mexican circus.

Item consists of 1 embossed picture postcard with a divided back with a New Years greeting and birds flying amongst clouds. The postcard has 1 George Washington three cents U.S. postage stamp.

Item consists of 1 picture postcard with a divided back of a bell tolling and a New Years greeting. The postcard has 1 George Washington two cents U.S. postage stamp.

Item consists of 1 picture postcard with a divided back with a Christmas greeting of girls holding up lanterns and holly.

Item consists of a children's book collected by Nouwen pertaining to the circus and a young trapeze artist.

Rockman, Arnold. "A View of Communication." The Toronto Daily Star, 7 July 1962.

Item consists of an article which discusses intimacy, creative ministry, and spiritual life.

Ross, Alexander. "A Worshipful Visit to the Shrine of McLuhan." The Financial Post [Toronto, Ont. ], 18 April 1970.

Item consists of 1 picture postcard with a divided back of the A. Andrews Diamond Palace.

File consists of a handwritten manuscript by Nouwen entitled, "A. Boisen On the relationship between religious experience and mental illness"; this is possibly an English translation of his doctoral thesis, although not a complete version.

18. A.l.s. (visiting card) from Émile Zola to Ernest Ziegler (1847-1902), Paris, 26 [?], 1884, 1 p.
    A visiting card, bearing the message, “With many thanks”, written to Ernest Ziegler, a journalist, novelist, dramatist, and translator of Zola’s novels Germinal and L’Oeuvre.
    The card, which bears Zola’s Paris address, is accompanied by the stamped envelope, addressed to Ziegler in Vienna, and by a photograph of Zola. On the postmark, the day and the year are visible, but not the month.
    **Not published.

40. A.l.s. (visiting card) from Émile Zola to Yves Guyot (1843-1928), 12 December 1900, 1 p.
    Zola asks Guyot to reproduce in its entirety, with his introduction, Zola’s letter which had appeared that morning in Le Figaro. He will be grateful if Guyot will give the letter a prominent place in tomorrow’s edition.
    The journalist and politician Yves Guyot was at the time the director of the Paris newspaper Le Siècle. The letter in question was written in support of the young writer, Maurice Le Blond, and a group of his colleagues, who had founded the “Collège d’esthétique moderne”, a meeting place for writers and artists, which offered courses and public lectures. In 1908, Maurice Le Blond (1877-1944) married Zola’s daughter, Denise.
    Published in Correspondance, vol. X, page 207 (letter 175).

25. A.l.s. (visiting card) from Émile Zola to [Paul-François Ménard-Dorian], Paris, s.d., 1 p.
    “With our deepest sympathy on your loss”. Paul Ménard-Dorian (1846-1907) was an extremely prominent armaments manufacturer and member of the Republican government from 1877 to 1889 and from 1890 to 1893. In 1900, Zola toured the Ménard-Dorian factories at Unieux in preparation for his 1901 novel, Travail, which is set in a steel foundry.
    Further research into the biography of Paul Ménard-Dorian would probably help in determining the date of this visiting card, which is obviously a message of condolence. The address on the card (23, rue Ballu) suggests that the card must date from between 1877 and 1889, the period during which Zola lived in this Paris apartment.
    **The text of this card has not been published.

10. A.l.s. from Zola to Édouard Bauer, Paris, 8 February 1869, 1 p.
    Zola writes to Bauer, the founder and director of L’Événement illustré, in which Zola’s novel, La Famille Cayol (initial title of Les Mystères de Marseille) had been appearing since 23 October, 1868. Zola has learned that the newspaper is changing hands and Zola wants to know if the debt of 200 francs, which is owed to him by Bauer, will be assumed by the new owner, M. Damé. Published in Correspondance, vol. II, p. 195 (letter 68).

19. A.l.s. from Émile Zola to Adrien Remacle (1856-?), Médan, 12 May 1884, 1 p.
    Zola promises to send Remacle something for the next issue of La Revue indépendante.
    Zola’s short story, “Théâtre de campagne”, appeared in the second issue of La Revue indépendante (June 1884).
    Adrien Remacle worked as head of publicity for Zola’s publisher, Georges Charpentier, before becoming the director of La Revue contemporaine in 1885. He was also the author of several volumes of poetry and of a ballet based on Verlaine’s poetry.
    Published in Correspondance, vol. V, page 104 (letter 44).

41. A.l.s. from Émile Zola to André Antoine (1858-1943), Paris, 31 January 1902, 1 p.
    Zola requests theatre tickets for his wife and for himself. Would like to see Antoine at the intermission, so that he can congratulate him. Has heard that the ticket sales are good.
    Zola is referring to the adaptation of his novel La Terre, prepared for the stage by Charles Hugot and Raoul de Saint-Arroman. The play opened at the Théâtre Antoine on 21 January 1902, with Antoine in one of the leading roles. In spite of its strong beginnings, the play was only a moderate success.
    André Antoine had launched the Théâtre Antoine in 1897 and later became a respected theatre critic and a film maker.
    Published in Correspondance, vol. X, page 355-356 (letter 340).
    Note that the paper is stained and has a pin-hole in the upper left-hand and lower-right corners of the page.

42. A.l.s. from Émile Zola to André Antoine (1858-1943), Paris, 24 February 1902, 2 p.
    Zola is in agreement with Saint-Arroman that they should attempt to keep La Terre going as long as possible, by presenting it once or twice a week. Asks if he might give some friends one of his visiting cards with a message on it, which they could exchange for theatre tickets.
    On Antoine and La Terre, see letter 39.
    Published in Correspondance, vol. X, page 359-360 (letter 347).

8. A.l.s. from Émile Zola to André Lavertujon (1827-1914), Paris, 19 May 1868, 1 p.
   Zola writes to André Lavertujon, at the time an important journalist and politician, and founder of La Tribune, a newspaper for which Zola wrote from June 1868 to January 1870, publishing 62 texts in all. In this letter, Zola says to Lavertujon that Théodore Duret, a mutual friend, has told Zola that Lavertujon had expressed the desire to read Zola’s new novel, Thérèse Raquin. Zola therefore sends Lavertujon a copy of the novel in the hopes that Lavertujon will find it interesting. Published in Correspondance, vol. II, p. 123-124 (letter 10).

Note: ITEMS number 16, 17a and 17b are in Maurel’s copy of Renée (stacks).

-16. A.l.s. from Émile Zola to André Maurel (1863-?), Paris, 20 March 1887, 1 p. Zola invites Maurel to visit him, in order that Maurel prepare an article on Zola’s upcoming play, Renée. Maurel was, at the time, a journalist for several major Paris dailies, as well as a prolific novelist and playwright. His article on Renée, which premiered at the Théâtre du Vaudeville in Paris on April 16 and ran until May 23, appeared in Le Voltaire on March 22, 1887 (under the pseudonym of “Lucien Valette”). **This letter is glued into a copy of the text of the play, which was published by Charpentier on May 30, 1887.
Published in Correspondance, vol. VI, page 106 (letter 46).
-17a. Autograph dedication from Zola to André Maurel (1863-?), [early April 1887], in a copy of Renée (see entry 16).
-17b. A.l.s. from Émile Zola to André Maurel (1863-?), [early April 1887], 1 p.

17. A.l.s. from Émile Zola to Damase Jouaust (1834-1893), Médan, 1 January 1883, 2 p.
    Zola tells Jouaust that he can come to Médan any day he likes, but requests that he come in the afternoon, since Zola needs his mornings to finish the novel he is currently working on (Au bonheur des dames). Jouaust was negotiating with Zola for the publication of a deluxe edition of one of Zola’s earlier novels, Une page d’amour, which appeared in December 1884 in a two-volume set with ten drawings by Edouard Dantan, engraved by A. Duvivier, and was preceded by a foreword by Zola.
    Published in Correspondance, vol. IV, p. 365 (letter 289).

A.l.s. from Émile Zola to Damase Jouaust (1834-1893), Médan, 18 December 1884, 2 p.
Zola thanks Jouaust for his lovely edition of Une page d’amour (see letter 12 in this inventory) and compliments the artists on their fine work. Asks Jouaust not to send him any more copies of the work and asks him about the payment of 5,000 francs which is due him for having given Jouaust permission to reproduce the work. They will straighten this out when Zola gets back to Paris in January.
On the deluxe illustrated edition of Une page d’amour, see the notes to letter 12.
Published in Correspondance, vol. V, page 207 (letter 145).

11. A,l.s. from Émile Zola to Edmond Duranty (1833-1880), [Paris, 30 July 1875], 1 p.
    Zola thanks Duranty, a prominent journalist and novelist, for lending him a book, and apologizes for not returning it in person. He is pressed, however, since he and his wife are leaving for their holiday in the seaside town of Saint-Aubin.
    Published in Correspondance, vol. II, p. 402 (letter 224).

13. A.l.s. from Émile Zola to Ernest Hamm (1852-?), Médan, 15 December 1878, 1 p.
    Zola writes to Ernest Hamm, a journalist with the Progrès de la Charente-Inférieure, to thank him for his article on Zola’s Théâtre, a collection of the texts of Zola’s plays Bouton de rose, Thérèse Raquin and Les Héritiers Rabourdin, which had appeared in September 1878. Zola apologizes to Hamm for not being able to send him copies of his novels, since he is not in Paris, but suggests that Hamm contact Zola’s editor (Georges Charpentier), who is in charge of distributing Zola’s novels to members of the press.
    Published in Correspondance, vol. X, p. 465 (letter S43).

36. A.l.s. from Émile Zola to Gaston Calmette (1858-1914), Paris, 2 January 1896, 1 p.
    Zola tells Calmette that he was sure that Calmette had not read the article, since Zola knows that Calmette holds him in high esteem. Although he is normally very tolerant, Zola continues, he felt that he had to protest against the article. Tells Calmette that M. Saint-Albin can come to see him any evening except Wednesday, at 6:00 p.m.
    Zola is referring to an article which had appeared in Le Figaro on 1 January 1896 under the signature of Jules Delafosse. In his article, Delafosse lamented the sorry state into which France had fallen, and criticized Zola for reveling in his country’s decadence and describing it in his novels. Calmette had assured Zola that neither he nor his co-director at Le Figaro, Fernand de Rodays, had read the article beforehand: otherwise, the section of the article criticizing Zola would have been removed.
    Published in Correspondance, vol. VIII, page 297-298 (letter 282).

37. A.l.s. from Émile Zola to Jules Claretie (1840-1913), Paris, 6 May 1896, 2 p.
    Zola tried to see Claretie at the Comédie-Française before leaving for the country, but was unsuccessful. Thanks Claretie for his unfailing support in his candidacy for the Académie française.
    On Claretie’s support for Zola’s candidacy for the Académie française, see letter 33.
    Published in Correspondance, vol. VIII, page 317-318 (letter 310).

35. A.l.s. from Émile Zola to Jules Claretie (1840-1913), Paris, 7 December 1895, 1 p.
    Zola writes to Claretie, one of his supporters, about Zola’s candidacy at the Académie française. He thanks Claretie for his letter, but fears that he is less optimistic than Claretie about his chances for success in the upcoming election.
    In all, Zola stood for election to the Académie française 19 times (from 1890 to 1898), but was never successful.
    Jules Claretie (see also letter 4) was by this time a prominent theatre critic with Le Figaro and Le Temps, among other newspapers, and was also chief administrator of the Comédie-Française. He himself had been a member of the Académie française since 1888.
    Published in Correspondance, vol. VIII, page 281 (letter 267).

9. A.l.s. from Émile Zola to Jules Claretie (1840-1913), Paris, 7 October 1868, 1 p.
   An extremely interesting confidential letter, in which Zola, at the time a young writer for La Tribune, writes to Claretie who, he has learned, has just been hired by the same newspaper. Zola requests that Claretie, who was already writing for a number of newspapers, not submit articles of the same sort which Zola was writing (his “chroniques”), since Zola’s work at the Tribune represented for him, at the time, “the only sure work that I have at the moment”. Published in Correspondance, vol. II, p. 158-159 (letter 36).

14. A.l.s. from Émile Zola to Louis Boussès de Fourcaud (1851-1914), Paris, 18 April 1879, 1 p.
    A brief letter, in which Zola thanks Fourcaud for his article and for having “clearly indicated” Zola’s role in the definition of the naturalist ethic. Zola refers to an article published in Le Gaulois the same day.
    In his article, Fourcaud attacked Zola’s detractors and reiterated Zola’s explanation that he was not in fact the inventor of “naturalism”, but that, as he had stated a few weeks later in his “Lettre à la jeunesse”, he was simply an observer and a documenter of his times.
    Published in Correspondance, vol. III, p. 314 (letter 209).

33. A.l.s. from Émile Zola to Louis Gallet (1835-1898), Paris, 1 November 1892, 2 p.
    Zola wants to have Charpentier print about ten copies of L’Attaque du Moulin in order to facilitate the rehearsals. Zola hopes Gallet will not mind if he takes the manuscript to Charpentier, and he promises the check the proofs. Suggests that the financial arrangements for the play be the same as they were for Le Rêve. Carvalho’s rehearsal is on November 13th at Choudens’ office.
    On Louis Gallet, see the notes to letter 26. On L’Attaque du moulin, see the notes to letter 30. Léon Carvalho was the “metteur en scène” of the opera, while Paul Choudens was a prominent music publisher.
    Published in Correspondance, vol. VII, page 333 (letter 326).

28. A.l.s. from Émile Zola to Louis Gallet (1835-1898), Paris, 16 February, 1891, 2 p.
    Zola asks his friend and collaborator, who was, at the time, director of the Lariboisière Hospital in Paris, if he could intervene on behalf of his cook, Zélie Cavillier, who had fallen ill and who wanted to be treated at the Lariboisière Hospital. Zola says that he will send her husband, Henri, who was Zola’s “valet de chambre”, for the details regarding admittance, and thanks Gallet in advance for his help.
    Louis Gallet, a long-time hospital administrator, was also a prolific music critic and librettist. He collaborated with Zola and Alfred Bruneau on the adaptation of Zola’s novel, Le Rêve (1888), and on his lyric opera, Messidor (1897).
    Published in Correspondance, vol. VII, page 121 (letter 60).

34. A.l.s. from Émile Zola to Louis Gallet (1835-1898), Médan, 20 September 1894, 2 p.
    Zola wants to let Gallet know that he has just finished writing the libretto of a lyric opera [Messidor] with the musician Alfred Bruneau, before Gallet reads the news in the papers. Zola explains that since the work is in prose, not poetry, he did not call upon Gallet for his collaboration. He knows that Gallet will be delighted for his friend Bruneau and asks him to keep the news secret until it appears in the newspapers. Zola will be back in Paris on October 8, and will leave for Rome at the beginning of November. Invites Gallet to come for a visit before he leaves for Italy.
    Zola composed the libretto for the lyric opera in March-April 1894, but the work was not performed until 1897, when it premiered at the Opéra (Palais Garnier) on 19 February. The libretto was published by Choudens in 1897 and, in 1921, in Fasquelle’s edition of Zola’s Poèmes lyriques.
    Published in Correspondance, vol. VIII, page 162-163 (letter 121).

32. A.l.s. from Émile Zola to Louis Gallet (1835-1898), Paris, 18 August, 1892, 1 p.
    Zola informs Gallet that he is on the point of leaving Paris for a six week trip, but that he would nonetheless like to see the fourth act [of L’Attaque du moulin] as soon as possible. He requests that Gallet send it to Médan, by registered mail, since Zola has left instructions at Médan for the forwarding of the document. On Louis Gallet, see the notes to letter 26. Zola was, at that time, leaving for Lourdes, where he was beginning to gather his documentation for Lourdes, the first novel in the series which immediately followed the Rougon-Macquart series, Les Trois Villes. Lourdes appeared in 1894.
    The lyric opera, L’Attaque du moulin, was a collaborative effort by Zola and Louis Gallet (libretto) and Alfred Bruneau (score). The first performance took place at the Opéra-Comique in Paris on 23 November 1892.
    Published in Correspondance, vol. VII, page 315 (letter 302).

38. A.l.s. from Émile Zola to Louis Gallet (1835-1898), Médan, 10 May 1896, 1 p.
    Zola invites Gallet to come and have lunch at Médan one day in June. He will send his carriage for him to the train station. A Sunday would be best.
    On Louis Gallet, see letter 26.
    Published in Correspondance, vol. VIII, page 320 (letter 314).

20. A.l.s. from Émile Zola to Marius Roux (1838-1905), Médan, 23 juin 1887, 1 p. Zola apologizes for postponing the visit of the Roux family, since he did not know that Roux’s wife and daughter were leaving on holiday. He proposes that they re-schedule their visit for August and wishes them a pleasant holiday.
    Marius Roux was a long-time friend of Zola who had collaborated on Zola’s only (and ultimately unsuccessful) venture into newspaper publishing in 1870, when he and Roux founded the short-lived La Marseillaise. Marius Roux was a novelist himself, as well as a journalist, working for Le Rappel, L’Événement illustré and Le Petit Journal, among other papers.
    Published in Correspondance, vol. VI, page 153 (letter 103).

12. A.l.s. from Émile Zola to Numa Coste (1843-1904), Paris, 13 January 1876, 2 p.
    Note that the bottom half of the second page [no text here] is missing.
    Numa Coste, an old friend of Zola’s, was a journalist and art critic. He was one of a group of friends (including Coste, Paul Bourget, Paul Alexis, Anthony Valabrègue, and Émile Solari) with whom Zola met on a monthly basis, beginning in 1874, for a dinner which they had baptized the “dîner du ‘Boeuf nature’”. In this letter, Zola tells Coste that he has a bad cold and will not be able to come to the dinner. Zola suggests that Coste try to re-schedule the dinner or, if he cannot, that he not reserve a seat for him.
    Published in Correspondance, vol. II, p. 434 (letter 247).

39. A.l.s. from Émile Zola to Paul Ménard-Dorian (1845-1937), Paris, 11 January 1900, 3 p.
    Zola apologizes that he is obliged to change the date for his visit to Unieux. He has to see Galliffet on Saturday, and his lawsuit with Ernest Judet will be heard on the 24th. Suggests several alternative dates for his visit.
    Zola was to see Gaston Galliffet, the defense minister, regarding the lawsuit which Zola had launched against the journalist Ernest Judet, who had slandered Zola’s father in an article published in the press.
    On Paul Ménard-Dorian and his factory at Unieux, see letter 23.
    Published in Correspondance, vol. X, page 122-123 (letter 63).

27. A.l.s. from Émile Zola to René d’Hubert (1855-1927), Paris, 30 January 1891, 1p.
    Zola is going to spend a few days in Médan, so he asks d’Hubert to stop sending him the proofs of L’Argent (the 18th novel in the 20-volume Rougon-Macquart series), which was appearing in serialized form in the Gil Blas, of which d’Hubert was, at the time, the director. Zola adds that he is sending along a note (not included), in which he indicates the point in the text where he wishes each installment to end, an interesting indication of the interest and care which Zola took in the newspaper publications of his novels.
    René d’Hubert began as the director of the Gil Blas, a major Paris daily, in 1886, and remained there until 1891. Zola’s novel appeared in the Gil Blas from 29 November 1890 to 3 March 1891.
    Published in Correspondance, vol. VII, page 118 (letter 56).

15. A.l.s. from Émile Zola to an unknown correspondent, Médan, 1 December 1881, 1 p.
    Note : This letter is written on black-bordered paper. Zola’s mother had died on 17 October, 1880.
    Zola authorizes his correspondent to translate his play, Les Héritiers Rabourdin, and to perform it in Germany, as long as his correspondent shares with him the proceeds of the performances.
    Les Héritiers Rabourdin is a three-act comedy written by Zola in 1873-1874. It was performed at the Théâtre Cluny in Paris from the 3rd to the 20th of November 1874, but met with little success.
    Published in Correspondance, vol. IV, p. 241-242 (letter 175-A).

21. A.l.s. from Émile Zola to an unknown correspondent, Médan, 26 August 1887, 1 p. Zola regrets that he is bound by contract and cannot give his correspondent a volume of short stories.
    This may be in regard to a re-edition of some of Zola’s many short stories. Zola was bound by his contracts with Charpentier and with Flammarion (for the illustrated editions). It may also be in regard to the translation of his short stories. Here too, Zola had established contracts with a number of publishing houses throughout Europe, giving them the rights to the publication of his translations.
    Published in Correspondance, vol. VI, page 173-174 (letter 125).