I thought readers of this blog might enjoy an excerpt from the beginning of Emile Zola's novel Nana, which I read recently and alluded to in a previous post.

At nine o'clock in the evening the body of the house at the Theatres des Varietes was still all but empty. A few individuals, it is true, were sitting quietly waiting in the balcony and stalls, but these were lost, as it were, among the ranges of seats whose coverings of cardinal velvet loomed in the subdued light of the dimly burning luster. A shadow enveloped the great red splash of the curtain, and not a sound came from the stage, the unlit footlights, the scattered desks of the orchestra. It was only high overhead in the third gallery, round the domed ceiling where nude females and children flew in heavens which had turned green in the gaslight, that calls and laughter were audible above a continuous hubbub of voices, and heads in women's and workmen's caps were ranged, row above row, under the wide-vaulted bays with their giltsurrounding adornments. Every few seconds an attendant would make her appearance, bustling along with tickets in her hand and piloting in front of her a gentleman and a lady, who took their seats, he in his evening dress, she sitting slim and undulant beside him while her eyes wandered slowly round the house.

And then there's this: A review of The Blackout, a vampire film which stars Dennis Hopper and Matthew Modine and apparently involves a remake of the movie adaptation of Nana as part of the plot. I've added it to my Netflix queue and will post an update once I've seen the film.

Image: Édouard Manet's Nana