Critics have long noted Hugo’s tendency toward digression—entire chapters on the Battle of Waterloo, Parisian slang, or convent cloisters. Yet these are not flaws; they are features. Hugo believed that to tell the story of the individual, you must first map the society that crushes or cradles him. The digressions are the architecture of suffering, the historical scaffolding that explains why a man becomes a convict and a woman becomes a prostitute.
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