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The Queen's Necklace by Maurice LeBlanc

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The Queen's Necklace by Maurice LeBlanc is an interesting little story from the collection The Extraordinary Adventures of Arsene Lupin, Gentlemen-Burglar, published in 1907. The story revolves around the diamond necklace which, in this fictional tale, survives in the form of its original mounting and many of its original diamonds.

This quaint little burglary tale can be read for free here.


October 16th, 1793: The death of Marie Antoinette

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A compilation of excerpts from historical fiction novels, all dealing with the death of Marie Antoinette.

The Knight of Maison-Rouge by Alexandre Dumas (trans. by Julie Rose)
Marie Antoinette felt that infamous hand flutter at her neck; she made a sudden movement and stepped on Sanson's foot as he was busy, unbeknownst to her, tying her to the deadly frame. Sanson pulled his foot away.
 "Pardon me, monsieur," said the Queen. "I didn't do it on purpose."
Those were the last words uttered by the Daughter of the Caesers, the Queen of France, the widow of Louis XVI. The quarter hour after midday rang out from the clock at the Tuileries. And at that very moment Marie Antoinette fell into eternity.
Marie Antoinette by F.W. Kenyon:
She had the strangest feeling that all this had happened before. She grew more convinced of it as the executioner tied her hands and clipped off her hair, as she drove through the crowded streets, as she reached the Place de la Revolution. She knew she had heart the laughter before, the gay light-hearted laughter of a young girl dressed in white, a girl with red-gold hair, a pretty face with a promise of beauty in it, and so much haughtiness. She searched the scaffold. Surely such a girl had been dancing there. A delusion, n more. But she could see Louis, his cheeks tear-stained, his lips mouthing the words, Faith in God, lift up your eyes to heaven. And Axel too, waving at the end of a corridor.
Hands reached out roughly. She found herself lying face down on a plank. She heard the voice of the preist whose services she had refused.
 "Courage, courage..."
"Courage" she echoed indignantly. "I need it no longer. Have courage yourself. It is life that calls for courage, not death." 
Versailles: a novel by Kathryn Davis
 Antoinette. Antoinette.
He cut my hair, I stepped on his foot.
When you look up, clouds; when you look down, the same. Blue sky and clouds, suddenly, water. Suddenly against the blue sky a spray of jewels.
Pardon, monsieur, I said. I did not mean to do it.
 Abundance, Sena Jeter Naslund:
I kneel in order to lie upon their board, and they help my body to lie straight. So lay my noble husband nine months ago; I but follow. … The sled slides forward—the basket—no need to hold on—I open my hands resting on the small of my back—the basket—I had friends, loving friends (I am not afraid)

Wales and the French Revolution 2012 and 2013 releases

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If you've been following the new and upcoming releases about the French Revolution, then you may have noticed an abundance of titles from the University of Wales Press! Although I haven't had the time to read any of these titles yet, they definitely look interesting.

Footsteps of Liberty and Revolt: Essays on Wales and the French Revolutionby Mary-Ann Constantine and Dafydd Johnston [June 15, 2013]

All of Europe was swept up in the events of the French Revolution and the radical restructuring of society that occurred in its aftermath. This collection of essays by leading academics explores how Welsh clerics, diplomats, singers, poets, journalists, and soldiers—many of whom traveled to Paris to witness the conflict firsthand—responded to the Revolution.

Edward Pugh of Ruthin 1763-1813: "A Native Artist" by John Barrell [May 15, 2013]

Edward Pugh of Ruthin 1763–1813 is the first book to consider the work of this nearly forgotten Welsh artist and writer in detail, linking the history of art in Wales with the social history of the country. John Barrell shows how Pugh’s pictures and writings portray rural life and social change in Wales during his lifetime, from the effects of the war with France on industry and poverty, to the need to develop and modernize the Welsh economy, to the power of the landowners. Almost all of the pictures and accounts we have today of late eighteenth and early nineteenth century North Wales were made by English artists and writers, and none of these, as Barrell demonstrates, can tell us about life in North Wales with the same depth and authenticity as does Pugh.

English-Language Poetry from Wales, 1789-1806 by Elizabeth Edwards [April 15, 2013]

This anthology presents a selection of poetry from Wales written in English in the years following the French Revolution of 1789. Arranged chronologically, it brings together a wide selection of little-known texts, some of which are published here for the first time. A comprehensive introduction sets the poems in their cultural and historical contexts, while detailed endnotes give concise biographies of the writers—where known—and explain specific references within the texts.

The Fantastic and European Gothic: History, Literature and the French Revolution by Matthew Gibson [April 15, 2013]

This fascinating study examines the rise of fantastic and frénétique literature in Europe during the nineteenth century, introducing readers to lesser-known writers like Paul Féval and Charles Nodier, whose vampires, ghouls, and doppelgängers were every bit as convincing as those of the more famous Bram Stoker and Ann Radcliffe, but whose political motivations were far more serious. Matthew Gibson demonstrates how these writers used the conventions of the Gothic to attack both the French Revolution and the rise of materialism and positivism during the Enlightenment. At the same time, Gibson challenges current understandings of the fantastic and the literature of terror as promulgated by critics like Tzvetan Todorov, David Punter, and Fred Botting.

Welsh Poetry of the French Revolution, 1789-1805 by Cathryn A. Charnell-White [February 15, 2013]

This anthology presents a selection of poems written by Welsh writers living in Wales and London in response to the French Revolution. Edited and translated from Welsh into English for the first time, these poems artfully capture this period of unprecedented change and upheaval, challenging what it meant to be Welsh, British, and patriotic amid shifting views on religious affiliation. Accompanying the English poems are the Welsh originals as well as explanatory notes and an introductory essay that provide context.

Travels in Revolutionary France and A Journey Across America by George Cadogan Morgan and Richard Price Morgan [January 15, 2013]

In July 1789, Welsh-born George Cadogan Morgan, the nephew of the celebrated radical dissenter Richard Price, found himself in France at the outbreak of the French Revolution. In 1808, his family left Britain for America, where his son, Richard Price Morgan, traveled extensively, made a descent of the Ohio and Mississippi Rivers by raft, and helped build some of the early American railroads. The adventures of both men are related here via letters George sent home to his family from France and through the autobiography written by his son in America.


Welsh Responses to the French Revolution: Press and Public Discourse, 1789-1802 by Marion Loffler [July 15, 2012]
The French Revolution inflamed public opinion in Wales just as it did throughout the world. Welsh Responses to the French Revolution delves into the mass of periodical and serial literature published in Wales between 1789 and 1802 to reveal the range of radical, loyalist, and patriotic Welsh responses to the Revolution and the Revolutionary Wars. This anthology presents an English-language selection of poetry and prose published in the annual Welsh almanacs, the English provincial newspapers published close to Wales’s border, and the three radical Welsh periodicals of the mid-1790s, all alongside the original Welsh texts. An insightful introduction gives much-needed context to the selections by sketching out the printing culture of Wales, analyzing its public discourse, and interpreting the Welsh voices in their British political context.

Welsh Ballads of the French Revolution: 1793-1815 by Ffion Mair Jones [April 15, 2012]

Welsh Ballads of the French Revolution is a collection of ballads composed in reaction to the momentous events of the French Revolution and the two decades of war that followed. Ballad writers first responded in 1793, when the French monarchs were executed and France declared war upon Britain, but as the decade proceeded, sang in thanks for the victory of British forces and to the extensive mobilization of militia and volunteer forces. This volume, complete with parallel English translations of the original Welsh texts and copious contextualizing notes, introduces readers to this telling corpus for the first time and to a host of little-known authors.

Book Covers: Farewell, My Queen/Les adieux a la reine by Chantal Thomas

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 Just a few covers for Chantal Thomas' novel Farewell, My Queen/Les Adieux a la reine. Personally, I prefer the second cover, sans the "NOW A MAJOR MOTION PICTURE" notice.

Featured Book: A Companion to the French Revolution edited by Peter McPhee

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I am receiving a review copy of A Companion to the French Revolution within the next month and I thought it would be a nice preface to feature the book before reading and reviewing it. I'm always in search of new scholarship on the Revolution, especially broader works like these which compile efforts by multiple authors. I am particularly excited for Sarah Maza, Laura Mason, and Thomas E. Kaiser's contributions because I enjoyed their works in Marie Antoinette: Writings on the Bodies of a Queen.

From the back cover, as provided by Amazon.com:
The French Revolution is one of the great turning-points in modern history. Never before had the people of a large and populous country sought to remake their society on the basis of the principles of popular sovereignty and civic equality. The drama, success, and tragedy of their endeavor, and of the attempts to arrest or reverse it, have attracted scholarly debate for more than two centuries.

Why did the Revolution erupt in 1789? Why did it prove so difficult to stabilize the new regime? What factors caused the Revolution to take its particular course? And what were the consequences, domestic and international, of a decade of revolutionary change? Featuring contributions from an international cast of acclaimed historians, A Companion to the French Revolution addresses these and other critical questions as it points the way to future scholarship.

The Voltaire Foundation and a new, enhanced digital version of Candide

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In the best of all possible worlds, more publishing houses would look to the example of the Orange, the Bibliothèque nationale de France and the Voltaire Foundation with their new, digitally enhanced version of Voltaire's Candide.

This new digital version may be better named an "experience" rather than simple digital book. A new critical version of the text is accompanied by the original, handwritten manuscript written by Voltaire--provided by the BnF--which can be read alongside the text or accessed with a tap of the finger. An additional enhanced reading mode, again accessed with just the tap of your finger, features definitions, variations of the critical edition's text, and a wealth of other media such as character sheets and concepts and contemporary engravings from 18th century publications of Candide. But there is even more to this new Candide experience: A world map easily allows the reader to keep track of Candide's journey and provides ample exploration of the themes and issues in Voltaire's work, such as the role of women in the 18th century and the concept of cultivating one's own garden.

The critical digitally enhanced edition of Voltaire's Candide is currently available as a free iPad application, which can be downloaded here. A video demonstration of the app can be viewed on Youtube.

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I apologize for a lack of updates on this blog (and my others) over the past few weeks! The holiday season has been taking its toll and my energy for regular blogging has been particularly sapped; however I hope to return to regular weekly posting in a few days and there are a few surprises in store! :)

Something new?

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(I apologize for the lack of updates this month; a family emergency has kept me from traditional blogging! I hope to resume my regular schedule next week with a new book review!)

I routinely check Amazon.com and other book publishers for signs of something 'new' in the Marie Antoinette book field. In particular, I've been on the lookout for updates in the final book in Juliet Grey's Marie Antoinette trilogy, which is estimated to release in the fall of 2013. There is something new on Juliet Grey's author page, titled "Confessions of Marie Antoinette: A Novel," set for publication in September. There's no summary as of yet, but I would imagine it is either a) the final book in the trilogy with a new name (the tentative title given at the end of the second book is The Last October Sky) or a possible rebranding of Becoming Marie Antoinette.What do you think?

Marie Antoinette, Serial Killer by Katie Alender

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Pride and Prejudice and Zombies, Jane Slayre, Abraham Lincoln, Vampire Hunter... the recent trend of "monster-fying" classic historical novels and even historical figures has been riding steady for some time now, so it was only a matter of time before someone finally struck the ever-popular figure of Marie Antoinette. In truth, I'm surprised it hasn't happened until now! This time, the queen is not a zombie hunter or a member of the undead, but a ghostly figure who may or may not be behind a series of murders in 21st century Paris.

Marie Antoinette, Serial Killer,from the blog of Katie Alender, the author: 
Colette Iselin is excited to go to Paris on a class trip. She’ll get to soak up the beauty and culture, and maybe even learn something about her family’s French roots.

But a series of gruesome murders are taking place across the city, putting everyone on edge. And as she tours museums and palaces, Colette keeps seeing a strange vision: a pale woman in a ball gown and powdered wig, who looks suspiciously like Marie Antoinette.

Colette knows her popular, status-obsessed friends won’t believe her, so she seeks out the help of a charming French boy. Together, they uncover a shocking secret involving a dark, hidden history. When Colette realizes she herself may hold the key to the mystery, her own life is suddenly in danger . . . Acclaimed author Katie Alender brings heart-stopping suspense to this story of revenge, betrayal, intrigue — and one killer queen.
Marie Antoinette, Serial Killer by Katie Alender is set for release in October 2013.

Upcoming Marie Antoinette and French Revolution releases for 2013

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Upcoming/New Releases in Fiction

Welsh Poetry of the French Revolution, 1789-1805  by Cathryn A. Charnell-White (February 15th, 2013)

The Queen's Necklace by Antal Szerb (June 11th, 2013)

Confessions of Marie Antoinette: A Novel by Juliet Grey (Sep 24th, 2013)

Marie Antoinette, Serial Killer by Katie Alender (October 2013)

Upcoming/New Releases in Non-Fiction

The Sentimental Theater of the French Revolution: Performing Virtue by Cecilia Feilla (March 28th, 2013)

Paris Reborn: Napoléon III, Baron Haussmann, and the Quest to Build a Modern City by Stephane Kirkland (April 2nd, 2013)

The Fantastic and European Gothic: History, Literature and the French Revolution by Matthew Gibson (April 15th, 2013)

The French Revolution in Global Perspective by Suzanne Desan, Lynn Hunt and William Max Nelson (April 16th, 2013)

Family Romance of the French Revolution by Lynn Hunt (May 24th, 2013)

Louis XVI and the French Revolution by Alison Johnson (May 31st, 2013)

Footsteps of Liberty and Revolt: Essays on Wales and the French Revolution by Mary-Ann Constantine and Dafydd Johnston (June 15th 2013)

Writing the Revolution: A French Woman's History in Letters by Lindsay A. H. Parker (July 2nd, 2013)

Massacre at the Champ de Mars: Popular Dissent and Political Culture in the French Revolution by David Andress (July 18th, 2013)

From Marie Antoinette's Garden: AN Eighteenth Century Horticultural Album by Elisabeth de Feydeau (Sep 3rd, 2013)

The French Revolution: Faith, Desire and Politics by Noah Shusterman (October 13th, 2013)

Review: A Companion to the French Revolution edited by Peter McPhee

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[A review copy of this publication was provided to me by the publisher upon my request.]



The French Revolution of 1789 was one of the greatest turning points in modern history. The events of 1789 marked the beginning of years of tremendous change that not only resulted in the destruction of the ancien regime of France but in unprecedented changes throughout Europe and even, as many argue, the rest of the world. It comes as no surprise that there have been thousands of publications dedicated to studying, analyzing, dissecting, debating and exploring the French Revolution. Even now, over 200 years later, the world is fascinated by the Revolution--there are still novels, films, plays and, of course, non-fiction book inspired by the Revolution, its turn of events, and its aftermath. As Peter McPhee writes introduction to Wiley-Blackwell's ACompanion to the French Revolution: "The consequences of the events of 1789 were so complex and significant that reflection and debate on their origins and course show no signs of concluding. The Revolution continues to fascinate, perplex, and inspire." Indeed it does. A Companion to the French Revolution, edited by Peter McPhee, is an excellent example of the continued fascination with the French Revolution and its ability to still inspire new analysis and debate.

The twenty-nine contributions in this collection arguably lead to one compelling question: Where is scholarship on the French Revolution headed? In The Revolution in History, Commemoration, and Memory, Pascal Dupuy examines the evolving historiography of the Revolution, how the Revolution was celebrated and eventually commemorated, and how—and when—the memory of the Revolution has most influenced the public sphere. Of particular interest is Dupuy's examination of how films put forth "a personal view of Revolutionary events," while at the same time carried "... the imprint of the historical and political context of the times in which they were made." These films, a reflection of both the Revolution as seen in the public sphere and the importance of the Revolution to a political situation, can--and should--be viewed within the context of their times. The 1921 film Orphans of the Storm by D.W. Griffith, for example, should be viewed as a reaction to the Russian Revolution of 1917; Jean Renoir's La Marseillaise (1938) was written while the threat of war with Nazi Germany had risen to dramatic heights; Andrzej Wajda's Danton, released in 1983, was a reaction to the disintegration of socialism in 1980s Poland. The almost 300 films about the Revolution created since 1897 were then influenced not only by the Revolution but by the political context in which they were written. But does such a context exist today? Although Dupuy acknowledges that politicians still readily call up the image of the Revolution, he believes that the memory of the Revolution "... is less important than in 1848 or at the start of the Third Republic or even in the 1980s. ... it survives, as it did in the nineteenth century, as an object of either admiration or rejection ... it continues [to allow people] through quotation or metaphor, to stigmatize and thus highlight tenaciously held public opinion of the right or left." Regardless if one agrees that there is little or no contextual importance to be found in the French Revolution today, scholarship, studies and new publications continue on. 

Modern scholarship on the Revolution, "less agitated [than previous historiography] but still vibrant," tends to focus on narrower subjects rather than on grand histories of the revolution, as this collection shows. The twenty-nine well-researched studies found in A Companion to the FrenchRevolution include refined contributions such as two looks at the origins of the Revolution, a study on the emotional role of Louis XVI as a father figure in 1789, a well-rounded look at the international repercussions of the Revolution—and more. Each contribution to this exceptional compilation helpspave the way for new modern scholarship which brings the Revolution “a little closer and more familiar to us every day[.]” Highly recommended for anyone with an interest in the Revolution, but especially an interest in modern scholarship.

Upcoming Release: Marie Antoinette’s Head: The Royal Hairdresser, The Queen, and the Revolution by Will Bashor

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Marie Antoinette’s Head: The Royal Hairdresser, The Queen, and the Revolution by Will Bashor

Release Date: October 2013

Amazon.com description:

Marie Antoinette has remained atop the popular cultural landscape for centuries for the daring in style and fashion that she brought to 18th century France. For the better part of the queen’s reign, one man was entrusted with the sole responsibility of ensuring that her coiffure was at its most ostentatious best. Who was this minister of fashion who wielded such tremendous influence over the queen’s affairs? Marie Antoinette’s Head: The Royal Hairdresser, The Queen, and the Revolution charts the rise of Leonard Autie from humble origins as a country barber in the south of France to the inventor of the Pouf and premier hairdresser to Queen Marie-Antoinette.

By unearthing a variety of sources from the 18th and 19th centuries, including memoirs (including Léonard’s own), court documents, and archived periodicals the author, French History professor and expert Will Bashor, tells Autie’s mostly unknown story. Bashor chronicles Leonard’s story, the role he played in the life of his most famous client, and the chaotic and history-making world in which he rose to prominence. Besides his proximity to the queen, Leonard also had a most fascinating life filled with sex (he was the only man in a female dominated court), seduction, intrigue, espionage, theft, exile, treason, and possibly, execution. The French press reported that Léonard was convicted of treason and executed in Paris in 1793. However, it was also recorded that Léonard, after receiving a pension from the new King Louis XVIII, died in Paris in March 1820. Granted, Leonard was known as the magician of Marie-Antoinette’s court, but how was it possible that he managed to die twice?

The cover for Confessions of Marie Antoinette by Juliet Grey

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The cover for the upcoming Confessions of Marie Antoinette (formerly The Last October Sky) by Juliet Grey has been released. It's a lovely cover! I am wondering why there seems to be a change in how this last book in the trilogy has been marketed, though. The new title doesn't seem to fit in with the trilogy and the style of the book cover is radically different than the first two.

An excerpt of the third book, which is set to be released in September of this year, can be read at becomingmarie.com.




Cover for Marie Antoinette’s Head: The Royal Hairdresser, The Queen, and the Revolution by Will Bashor

Eleanor Hibbert on writing Marie Antoinette

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Author Eleanor Hibbert (who wrote under the pseudonymous Jean Plaidy and Victoria Holt, to name just two) on researching and writing Marie Antoinette:
Few people maintain an attitude of impartiality towards Marie Antoinette. At the time of her death she was compared with Messalina and Agrippina. Later, on the return of the monarchy, she became the ‘martyred Queen,’ and was spoken of almost as a saint. Neither extreme is, of course, the true picture.
… at first it seemed to me that there emerged from my research a not very intelligent woman, concerned chiefly with glorifying her own dainty charms in which she delighted, careless, light-hearted, pleasure-loving… yet generous and good-hearted—a very ordinary human being.
But the fascination of Marie Antoinette is the sudden emergence of the brave and noble woman who took the place of the frivolous one almost overnight. It is difficult to believe that the butterfly of the Trianon is the same woman who endured so stoically her sufferings in the Temple and Conciergerie…
It has been an absorbing pleasure to try to understand this woman of dual personality[.]


Musings about Marie Antoinette in Fiction

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(I originally posted these musings over on my Tumblr blog, but I thought it would be nice to edit them up a bit and share them here as well.)

I’ve been talking with someone via email about Marie Antoinette in fiction lately and decided to share some of what has come of the discussion. The topic is something I’ve been more or less working on for about 2 years now… one of these days something fruitful will come of it. This is just some musings and ramblings, nothing polished or heavily detailed, but I hope someone will find it interesting. I’m primarily talking about fiction where Marie Antoinette is the protagonist or one of the primary protagonists.

Marie Antoinette in fiction (*excluding contemporary pamphlets) can be loosely divided into a few eras: 

The brief era of post-execution works (late 18th century)

There are a few surviving works featuring Marie Antoinette as a major player in a fictional working of her life—and her death—which were published in the late 18th century, after her death. I almost hesitate at including them in my concept of Marie Antoinette in fiction at all because the usage of Marie Antoinette in them is very similar to how she was used in the court and revolutionary pamphlets rather than what we could conceive as “fiction” today. But in the end I can’t pass them up because of the interesting context in which they are found. In these 18th century post execution works, Marie Antoinette is little more than a political mouth piece for primarily British authors who, in writing Marie Antoinette as a character, are condemning both the French revolution and to an extent, Marie Antoinette herself. The revolt against the monarchy is of course heavily criticized but, interestingly enough, so is Marie Antoinette. There are a few instances where she, more or less, apologizes for stepping out of her role as a woman—for interesting herself in politics, for having opinions about ministers or the government or any of Louis’ affairs, and for not simply being a quiet, reserved, inconspicuous queen who has children and stays in her apartments. As a character, Marie Antoinette is almost entirely empty—a political caricature, not a character or a person. 

The 19th century romantic novels (mid 19th century - late 19th century)

In the 19th century, we see a dramatic shift from Marie Antoinette as an empty political mouthpiece to Marie Antoinette as a character, although one who is written at a distance. For the most part, Marie Antoinette in these novels (such as Dumas’‘Marie Antoinette’ series) is presented as a character… but a character to be seen, not understood. In a way, this 'version' of Marie Antoinette is like looking at a painting. We are presented with the image of the queen riding a sleigh with her companions or sitting in the cart on her way to the guillotine, but there is no sense of a true "who" in any of her actions. We are told about how she looks as she’s riding to her death—majestic and white and calm, like a Bourbon Restoration painting—but there is rarely any indication of what she is feeling or why. Here, the queen is distant character--but, at least, a character.

The “Zweigian” novels of the 30s - 60s

Zweig’s “Portrait of an Average Woman,” in my opinion, revolutionized Marie Antoinette in fiction—with help from its famous film adaptation by MGM. In these 20th century novels, Marie Antoinette is finally being used as a real character with feelings, dialogue, and a sense of personality and (usually) character growth. Most of the novels in this period follow the formula of turning Marie Antoinette from a shy, naive and prude Austrian archduchess to an outrageous party-goer (think of the the scenes we see of Norma Shearer’s 'Marie Antoinette' running wildly through an artist’s ball, kissing random men) until she is finally “tamed” by her meeting with Axel Fersen…  most novels include a passionate romantic affair with Fersen and is hardly much thought given to how it would have happened or much, if any, contemplation on how Louis XVI would have felt. Sometimes Louis knows and is “okay with it.” She matures after meeting Fersen and childbirth, goes through the revolution courageously, with the occasional emphasis on her political maneuverings though it is very common for the revolution itself to take up only a short last action of the book. She usually meets Fersen one last dramatic time before her death, and if her thoughts during her execution are portrayed, they’re usually retrospective (possibly a call back to the MGM film, although it’s a common literary device so that is likely just coincidence) and maybe even ironic--"Just think of it! I'll be queen! Queen of France!"

The modern novels

And… the modern novel. I’ll admit the modern novel is a many-faced creature. Some of the modern novels are similar to the novels of the 30s and 60s, although retold with the flair of a modern author—she’s a crazy party queen who is tamed by her one true love (The Bad Queen)—while others are more religious and stoic with their portrayal of Marie Antoinette (Trianon). And yet still others are more abstract, with a thinner portrayal of character and a heavier emphasis on prose or emotions or imprinted feelings inspired by her life (Versailles: a Novel). Some of them portray her as a near-saint or meddling coquette, while others portray her as… whatever The Hidden Diary of Marie Antoinette was going for.

Is there a trend that can be pinned down in the modern 'Marie Antoinette' novel? Possibly. I think the trend for modern novels is, if anything, to make a human character out of Marie Antoinette. There is more of an emphasis on her humanity, on giving her a personality that readers can emphatize with, rather than necessarily writing Marie Antoinette according to modern social conventions ("She was a woman who stepped out of her place!" in the 18th century, and "She was a partygoer married to a man-child who needed to be tamed by Fersen's masculinity!" in the mid 20th century)

In these 'human' modern novels, Marie Antoinette has feelings--she loves, she hates, she has faults, virtues, she has friends, enemies, pettiness, courage—



—and sometimes a puppy. In short, everything a character needs to be a truly “human” character. Even if they are the queen of France.

What Is Your Library Saying?

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I really loved this "library poetry" concept that has been going around a lot of book blogs recently, which I believed started over at In the Labyrinth. If you haven't heard of the "What Is Your Library Saying?" concept yet, what it boils down to is this: you use the book titles in your library to create a poem of sorts.

This is what I came up with:


Marie Antoinette,
Marie Antoinette.
The last time I saw Paris--
Revolution;
The fall of the blade.
The sparks fly upward.

What is your library saying? I'd love to see!

Reading Treasure: Now with more treasure!

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Reading Treasure is expanding!

I've been toying around with the idea of expanding the topic of this blog for a few months now, and have finally found the time and energy to actually implement my plan. I love posting about books but sometimes there are dry spells without any information about new releases or hardly enough time to create book posts worth sharing and I feel terrible about neglecting this place. So, I've decided to expand my blog to be more inclusive of other Marie Antoinette, French Revolution, 18th century France--and sometimes something more--topics. I'm hoping to eventually get this blog on a more regular posting schedule... maybe even daily! (A girl can dream, can't she?)

I hope you will enjoy the expanded Reading Treasure. In the next few weeks I will not only be posting about broader subjects, but making a few tweaks here and there (I like to think of it as summer cleaning!) to the blog itself. Thank you so much for reading!

Marie Antoinette in Advertising

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image: Galleries des modes, circa 1779. Bibliothèque nationale de France

In one sense, Marie Antoinette has been used in advertising since her ascendant as the pivotal star of Versailles--fashion plates and even dolls bearing her likeness were not just demonstrations of the sumptuousness of the crown's wealth or a record of the Queen's appearance, but a figurative, flashing "Buy Me!" sign to all of the fashionable ladies who could afford to aspire to their sovereign's wardrobe choices.

By the time of the queen's death in 1793, however, her status as a walking billboard for the pricey marchande de modes had long since ended. But her death has not stopped her--or her story--from being used in advertisements that market everything from Victorian-era medicines to chocolates and even highlighter pens.

Marie Antoinette, like many historical figures, featured heavily on many 19th and 20th century advertisement cards. These cards were usually either printed as postcards or trading cards--both a potential way to advertise their product to the masses.

Not surprisingly, Marie Antoinette is often found in advertisements for sweets, such as chocolates. The following advertisements are both selling Chocolat Poulain Orange, a chocolate drink mix made by one of the oldest chocolate brands in France, Chocolat Poulain.

 image credit (left, right) chromo history 

It may seem strange to the modern eye, but advertisements--even those for chocolate--were not limited to scenes of pleasure, such as the above card depicting a leisurely stroll at the Petit Trianon. It was fairly common for 19th century advertisements, such as this card advertising the 19th century chocolate brand,Chocolat Devinck, to utilize famous scenes from history for their postcards and other advertisement. This particular ad depicts Marie Antoinette uttering her famous speech at her trial: "If I have not replied it is because Nature itself refuses to answer such a charge laid against a mother. I appeal to all mothers that may be present!"

image credit: ebay.fr (defunct auction link)

Eno's Fruit Salts were one of the many products that cropped up in the 19th century which were intended as cure-alls to the 'depravity' of the modern condition of living. They are apparently still sold today. This particular advertisement, one of many of Eno's more dramatic approaches, compares revolution and war to the "outraged nature" of the modern life. The cure? Fruit salts, of course!

image credit: ebay

But not every advertisement utilizing Marie Antoinette was so serious--or dramatic. This simple advertising postcard for the shampoo and hair product company, Petrole Hahn, combines the luxury of Marie Antoinette with a soft, romantic illustration inspired by her Lebrun portrait with a rose. A similar card, this time using an illustration of the Princesse de Lamballe, was also released by the company. Who wouldn't want to buy Petrole Hanh, when they could have thick, curly locks like Marie Antoinette?

image credit: my collection

During the mid/early 20th century, Marie Antoinette's name became much more infamous to advertisers. It's during this time period that she seems to have become firmly attached in popular culture to that infamous saying, which of course she never said: "Let them eat cake." The phrase, and its many associations, have not surprisingly played a heavy factor in the usage of Marie Antoinette in advertisements since the mid/early 20th century.

This 1950s or 1960s North West advertisement has a clear message: if it's good enough for the "let them eat cake!" queen of luxury, it's definitely good enough for passengers looking for the maximum comfort in the skies.

image credit: ebay (defunct link)

This 1969 Coca-Cola ad was part of a series of tongue-in-cheek historical advertisements Coca-Cola released around the same time. Other figures in the series included Napoleon and Julius Caeser.

image credit: etsy

This late 1990s or early 2000s advertisement for the Motorola SkyTel pager uses uses the "cake" legend to present another tongue in cheek message: use the wrong pager, and you could lose your head!
 
 

image credit: revolution in fiction

I'll end with one of the most striking uses of Marie Antoinette in contemporary advertisements: a recent add for Stabilo Boss highlighters. I think the image speaks for itself--very effective.


 image credit: best ads on tv
 

The Countess of Warwick as Marie Antoinette at the Devonshire House Ball

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image: the Countess of Warwick as Marie Antoinette 
credit: ©National Portrait Gallery, London

The Devonshire House Costume Ball of 1897 was one of the most anticipated social events of 1897. For this elaborate event, the Duchess of Devonshire instructed her guests to dress in the theme of various courts--mythical and real life. And her guests wasted no time commissioning intricate, elaborate--and quite expensive--costumes from famous houses, such as the house of Worth in Paris.

To stress the importance of this magnificent affair, The London Photographic Firm of Lafayette was invited to take studio-style photographs of the guests in their costumes. Elaborate backdrops, which ran the gamut from a stylized version of the Devonshire Gardens to a Turkish setting with an antique carpet, were created especially for the event. Although some guests, not satisfied with the shots done by the studio at the event, would later return to the Firm for 'retakes.'

 
image: the Countess of Warwick as Marie Antoinette 
credit: ©V&A Lafayette Negative Archive 

The costumes chosen by the ball's guests ranged from mythical goddesses, figures from paintings, and historical kings and queens. Frances Evelyn (Daisy), the countess of Warwick, chose Marie Antoinette as her costume for his elegant and highly anticipated evening. The costume, made by Worth of Paris, was studded with real diamonds and used both gold and antique lace.

The Countess of Warwick's Marie Antoinette costume, as depicted in The Queen, July 10th, 1897
image credit: Russell Harris 
image: the Countess of Warwick as Marie Antoinette
credit: ©V&A Lafayette Negative Archive

Daisy's costume, as described by The Times July 3rd report of the event:

'... bodice and paniers of pink and gold flowered brocade and gold lace studded with silver sequins and diamonds, the square-cut neck trimmed with old lace, and chiffon sleeves divided into small puffs with gold lace sparkling with jewels; diamond rivieres were festooned across the front of the bodice. The petticoat was of white satin draped with chiffon scarves edged with gold and sequin lace. The regal train of turquoise velvet was lined with the same and embroidered all over at equal distances with raised gold fleur-de-lis, and fastened on each of the shoulders with gold cord'.

image: the Countess of Warwick as Marie Antoinette
credit: ©V&A Lafayette Negative Archive

Did you spot the photographer assistant's hand in the full-length photos?

image: the Countess of Warwick as Marie Antoinette
credit: ©V&A Lafayette Negative Archive 

Of course, the Countess of Warwick was not the only guest who chose a figure whom we can associate with Marie Antoinette. The Lafayette Archives have records of at least eight other guests who chose from among Marie Antoinette's friends, family, associates and predecessors as their costume for the night--but I'll leave those for another post!



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