Showing posts with label 18th century. Show all posts
Showing posts with label 18th century. Show all posts

31 March 2017

Herstory: Brittany and the Vendée – Secrets and Horrors of the French Revolution

By Laura Rahme


Drownings of Nantes in 1793, Joseph Aubert (1882)


“We must exterminate all men who have taken arms against the Republic 
and strike down their fathers, their wives, their sisters and their children. 
The Vendée must become a national cemetery.” 
      – General Turreau

The French Revolution is generally accepted as covering the period 1789 to 1799, ending with Napoleon’s coup d’état and the dissolution of the Directory. Prior to the formation of the Directory government, France was ruled by the National Convention, headed by Robespierre. This period, aptly known as the Terror, lasted from September 1793 to July 1794. 

For Western France, in the region of the Vendée, the Terror was accompanied by bloody and religious civil war, including a period of mass killings that some French historians have recently come to denounce as a genocide, and which led to the decimation of a third of the inhabitants in the Vendée. 

In the Western town of Nantes, the representative of the National Convention, Jean-Baptiste Carrier, was responsible for atrocities and massacres that defy imagination. 

In my latest novel, Julien’s Terror (July 2017), I was interested in portraying a female perspective for this turbulent period.






Origins of the Conflict


It is a misconception that aside from aristocrats and nobles, all French people were in favor of the beheading of their king and queen. 

The inhabitants of Brittany and of the newly named region of Vendée (comprising parts of Brittany, Poitou and Anjou regions) were never in favor of the guillotining of their king, Louis XVI, on 21 January 1793. They were staunch royalists and deeply Catholic. The execution of King Louis was not well received. 

To compound the people’s outrage, the new Republic had not only nationalized church property, but it also outlawed all priests who refused to forsake their oath on the Holy Bible.  According to these new laws, priests now had to swear upon the Constitution. Those who resisted were labelled ‘refractory’ and banished from preaching. There were persecutions involving both priests and nuns. In worst cases, such priests were hunted to death or murdered en masse, as happened in Nantes in December 1793, when hundreds of refractory priests were tied up, locked into a barge and drowned in the Loire River. 

Already unsettled, the Vendée peasants rose in arms against the Republic when in February 1793, the National Convention made a call for the conscription of 300000 unmarried men, from the age of 18 to 40 years. 

The people of the Vendée had already witnessed great injustices toward their beloved priests, whom they hid, but this new conscription law was the tipping point because it would have left thousands of peasants unable to fend for their families. Meanwhile they would be forced to enlist in support of a Republic they had come to see as tyrannical.

Determine to oppose the Republic, these men, often illiterate and attached to their land, elected nobles and landlords—local men whom they held in high esteem—to lead and train them in battle. The Great Vendéan Army was born. 

Initially this Great Army won many victories against the soldiers of the Republic but later from December 1793, its luck began to turn: from January to July 1794, Paris sent a giant army to sweep across the Vendée. Its orders were clear—annihilation with no quarters. 


The Infernal Columns


Children, women, the aged, even the sick and farm livestock were not spared from massacres. The Republican army practiced scorched-earth and sought to obey decrees from Paris aimed at starving or exterminating the population. 

The army possessed twenty columns, led by several Republican generals, some like those commanded by General Grignon, were crueller than others. These columns became known as the ‘infernal columns’ for the very hell they spawned. 



The living defend their dead. War of the Vendée. 
Georges Clairin, 19th century


The words pronounced by General François Joseph Westermann are powerful illustrations of the atrocities that followed: 

“There is no more Vendée. I have trampled the children to death with our horses, I have massacred the women, and they are no longer able to give birth to any brigands. I am not guilty of taking a single prisoner, I have exterminated them all… The roads are covered with corpses. There are so many of them at several places they form pyramids. The firing squads work incessantly… Brigands arrive who pretend that they will surrender as prisoners… but we are not taking any. One would be forced to feed them with the bread of liberty, but compassion is not a revolutionary virtue.” 


Her story


In Julien’s Terror, my desire was to convey what might have been the experience of a young girl in these violent times. The journey begins when she is a spoilt child, daughter a well-to-do merchant, living on the prestigious Île Feydeau in the middle of Nantes, and it ends just after the Terror, when she is a spirited but destitute orphan. What she sees and lives in-between, and the aftermath of her horrendous psychological journey provide both drama and mystery, but more importantly, it casts a light on the hardships faced by many French women in this period.

My female character is barely nine when she loses her parents to Carrier’s butchery. She is reunited with relatives in war-torn Vendée, staying with them first in Montaigu, La Guyonnière and then later in Les Epesses—all communes that were swept by the infernal columns.


The Underground and the Hidden Places of the Vendée


Less well-known about the conflict in Western France is how much the peasants’ knowledge of their natural surroundings supplied them with advantages for surviving the Republican army. Like the Viet Cong of Vietnam, the people of Brittany and Vendée crawled in secret undergrounds. They also waged a guerrilla war long before the word ‘guerilla’ officially surfaced, when Napoleonic French troops encountered fierce resistance in Spain.

As François Pagès describes in Secret History of the French revolution—the soldiers of the Catholic royalist army ceaselessly disappeared and then re-appeared to fight. The underground, the woods, the stones and the marshes in the West would conceal and then suddenly release hordes of former valets, brigands, priests, ex-nobles, and peasants. They were everywhere and yet they remained unseen. 

In his last novel, Quatre-Vingt Treize, Victor Hugo wrote of his father’s experience in the war against Breton royalists. He too mentions the forests that sheltered thousands of peasants in Brittany: 

“The peasant had two points on which he leaned: the field which nourished him, the wood which concealed him.”

“There were wells, round and narrow, masked by coverings of stones and branches, the interior at first vertical, then horizontal, spreading out underground like funnels, and ending in dark chambers. [ ] The caves of Egypt held dead men, the caves of Brittany were filled with the living.”


“The subsoil of every forest was a sort of mad repose, pierced and traversed in all directions by a secret highway of minds, cells, and galleries. Each one of these blind cells could shelter five or six men.”


In Les Epesses, my female character follows her great-uncle, a giant Breton man who walks everywhere with his large wooden staff, and seems to know all the secrets of the underground. He hides his family in an underground cavern where they remain for months. 

As the infernal columns advance in the Vendée countryside, my character witnesses horrors beyond her years. Later she will hide in the secret Gralas forest, south of Nantes, and meet one of the most courageous men to lead the Vendée rebellion – General François Athanase de Charette de la Contrie (Charette). In Gralas, she will also discover the strong, independent women who fought to death alongside Charette, and one of these women will change her life forever.


"Liberty, Equality, Fraternity or Death" 
- the original motto of the French Republic



Further Reading:

1. Histoire secrète de la Révolution française depuis la convocation des notables jusqu' a la 
prise de l'ile de Malthe..., François Pagès, 1798.
2. Quatrevingt-treize, Victor Hugo, 1874.
3. Souterrains de Vendée, Laurent et Jérôme Triolet, Editions Ouest-France, 2013.
4. Colonnes Infernales - Wikipedia 
5. A French Genocide: The Vendée, Reynald Secher, University of Notre Dame Press, 2003.


______________________________________


Laura Rahme is an Australian-French writer based in Sydney. She was born in Dakar, Senegal where she spent her early childhood. Her first novel, THE MING STORYTELLERS (2012), is a historical saga set in China's Early Ming Dynasty. THE MASCHERARI (2014), is a historical mystery with supernatural themes set in late medieval Venice. Her third novel, JULIEN'S TERROR (July 2017) is set during and after the French Revolution and pays homage to her Breton roots.


10 August 2016

The Art of the Decadents and the Bourgeois

 
By Laura Rahme

Francois Boucher’s The Chinese Garden

The downfall of the French monarchy during the Revolution of 1789 brought with it a new social order where art modes that were considered decadent and aristocratic were shunned.

Through Revolution, power and wealth flowed increasingly into the hands of the emerging bourgeoisie, a socio-economic group that had long aspired to the manner and graces of aristocrats, but who now sought to forge themselves a new identity, along with their own artistic sensibilities.

New styles emerged in dress, hairstyles, furniture, theatre and art.

Prior to the French Revolution, and ever since the reign of Louis XV, Rococo artists were the masters of the French art scene. This was to change.

Marie-Antoinette’s Art World

At the time of Queen Marie-Antoinette, before the French Revolution, paintings were lavish depictions of luxury, pleasure and the insouciance of a privileged class which did not reflect the majority of the population. Ordinary working class people were rarely subjects of these paintings.

Instead, aristocratic subjects are seen idling about in elaborate clothing without a care in the world. This was the time of Rococo art.

The Swing
Jean Honoré Fragonard’s The Swing (1767) denotes the carelessness and childishness of a young girl at play. Here, the aristocrats seem oblivious to the reality that the ordinary French person lives daily. This brand of art would have been odious to French revolutionaries given that as early as the 1780s, the price of bread was starting to rise due to poor crop yields, and the country’s debt was climbing.

The Lock
In The Lock (1777), Fragonard depicts a debauched noble class with perhaps a male making ready to corrupt his female companion despite her protests. The disordered bedroom and sheets allude to furious abandon, or even struggle, giving the onlooker a sense of forbidden erotic pleasures. This artistic style is in line with the libertine literature of the times, evoking themes from Le Marquis de Sade texts and Choderlos de Laclos’ Les Liaisons Dangereuses, the latter being hugely popular despite it being banned.

Portrait of Madame de Pompadour
In Francois Boucher’s portrait of Madame de Pompadour (1756), Louis XV’s chief mistress reclines on a sofa, dressed in a rich silk gown embroidered with flowers. Elaborate pink bows cascade down her corset, mirroring the perfect bow around her white neck. The great patroness of Rococo art appears regal and her encumbering court attire hints to her idleness and ease.

In the Rococo period, we also see decadence and immorality illustrated through Francois Boucher’ portraits. For example in his Brown Odalisque (1745), Boucher’s model is nude and tempts the onlooker with her exposed bottom.

Brown Odalisque
Boucher’s Léda et le Cygne (c.1740) dives with abandon into erotic perversion.  According to Greek mythology, Zeus transformed himself into a Swan to rape Leda. Yet the painting’s soft pastels and the lack of aggression implies yielding. Instead, the mood is languorous and Leda’s pose - lifting her dress - alludes to permissiveness.  

Leda and the Swan
Prior to the Revolution, almost all was permitted to aristocrats and they held rights over lower classes. In retrospect, the painting hints at the swan’s aristocratic embodiment with the rape of Leda recalling the suppression and abuse of the working classes who have no other choice. No wonder Boucher was in poor taste by the time the revolution began. Alas, despite his enormous talent, he remained unpopular for almost a century.

With these Rococo samples, it comes as no surprise that aristocrats were often seen as debauched and immoral. On several occasions, even Marie-Antoinette’s supposed sexual life and sensual pleasures were the subject of pamphlets and public scorn.

At the dawn of the French Republic, morality and discipline would need to be the focus of the new age if one were to distance oneself from aristocratic mores.  If a bourgeois wished to acquire symbols of stature, and ornaments for their home, they could not be seen as coveting the same frivolous art and perpetuating the same ideologies as aristocrats.

What style could a bourgeois possibly turn to?

Republican Scorn

With Liberty, Equality and Fraternity, the French mentality impassioned itself with noble ideals and moral rectitude. People became ‘enlightened’ and suddenly the excesses of the old regime with its implied hierarchies and light-heartedness were frowned upon.

According to Gamboni1, what irked revolutionaries was not so much the content of Ancient Regime paintings and images, but rather their symbolic representation.  While portraits of monarchs, members of the nobility and the Church were more directly attacked, any other work that these parties may have commissioned, possessed or displayed, were seen as symbolic of old power hierarchies and came under the revolution’s scorn.  Also to be wiped out or strictly discouraged were symbols of feudalism, superstition, toys and the ‘spoils of prejudice and arrogance’.

The terms pronounced when the city of Lyon’s buildings and monuments were destroyed leave no doubt as to the revolutionaries’ attitude: “In the name of the Sovereignty of the people…we strike with death this abode of crime whose royal magnificence was an insult to the poverty of the people and to the simplicity of republican morals.”

Discovery of Pompeii Ruins

In this sweeping social change, what, then, were accepted artistic symbols? What art forms were to be revered for their espousal of revolutionary values?

The answer to these questions were to be found in recent archaeological discoveries which had gradually brought upon an international change in the art scene.
That is, if a revolution had taken place in France, another revolution was burgeoning in the art world.

Earlier in the 18th century, the ancient Roman towns of Herculaneum and Pompeii had been discovered - in 1738 and 1748. These archaeological finds revealed gorgeous villas and a range of classical art from Greek vases to exquisite Roman murals. These discoveries newly inspired artists who began to experiment using Ancient Rome and Ancient Greece as models.

Europa riding the bull –
Fresco from Pompeii, 1
st Century AD
Antique style drawings, with their clean lines contrasted with the softness and airy touch of Rococo. The antique style was seen as representative of virtue while Rococo was coded as decadent.

Neo Classicism was born.

Juliette de Récamier’s Art World

Where Marie Antoinette had reigned supreme as Rococo graced French monuments and salons, after the French Revolution, it was the wealthy bourgeois socialite, Juliette Récamier, who became her Neoclassicism equivalent. 

Bust of Juliette Récamier -
Joseph Chinard, c.1801-2
A celebrity in her time, this wealthy banker’s wife heralded advances in furniture and dress style. Marie Antoinette had once commissioned Jean-Baptiste Pillement to decorate her Petit Trianon with his famed Chinoiserie style. No more. During the Neoclassicism period, socially accepted symbols included Ancient Egyptian lions and sphynxes, like those adorning the chairs owned by Juliette Récamier. The gracious hostess also owned an antique style bed with bronze-like ornaments and an x-shaped stool evoking Ancient Rome.

Styles in sculpture also reflected classical taste. In her time, Juliette Récamier was famed for her beauty and this marble bust depicts her as no less than the most gracious antiquity goddess.

Aside from being the subject of sculpture, Juliette Récamier also featured in a couple of paintings. One of these is her portrait by Jacques-Louis David, with a similar one painted by David’s pupil, Baron Gérard. In the latter, Juliette Récamier, the very spirit of Neoclassicism, is lying barefooted on an Etruscan chaise-longue, channelling the Greco-Roman vestal virgin with her simple white dress and up-styled hair.

Portrait of Juliette Récamier
by Baron Gérard (1802)
At the time, a journalist wrote, “Truth could go no further than this, she is so seductive to the eye and the imagination, that she gives off an impression of the ideal.”2 [translated from French]

Years before, Jacques-Louis David had produced equally ‘classical’ portraits, including this one of Madame Henriette de Verninac (1799), daughter of a minister and wife of a diplomat.

Madame de Verninac
The pose is almost identical to the one adopted by Juliette Récamier. Individuality seemed less important with this art form which was synonymous with patriotism, self-sacrifice and nationalism.

Jacques-Louis David - Art Dictator

Ironically, before the French Revolution, Jacques-Louis David had once been taught by sensualist Francois Boucher, and upon leaving Paris to study in Rome, had once declared, "The art of antiquity will not seduce me, for it lacks liveliness.” But times being what they were, even artists did well to reinvent themselves, if only for survival. Or was it only survival?  

During the French Revolution, David had joined the extremist Jacobins.  He not only voted for the execution of Louis XVI and Marie-Antoinette but he lent his support to Robespierre during the Terror…as France’s art dictator. His subsequent abolition of France’s Royal Academy of Painting and Sculpture was often interpreted as a reprisal for slights suffered in his youth.

Years later, under Napoleon, he would continue to direct his Neoclassicism talent into much propaganda.

Neoclassicism under Napoleon

Neoclassicism swelled to propagandist proportions during the First Empire, with Jacques-Louis David producing this well-known portrait of Napoleon crossing the Alps. The painting is marked by austerity and discipline, both hallmarks of Neoclassicism, while still associating grandeur and fearlessness with Napoleon.

Napoleon Crossing the St. Bernard Pass (1800)
In a similar vein, David’s Napoleon in his Salon (1812) confers authority and power to Napoleon. The winged head of mercury is a Greek symbol of wealth, while the lion is an Egyptian symbol of a king’s power. Both further illustrate the furniture style of that period.  Meanwhile Napoleon’s poised stance, his uniform and sword combine to portray a man in control.

Napoleon in his Salon 1812
The Decadents and the Bourgeois

As seen, the French Revolution saw dramatic socio-political changes which precipitated drastic transformations in the art world and in the consumption of art. While the ‘decadent’ aristocrat favoured Rococo, at the end of the Ancient Regime, Neoclassicism had risen in importance. Neoclassicism was seen as aligning with the ideologies of the French Republic and for this reason was embraced and even championed by the bourgeoisie. Far from being a passive decorative art form, Neoclassicism served as a tool for advancing the interests of the French Republic and later of Napoleon.


Sources:
  1. The Destruction of Art: Iconoclasm and Vandalism since the French Revolution, Dario Gamboni, Reaktion Books, 1997.
  2. Portrait de Juliette Recamier, Carnavalet Museum, http://www.carnavalet.paris.fr/en/collections/portrait-de-juliette-recamier-1777-1849, Accessed on 28 Jul 2016.
  3. Neo-classicism & The French Revolution, Oxford Art Online, http://www.oxfordartonline.com/public/page/themes/neoclassicismandthefrenchrevolution, Accessed on 28 Jul 2016.
  4. 18th- and 19th-Century France - Neoclassicism, National Gallery of Art, http://www.nga.gov/content/ngaweb/features/slideshows/18th-and-19th-century-france-neoclassicism.html, Accessed on 28 Jul 2016.
  5. Rococo - Wikipedia
  6. Jacques Louis David - Wikipedia

All images from Wiki commons. 

14 June 2015

Author Interview & Book Giveaway: Regan Walker on TO TAME THE WIND

This week, we're pleased to again welcome author REGAN WALKER with her latest release, TO TAME THE WIND, part of the Agents of the Crown trilogy. One lucky visitor will get a free copy of the prequel in the Agents of the Crown trilogyBe sure to leave your email address in the comments of today's author interview for a chance to win. Winner(s) are contacted privately by email. Here's the blurb.

Paris 1782…AN INNOCENT IS TAKEN

All Claire Donet knew was the world inside the convent walls in Saint-Denis. She had no idea her beloved papa was a pirate. But when he seized Simon Powell's schooner, the English privateer decided to take the one thing his enemy held most dear... her.

A BATTLE IS JOINED

The waters between France and England roil with the clashes of Claire's father and her captor as the last year of the American Revolution rages on the sea, spies lurk in Paris and Claire’s passion for the English captain rises.

Praise for To Tame the Wind

“A sea adventure like no other, a riveting romance!”
–Shirlee Busbee, NY Times Bestselling Author

**Q&A with Regan Walker**
What is the historical setting for To Tame the Wind that makes this historical romance unusual?

It’s set in 1782, the last year of the American Revolution and Ben Franklin, as well as other real historic figures, are characters, but it does not take place in America. It’s set in London, Paris and the waters of the English Channel. It’s a seafaring story with privateers, a love story with a handsome English sea captain and a convent-raised French girl, and it’s a spy adventure with a real spy of the period.

How does this story fit into your Agents of the Crown series?

This is the prequel…the hero and heroine are the parents of the heroes of books 2 and 3 of the Agents of the Crown trilogy—all Regency romances.

What are you working on now that To Tame the Wind is released?

Well, last year I released my first medieval, The Red Wolf’s Prize. Readers have been urging me to write more in the series, so I am mad at work writing book 2, Rogue Knight, that will feature William the Conqueror’s “harrying of the North” in 1069 in England. It will tell the story of Sir Geoffroi de Tournai, the right arm of the Red Wolf who sets off to York never realizing what he will find there. It will change him forever as will his love for Emma of York, a young widow.

Learn more about author Regan Walker at www.reganwalkerauthor.com

11 June 2015

Excerpt Thursday: TO TAME THE WIND by Regan Walker

This week, we're pleased to again welcome author REGAN WALKER with her latest release, TO TAME THE WIND, part of the Agents of the Crown trilogy. Join us again on Sunday for an author interview, with more details about the story behind the story. One lucky visitor will get a free copy of the prequel in the Agents of the Crown trilogyBe sure to leave your email address in the comments of today's post or Sunday's author interview for a chance to win. Winner(s) are contacted privately by email. Here's the blurb.

Paris 1782…AN INNOCENT IS TAKEN

All Claire Donet knew was the world inside the convent walls in Saint-Denis. She had no idea her beloved papa was a pirate. But when he seized Simon Powell's schooner, the English privateer decided to take the one thing his enemy held most dear... her.

A BATTLE IS JOINED

The waters between France and England roil with the clashes of Claire's father and her captor as the last year of the American Revolution rages on the sea, spies lurk in Paris and Claire’s passion for the English captain rises.

Praise for To Tame the Wind

“A sea adventure like no other, a riveting romance!”
–Shirlee Busbee, NY Times Bestselling Author

** An Excerpt from To Tame the Wind**

Claire stirred as the rays of the sun warmed her face, but instead of the gentle sound of the songbirds that woke her each morning, she heard raucous shrieking. What was that noise? Was she late for Matins? The cacophony of sound suddenly reminded her of her childhood in Lorient before she’d gone to live at the convent.
Gulls.
Eyes still closed, she frowned. Non. It cannot be gulls. She inhaled, deeply, cautiously, smelling fish, and the unforgettable briny smell of the sea.
She opened her eyes, and the memory of the night returned. Mon Dieu! Had all that really happened? She looked around the carriage, realizing she’d been left alone.  Her captor had removed the blindfold and the cloth that had been stuffed in her mouth. Dieu merci! She swallowed and licked her dry lips, her dazed brain trying to make sense of her predicament. Where am I?
Realizing she was still wearing only her nightgown and wrapped in the blanket her captor had thrown over her the night before, a wave of shame rippled through her at the thought he and his men had seen her in such a state.
Not that she had been given any choice in the matter! Anger surged through her veins at the memory of her abduction. English pirates!
She drew the blanket more tightly around her and pushed herself into a sitting position. Through the open carriage window, she glimpsed the sun glinting off the ocean, so bright she winced. White, puffy clouds floated idly in the blue sky. A ship with sails furled was anchored just off shore. On the beach, men loaded crates into a small boat. It wasn’t Lorient but it might still be France. The nearby cliffs looking out on la Manche, what these men would call the English Channel, told her it was.
Had she been left without a guard? Might she escape? A shout for help would only gain the attention of her kidnappers, but perhaps she could work loose the bindings on her hands and ankles and sneak away before they were aware. She reached toward the cloth around her ankles.
The door of the carriage swung open, a gown was tossed into her lap and a broad shouldered man filled the opening.
Claire’s jaw went slack while her heart kicked into a gallop as if responding of its own accord to the first man to stir it from slumber.
Bonjour, Mademoiselle Donet,” he said in French. “Captain Simon Powell.” He bowed in grand gesture. “Your humble servant with something for you to wear.”
The golden one. It had been nearly two years since she had seen him, but she had never forgotten the night of the masquerade. She had never forgotten him. Though the linen shirt stretched tight across his broad chest and the leather breeches and boots he wore now were a far cry from the shimmering costume he’d worn then, his amber eyes were the same. Impossibly, he was even more handsome that in her faded memory. In the last two years, he had never been far from her thoughts, for the night she’d first seen him—and imagined a man’s pleasure—was the night Claire’s girlish dreams had ended forever.
And now he’d returned to France and abducted her.
He leaned into the carriage and untied her feet, then her wrists. The touch of his rough man’s hands on her skin sent odd chills rippling through her. She bit her lip, shamed by her body’s reaction to this stranger. Her living temptation turned away for a moment, then faced her, a cup in his outstretched hand. “’Tis only water,” he said when she was reluctant to take it.
Too grateful to complain, she hastily brought the fresh water to her dry lips and drank her fill.
“I’ll give you some time to dress,” he said not unkindly. His eyes shifted to her blanket-covered nightclothes. “I wouldn’t want my men to see you as you are.”
Claire felt her cheeks burn at the thought.
“The gown is modest enough to please even your nuns,” he said. “Call me if you need… ah, assistance. I will be just outside.”
She fumed at his insolence, at his actions that had placed her at his mercy. Though she knew he was English and a privateer, she had no idea why he had taken her, and she would wait no longer to learn the truth of it. “Why did you bring me here? Why did you take me from the convent?”
Leaning one arm against the frame of the carriage, he regarded her intently, his eyes like chips of amber.
“You have your father to thank for that, mademoiselle. As soon as he returns what is mine you will have your freedom.”
Claire blinked. “My father?” Her voice sounded to her like the pleading of a feeble schoolgirl. She would not be cowed! She lifted her chin, confident in his error. “What has he to do with this… this perfidy? Papa is a man of business and letters, a man of some wealth. He has no need to steal!”
His mouth twitched up in a grin, drawing Claire’s gaze to his sensual lips, reminding her of a night when she had seen him use those lips to good effect. She scowled, angry with the rogue and with herself for finding him so attractive.
He shut the door of the carriage and peered in through the open window. “Your father, mademoiselle, is a pirate.”

TO TAME THE WIND
Copyright © 2015 Regan Walker



Learn more about author Regan Walker at www.reganwalkerauthor.com

Buy link: http://www.amazon.com/Tame-Wind-Agents-Crown-Book-ebook/dp/B00VO4DZYE 

Blog:  http://reganromancereview.blogspot.com/

Twitter: @RegansReview

Facebook: http://www.facebook.com/regan.walker.104

Goodreads: http://www.goodreads.com/author/show/6450403.Regan_Walker

31 May 2015

Author Interview & Book Giveaway: Susana Ellis on BEAUX, BALLROOMS AND BATTLES

This week, we're pleased to welcome author SUSANA ELLIS with her latest release, BEAUX, BALLROOMS AND BATTLES: A CELEBRATION OF WATERLOO, a collection of co-authored works about the Napoleonic Era. One lucky visitor will get a free copy of Beaux, Ballrooms and Battles. Be sure to leave your email address in the comments of today's author interview for a chance to win. Winner(s) are contacted privately by email. Here's the blurb.

For Readers who enjoy a bit of history with their Romance… 

A historic confrontation 

Beaux, Ballrooms, and Battles is a celebration of the bicentenary of the showdown between Wellington’s “Infamous Army” and Napoleon’s Grande Armée. Wellington’s Allied Army consisted of a hastily organized mélange of inexperienced men from several countries who didn’t even speak the same language. 

A backdrop of war 

While life in Regency England continued much as it had been, the war with Napoleon was a constant source of preoccupation as young men who eagerly set off to become heroes in battle sometimes returned with life-changing injuries or worse, didn’t return at all. 

Nine stories of love tested by the trials of war 

A collection of sweet Regency stories of courage, hope, and the miracle of love surviving in uncertain times, brought to you by nine distinguished historical romance authors.


**Q&A with Susana Ellis**

What did you want to be when you grew up?

I liked school, so in elementary school I thought being a teacher might be fun. In high school, I found a book about freelance writing and read it several times and thought it would be wonderful to get paid for writing stories. When it came right down to it, though, I had to be able to pay the bills, so I became a teacher after all and put my writing dreams on hold for awhile. So when I left teaching and needed something to do for the rest of my life, writing seemed the way to go.

What is one thing your readers would be most surprised to learn about you?

As a Spanish/French teacher, I spent four summers studying in Spain, one summer in France and one in Mexico. I lived with one family in Santiago de Compostela for three summers in a row, and have hired the artistic daughter of the family to do the artwork for the cover of my story, Lost and Found Lady, when it is released separately. Living in another country is an experience that inevitably changes your world perspective. I wish everyone could have such an opportunity.

Tell us something about your newest release that is NOT in the blurb.

Catalina, my heroine, briefly considers becoming a nun to escape the tedious fate of most Spanish women she knew—marriage to a domineering man and a life of drudgery. She compares herself to the 17th century nun, Sor Juana de la Cruz of Mexico, who eschewed marriage to become a nun and have the freedom to study and write. Considered one of the most intelligent people in the country, she wrote in favor of women’s rights to education at a time when such views were considered sacrilege.

Is there a writer you idolize? If so, who?

I’m a huge fan of Diana Gabaldon and her Outlander series, to the point where I bid $600 in an auction to have lunch with her in Phoenix in 2013. I envy her ability to create characters that inspire the sort of devotion her Jamie and Claire have done. I feared that the television series would never be able to measure up to the books, but from what I can tell from the first half of the season, Ron Moore has outdone himself. And, in case you didn’t know, the second half of the season—in the U.S. at least—starts in two days!

Every writer dreams of getting “the call.” What were you doing when yours came? Who got to hear the good news first?

When I first started, I envisioned a long hard road to publication, so I didn’t submit anything the first year. Then some of my writer friends told me that submitting and getting rejections was an important part of the process, so I submitted my Regency short story, Treasuring Theresa, to the Cotillion line at Ellora’s Cave. Expecting months of wait time, I was surprised to get an offer for it in four days! The first thing I did was email my Spanish teacher friend Ellen, who called me during her lunchtime at school. I also emailed my friend Selene Grace Silver, who was the one who challenged me to write a short story in the first place. I was over the moon!

About the Author

Susana has always had stories in her head waiting to come out, especially when she learned to read and her imagination began to soar. Voracious reading led to a passion for writing, and her fascination with romance and people of the past landed her firmly in the field of historical romance.

A teacher in her former life, Susana lives in Toledo, Ohio in the summer and central Florida in the winter. She is a member of the Central Florida Romance Writers and the Beau Monde chapters of RWA and Maumee Valley Romance Inc.

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