Madame Tussaud A novel of the French revolution

Marie Tussaud, she of the wax museum, lived a long and colorful life, but the focus here is on 1788-94, when she was a young woman in Paris. Under the tutelage of a Swiss doctor whom she calls her uncle, she has become an accomplished artist as well as an astute businesswoman, helping to run the family firm, the Salon de Cire, with its changing array of exhibits of historical and contemporary figures in wax. Hired as a wax tutor by the king's sister, Madame Elisabeth, she gains an entree into Versailles. Her uncle's home, meanwhile, serves as a regular meeting place for Robespierre and other revolutionaries. First and foremost a survivor, during the Revolution Marie makes models of its heroes and its victims alike. Moran takes liberties with the facts, as any historical novelist has a right to do; but some of her inventions tend to clutter up a story that is already fascinating on its own. Still, readers will be intrigued by Madame Tussaud, and by witnessing a tumultuous era through her eyes.--Quinn, Mary Ellen Copyright 2010 Booklist

From Versailles to Boulevard du Temple, royalists to revolutionaries, art to science, Moran (Cleopatra's Daughter) returns with a new historical novel of fierce polarities. Set during the French Revolution, with an emphasis on the Reign of Terror, Moran's fourth deftly chronicles the consequences of seeking reversals in power-or liberty. Marie Grosholtz, the talented wax sculptress who would become Madame Tussaud, narrates with verve. She and her family are "survivalists" who "straddle both worlds until it's clear which side will be the victor." but never come across as opportunists; they are resourceful, sympathetic individuals facing an unraveling nation and an increasingly angry mob mentality. Though readers may wince at the inevitable beheadings, the storming of the Bastille, and the actions of men like Robespierre, Moran tempers brutality with Marie's romance and passion for artistry; quiet moments in the family's atelier provide much needed respite. This is an unusually moving portrayal of families in distress, both common and noble. Marie Antoinette in particular becomes a surprisingly dimensional figure rather than the fashionplate, spendthrift caricature depicted in the pamphlets of her times. A feat for Francophiles and adventurers alike. (Feb.) © Copyright PWxyz, LLC. All rights reserved.

Chapter 1 Paris December 12, 1788 Although it is mid-December and everyone with sense is huddled near a fire, more than two dozen women are pressed together in Rose Bertin's shop, Le Grand Mogol. They are heating themselves by the handsome bronze lamps, but I do not go inside. These are women of powdered poufs and ermine cloaks, whereas I am a woman of ribbons and wool. So I wait on the street while they shop in the warmth of the queen's favorite store. I watch from outside as a girl picks out a showy pink hat. It's too pale for her skin, but her mother nods and Rose Bertin claps her hands eagerly. She will not be so eager when she notices me. I have come here every month for a year with the same request. But this time I am certain Rose will agree, for I am prepared to offer her something that only princes and murderers possess. I don't know why I didn't think of it before.   I stamp my feet on the slick cobblestones of the Rue Saint- Honoré. My breath appears as a white fog in the morning air. This is the harshest winter in memory, and it has come on the heels of a poor summer harvest. Thousands will die in Paris, some of the cold, others of starvation. The king and queen have gifted the city as much firewood as they can spare from Versailles. In thanks, the people have built an obelisk made entirely of snow; it is the only monument they can afford. I look down the street, expecting to see the fish sellers at their carts. But even the merchants have fled the cold, leaving nothing but the stink of the sea behind them.   When the last customer exits Le Grand Mogol, I hurry inside. I shake the rain from my cloak and inhale the warm scent of cinnamon from the fi re. As always, I am in awe of what Rose Bertin has accomplished in such a small space. Wide, gilded mirrors give the impression that the shop is larger than it really is, and the candles flickering from the chandeliers cast a burnished glow across the oil paintings and embroidered settees. It's like entering a comtesse's salon, and this is the effect we have tried for in my uncle's museum. Intimate rooms where the nobility will not feel out of place. Although I could never afford the bonnets on these shelves-- let alone the silk dresses of robin's-egg blue or apple green-- I come here to see the new styles so that I can copy them later. After all, that is our exhibition's greatest attraction. Women who are too poor to travel to Versailles can see the royal family in wax, each of them wearing the latest fashions.   "Madame?" I venture, closing the door behind me.   Rose Bertin turns, and her high- pitched welcome tells me that she expects another woman in ermine. When I emerge from the shadows in wool, her voice drops. "Mademoiselle Grosholtz," she says, disappointed.   "I gave you my answer last month." She crosses her arms over her chest. Everything about Rose Bertin is large. Her hips, her hair, the satin bows that cascade down the sides of her dress. "Then perhaps you've changed your mind," I say quickly. "I know you have the ear of the queen. They say that there's no one else she trusts more."   "And you're not the only one begging favors of me," she snaps.   "But we're good patrons."   "Your uncle bought two dresses from me."   "We would buy more if business was better." This isn't a lie. In eighteen days I will be twenty-eight, but there is nothing of value I own in this world except the wax figures that I've created for my uncle's exhibition. I am an inexpensive niece to maintain. I don't ask for any of the embellishments in Le Journal des Dames, or for pricey chemise gowns trimmed in pearls. But if I had the livres, I would spend them in dressing the figures of our museum. There is no need for me to wear gemstones and lace, but our patrons come to the Salon de Cire to see the finery of kings. If I could, I would gather up every silk fan and furbelow in Rose Bertin's shop, and our Salon would rival her own. But we don't have that kind of money. We are showmen, only a little better-off than the circus performers who exhibit next door.   "Think of it," I say eagerly. "I could arrange a special tableau for her visit. An image of the queen sitting in her dressing room. With you by her side. The Queen and Her Minister of Fashion," I tell her.   Rose's lips twitch upward. Although Minister of Fashion is an insult the papers use to criticize her influence over Marie Antoinette, it's not far from the truth, and she knows this. She hesitates. It is one thing to have your name in the papers, but to be immortalized in wax . . . That is something reserved only for royals and criminals, and she is neither.   "So what would you have me say?" she asks slowly.   My heart beats quickly. Even if the queen dislikes what I've done-- and she won't, I know she won't, not when I've taken such pains to get the blue of her eyes just right-- the fact that she has personally come to see her wax model will change everything. Our exhibition will be included in the finest guidebooks to Paris. We'll earn a place in every Catalog of Amusements printed in France. But most important, we'll be associated with Marie Antoinette. Even after all of the scandals that have attached themselves to her name, there is only good business to be had by entertaining Their Majesties.   "Just tell her that you've been to the Salon de Cire. You have, haven't you?"   "Of course." Rose Bertin is not a woman to miss anything. Even a wax show on the Boulevard du Temple. "It was attractive." She adds belatedly, "In its way."   "So tell that to the queen. Tell her I've modeled the busts of Voltaire, Rousseau, Benjamin Franklin. Tell her there will be several of her. And you."   Rose is silent. Then finally, she says, "I'll see what I can do." From the Hardcover edition. Excerpted from Madame Tussaud: A Novel of the French Revolution by Michelle Moran All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.