In the past, Antonia Fraser's bestselling histories and biographies have focused on people and events in her native England, from Mary Queen of Scots to Faith and Treason: The Story of the Gunpowder Plot. Now she crosses the Channel to limn the life of France's unhappiest queen, bringing along her gift for fluent storytelling, vivid characterization, and evocative historical background. Marie Antoinette (1755-93) emerges in Fraser's sympathetic portrait as a goodhearted girl woefully undereducated and poorly prepared for the dynastic political intrigues into which she was thrust at age 14, when her mother, Empress Maria Theresa, married her off to the future Louis XVI to further Austria's interests in France. Far from being the licentious monster later depicted by the radicals who sent her to the guillotine at the height of the French Revolution, young Marie Antoinette was quite prudish, as well as thoroughly humiliated by her husband's widely known failure to have complete intercourse with her for seven long years (the gory details were reported to any number of concerned royal parties, including her mother and brother). She compensated by spending lavishly on clothes and palaces, but Fraser points out that this hardly made her unique among 18th-century royalty, and in any case the causes of the Revolution went far beyond one woman's frivolities. The moving final chapters show Marie Antoinette gaining in dignity and courage as the Revolution stripped her of everything, subjected her to horrific brutalities (a mob paraded the head of her closest female friend on a pike below her window), and eventually took her life. Fraser makes no attempt to hide the queen's shortcomings, in particular her poor political skills, but focuses on her personal warmth and noble bearing during her final ordeal. It's another fine piece of popular historical biography to add to Fraser's already impressive bibliography. --Wendy Smith


From Publishers Weekly
A child-princess is married off to a husband of limited carnal appetite. Her indiscretions and na‹vet‚, scorned by elderly dowagers, are coupled with charity, joie de vivre and almost divine glamour but her life is cut brutally short. The queen of France's life is rich in emotional resonance, riddled with sexual subplots and personal tragedies, and provides fertile ground for biographers. Fraser's sizable new portrait avoids the saccharine romance of Evelyne Lever's recent Marie Antoinette, balancing empathy for the pleasure-loving queen with an awareness of the inequalities that fed revolution after all, Marie herself was fully conscious of them. Her subject shows no let-them-eat cake arrogance, but is deeply (even surprisingly) compassionate, with a "public reputation for sweetness and mercy" that is only later sullied by vituperative pamphleteers and bitter unrest. She would sometimes be trapped by ingenuousness, and later by a fatal sense of duty. Yet her graceful bearing, acquired under the tutelage of her demanding mother, the empress Maria Teresa, made her an unusually popular princess before she was scapegoated as "Madame Deficit" and much, much worse. The portrait is drawn delicately, with pleasant touches of humor (a long-awaited baby is conceived around the time of Benjamin Franklin's visit: "Perhaps the King found this first contact with the virile New World inspirational"). Fraser's approach is controlled and thoughtful, avoiding the extravagance of Alison Weir's royal biographies. Her queen is neither heroine nor villain, but a young wife and mother who, in her journey into maturity, finds herself caught in a deadly vise. Color and b&w illus. (on sale: Sept. 18) Forecast: Fraser needs no introduction to American audiences. She will come over from England for a five-city tour, and with widespreand favorable reviews, this should have no trouble making the bestseller lists. It's a BOMC, History Book Club, Literary Guild and QPB selection.Copyright 2001 Cahners Business Information, Inc.


From Library Journal
Marie Antoinette will always be a historical figure whom one either likes or dislikes, hates or admires, regardless of what new information or insights come to light. However, Fraser's latest work does an exemplary job of painting the woman, mother, and monarch. Marie's mother was the powerful Empress Maria Theresa of Austria-Hungary, who artfully arranged the marriages of all of her children to sustain and enhance the Hapsburg position of power. As the 15th of 16 children, and the youngest daughter, Marie seemed unlikely to marry significantly and thus enjoyed a carefree childhood untroubled by the rigors of reading and studies, filled instead with dancing and merriment. The unfortunate death of an older sister suddenly thrust Marie, at 14, into prominence as a bride for the future King of France, Louis XVI. Her lack of education and training quickly caught up with her and hampered her efforts to become an effective queen. More suited for life as landed gentry, raising children and crops, Louis and Marie were the least likely pair to be successful monarchs during the volatile years of change leading up to the French Revolution. Yet, in death, she displayed a nobility and dignity that transcended the ludicrous and unwarranted charges brought against her. Narrated by Donada Peters, this is highly recommended for both academic and public libraries. Gloria Maxwell, Penn Valley Community Coll., Kansas City, MO Copyright 2002 Reed Business Information, Inc.


From AudioFile
Marie Antoinette was the 14-year-old archduchess of Austria, the fifteenth of sixteen children born to Empress Maria Theresa, when she was betrothed to the reluctant future king of France. Too innocent and too little educated, she was definitely married to the wrong guy. This is the perfect milieu for Donada Peters, who excels at in-jecting subtle irony into seemingly flat narrative. She handles the snotty comments and the lewd scandal-mongering of the court with equal aplomb. Fraser is one of the most highly respected and bestselling biographers of our time, and it's easy to see why in this enlightening glimpse into turbulent France of the 1770s. D.G. © AudioFile 2002, Portland, Maine-- Copyright © AudioFile, Portland, Maine


From Booklist
Did Marie Antoinette, the notorious and ill-fated queen of France, actually respond to the peasants' clamor for bread with, "Let them eat cake"? Such myths and fallacies associated with the consort of the guillotined Louis XVI are cleared up in this vivid, well-rounded biography by the popular British author of, among other well-received works, Mary Queen of Scots (1969) and Royal Charles: Charles II and the Restoration (1979). Marie Antoinette was dispatched to the French court as a teenage bride by her mother, Empress Maria Theresa of Austria, to cement an alliance between the two "superpowers." Marie's intended role was to function as a spy-agent for the Austrian imperial court. She had been raised with a certain informality, a sensibility she brought with her to the opulent Palace of Versailles, but Fraser is quick to admit to Marie's extravagance once she became queen. Even though Marie's marriage to Louis XVI proved problematic, the king never took a mistress; however, Marie got saddled with a reputation for taking lovers of both sexes. Although Marie had no real taste for politics, the revolution proved fatal for her, but Fraser concludes, "her weaknesses, although manifest, were of trivial worth in the balance of her misfortune." Brad Hooper
Copyright © American Library Association. All rights reserved


Review
“Fascinating . . . the court at Versailles comes alive.” –The Washington Post

“Colorful, fluently narrated. . . . A touching, psychologically believable portrait.” –The Wall Street Journal

“Absorbing as ever. Fraser’s blend of insight and research persuade us that this unfortunate queen deserves neither the vilification nor the idealization she has received.” –The New Yorker


Review
?Fascinating . . . the court at Versailles comes alive.? ?The Washington Post

?Colorful, fluently narrated. . . . A touching, psychologically believable portrait.? ?The Wall Street Journal

?Absorbing as ever. Fraser?s blend of insight and research persuade us that this unfortunate queen deserves neither the vilification nor the idealization she has received.? ?The New Yorker


Book Description
France’s beleaguered queen, Marie Antoinette, wrongly accused of uttering the infamous “Let them eat cake,” was the subject of ridicule and curiosity even before her death; she has since been the object of debate and speculation and the fascination so often accorded tragic figures in history. Married in mere girlhood, this essentially lighthearted, privileged, but otherwise unremarkable child was thrust into an unparalleled time and place, and was commanded by circumstance to play a significant role in history. Antonia Fraser’s lavish and engaging portrait of Marie Antoinette, one of the most recognizable women in European history, excites compassion and regard for all aspects of her subject, immersing the reader not only in the coming-of-age of a graceful woman, but also in the unraveling of an era.


From the Inside Flap
France’s beleaguered queen, Marie Antoinette, wrongly accused of uttering the infamous “Let them eat cake,” was the subject of ridicule and curiosity even before her death; she has since been the object of debate and speculation and the fascination so often accorded tragic figures in history. Married in mere girlhood, this essentially lighthearted, privileged, but otherwise unremarkable child was thrust into an unparalleled time and place, and was commanded by circumstance to play a significant role in history. Antonia Fraser’s lavish and engaging portrait of Marie Antoinette, one of the most recognizable women in European history, excites compassion and regard for all aspects of her subject, immersing the reader not only in the coming-of-age of a graceful woman, but also in the unraveling of an era.


From the Back Cover
“Fascinating . . . the court at Versailles comes alive.” –The Washington Post

“Colorful, fluently narrated. . . . A touching, psychologically believable portrait.” –The Wall Street Journal

“Absorbing as ever. Fraser’s blend of insight and research persuade us that this unfortunate queen deserves neither the vilification nor the idealization she has received.” –The New Yorker


About the Author
Antonia Fraser is the author of Mary Queen of Scots, The Six Wives of Henry VIII, and Faith and Treason, among others. She is also famous for her Jemima Shore series of mysteries. She and her husband, Harold Pinter, live in London.


From the Hardcover edition.


Excerpt. © Reprinted by permission. All rights reserved.
chapter one

A Small Archduchess

"Her Majesty has been very happily delivered of a small, but completely healthy Archduchess."

Count Khevenhuller, Court Chamberlain, 1755

On 2 November 1755 the Queen-Empress was in labour all day with her fifteenth child. Since the experience of childbirth was no novelty, and since Maria Teresa, Queen of Hungary by inheritance, Empress of the Holy Roman Empire by marriage, hated to waste time, she also laboured in another way at her papers. For the responsibilities of government were not to be lightly cast aside; in her own words: "My subjects are my first children." Finally, at about half past eight in the evening in her apartments at the Hofburg Palace in Vienna, Maria Teresa gave birth. It was a girl. Or, as the Court Chamberlain, Count Khevenhuller, described the event in his diary: "Her Majesty has been happily delivered of a small, but completely healthy Archduchess." As soon as was practical, Maria Teresa returned to work, signing papers from her bed.

The announcement was made by the Emperor Francis Stephen. He left his wife's bedroom, after the usual Te Deum and Benediction had been said. In the Mirror Room next door the ladies and gentlemen of the court who had the Rights of Entry were waiting. Maria Teresa had firmly ended the practice, so distasteful to the mother in labour (but still in place at the court of Versailles), by which these courtiers were actually present in the delivery room. As it was they had to content themselves with congratulating the happy father. It was not until four days later that those ladies of the court who by etiquette would formerly have been in the bedchamber were allowed to kiss the Empress. Other courtiers, including Khevenhuller, were permitted the privilege on 8 November, and a further set the next day. Perhaps it was the small size of the baby, perhaps it was the therapeutic effect of working at her papers throughout the day, but Maria Teresa had never looked so well after a delivery.

The Empress's suite of apartments was on the first floor of the so-called Leopoldine wing of the extensive and rambling Hofburg complex. The Habsburgs had lived in the Hofburg since the late thirteenth century, but this wing had originally been constructed by the Emperor Leopold I in 1660. It was rebuilt following a fire, then greatly renovated by Maria Teresa herself. It lay south-west of the internal courtyard known as In Der Burg. Swiss Guards, that doughty international force that protects royalty, gave their name to the adjacent courtyard and gate, the Schweizerhof and the Schweizertor.

The next stage in the new baby's life was routine. She was handed over to an official wet-nurse. Great ladies did not nurse their own children. For one thing, breastfeeding was considered to ruin the shape of the bosom, made so visible by eighteenth-century fashions. The philandering Louis XV openly disliked the practice for this reason. The traditional prohibition against husbands sleeping with their wives during this period probably counted for more with Maria Teresa, an enthusiast for the marital double-bed and the conception--if not the nursing--of ever increasing numbers of babies. As the Empress said of herself, she was insatiable on the subject of children.

Marie Antoinette was put into the care of Constance Weber, wife of a magistrate. Constance, according to her son Joseph Weber, who later wrote his memoirs, was famed for her beautiful figure and an even greater beauty of soul. She had been nursing little Joseph for three months when she took over the baby Archduchess, and it was understood in the family that Constance's appointment would improve all their fortunes. As the foster-brother of an archduchess, Joseph Weber benefited all his life; there were pensions for Constance as well as his other brothers and sisters. During Marie Antoinette's childhood, Maria Teresa took her to visit the Weber household; there she showered gifts upon the children and, according to Joseph, admonished Constance: "Good Weber, have a care for your son."

Maria Teresa was thirty-eight years old and since her marriage nearly twenty years earlier, she had produced four Archdukes as well as ten Archduchesses (of whom seven were living in 1755). The extraordinarily high survival rate of the imperial family--by the standards of infant mortality of the time--meant that there was no urgent pressure upon the Queen-Empress to produce a fifth son. In any case it seems that Maria Teresa had expected a daughter. One of her courtiers, Count Dietrichstein, wagered against her that the new baby would be a boy. When the appearance of a girl, said to be as like her mother as two drops of water, meant that he lost the bet, the Count had a small porcelain figure made of himself, on his knees, proffering verses by Metastasio to Maria Teresa. He may have lost his wager but if the new-born augusta figlia resembled her mother, then all the world would have gained.

If the birth of an eighth surviving daughter was not in itself a disappointment, was there not perhaps something inauspicious about the date itself, 2 November? This, the Feast of All Souls, was the great Catholic Day of the Dead, when the departed were solemnly commemorated in a series of requiem Masses, in churches and chapels heavily draped in black. What this actually meant during the childhood of Marie Antoinette was that her birthday was generally celebrated on its eve, the Feast of All Saints, a day of white and gold. Besides which, 13 June, the feast of her patron saint St. Antony, tended to be regarded as Marie Antoinette's personal day of celebration, just as the feast of St. Teresa of Avila on 15 October was the name-day of her mother.

If one looks to influences, the baby born on the sombre Day of the Dead must have been conceived on or around a far more cheerful feast of the church: 2 February, the traditionally candle-lit celebration of the Purification of the Virgin Mary. An episode during the Empress's pregnancy could also be seen as significant. In April, Christoph Willibald Gluck was engaged by Maria Teresa to compose "theatrical and chamber music" in exchange for an official salary; this followed his successes in Italy and England as well as in Vienna. A court ball at the palace of Laxenburg, fifteen miles from Vienna, on 5 May 1755, marked his inauguration in this role. Two tastes that would impress themselves upon Marie Antoinette--a love of the "holiday" palace of Laxenburg and a love of the music of Gluck--could literally be said to have been inculcated in her mother's womb.

In contrast, the fact that a colossal earthquake took place in Lisbon on 2 November, with 30,000 killed, was not at the time seen as relevant. This was an age of poor European communications and news of the disaster did not reach Vienna until some time afterwards. It was true that the King of Portugal and his wife had been engaged to stand as the coming baby's godparents; the unfortunate royal couple had to flee from their capital at about the time Marie Antoinette was born. But, once again, this was not known at the time. In any case, royalties were not expected to be present at the event; according to custom, proxies were appointed in their absence: the baby's eldest brother, Joseph, and her eldest sister, Marianne, aged fourteen and seventeen respectively.

The baptism took place at noon on 3 November (baptisms were always held speedily and in the absence of the mother, who was allowed to recover from her ordeal). The Emperor went with a cortege to the Church of the Augustine Friars, the traditional church used by the court, and heard Mass, including the sermon. After that, at twelve o'clock, as Count Khevenhuller noted in his meticulous diary, which is an important source for our knowledge of events in Maria Teresa's family, the baptism was held in "the new and beautiful Anticamera" and performed by "our Archbishop," since the new Papal Nuncio had not yet made a formal appearance at court. The imperial family sat in a row on a long bench. Two galas were ordered: a great gala for the day of the baptism, and a lesser gala for the day after. On 5 and 6 November there were two more spectacles that were shown to the public for free, and on those days there was no charge to the public for entry at the city gates. It was all a very well established ritual.

The baby in whose honour these celebrations were held was given the names Maria Antonia Josepha Joanna. The prefix of Maria had been established for all Habsburg princesses in the days of the baby's great-grandfather, the Emperor Leopold I and his third wife Eleanora of Neuburg; it was intended to signify the special veneration of the Habsburg family for the Virgin Mary. Obviously in a bevy of eight sisters (and a mother) all enjoying the same hallowed prefix, it was not going to be used for everyone all the time. In fact the new baby would be called Antoine in the family.

The French diminutive of the baptismal name, Antoine, was significant. Viennese society was multilingual, people being able to make themselves easily understood in Italian and Spanish as well as in German and French. But it was French, acknowledged as the language of civilization, that was the universal language of courts throughout Europe; Frederick II of Prussia, Maria Teresa's great rival, for example, preferred his beloved French to German. It was French that was used in diplomatic despatches to the Habsburgs. Maria Teresa spoke French, although with a strong German accent (she also spoke the Viennese dialect), but the Emperor Francis Stephen spoke French all his life, not caring to learn German. In this way, both in the family circle and outside it, Maria Antonia was quickly transmogrified into Antoine, the name she also used to sign her letters. To courtiers, the latest archduchess was to be known as Madame Antoine.

Charming, sophisticated, lazy and pleasure-loving, an inveterate womanizer who adored his wife and family, Francis Stephen of Lorraine handed on to Marie Antoinette a strong dose of French blood. His mother Elisabeth Charlotte d'Orleans had been a French royal princess and a granddaughter of Louis XIII. Her brother, the Duc d'Orleans, had acted as Regent during the childhood of Louis XV. As for Francis Stephen himself, although he had Habsburg blood on his father's side and was adopted into the Viennese court in 1723 at the age of fourteen, it was important to him that he was by birth a Lorrainer. From 1729, when his father died, he was hereditary Duke of Lorraine, a title that stretched back to the time of Charlemagne. This notional Lorrainer inheritance would also feature in the consciousness of Marie Antoinette, even though Francis Stephen was obliged to surrender the actual duchy in 1735. It was part of a complicated European deal whereby Louis XV's father-in-law, who had been dispossessed as King of Poland, received the Duchy of Lorraine for the duration of his lifetime; it then became part of the kingdom of France. In return Francis Stephen was awarded the Duchy of Tuscany.

The renunciation of his family heritage in order to soothe France was presented to Francis Stephen as part of a package that would enable him to marry Maria Teresa. On her side, it was a passionate love match. The British ambassador to Vienna reported that the young Archduchess "sighs and pines all night for her Duke of Lorraine. If she sleeps, it is only to dream of him. If she wakes, it is but to talk of him to the lady-in-waiting." Wilfully, in a way that would be in striking contradiction to the precepts she preached as a mother, Maria Teresa set her heart against a far grander suitor, the heir to the Spanish throne. The medal struck for the wedding bore the inscription (in Latin): "Having at length the fruit of our desires."

The desires in question, however, did not include the bridegroom's continued enjoyment of his hereditary possessions. As his future father-in-law Charles VI crudely put it: "No renunciation, no Archduchess." Maria Teresa of course believed in total wifely submission, at least in theory, another doctrine that she would expound assiduously to her daughters. Her solution was to tolerate and even encourage her husband's Lorrainer relations at court, as well as a multitude of Lorrainer hangers-on.

The marriage of Maria Teresa's sister Marianna to Francis Stephen's younger brother Charles of Lorraine strengthened these ties; Marianna's early death left Maria Teresa with a sentimental devotion to her widower. Then there was Francis Stephen's attachment to his unmarried sister Princess Charlotte, Abbess of Remiremont, who was a frequent visitor. She shared her brother's taste for shooting parties, in which she personally participated. In the year of Marie Antoinette's birth, a party of twenty-three, three of them ladies, killed nearly 50,000 head of game and wild deer. Princess Charlotte fired over 9000 shots, nearly as many as the Emperor. This strong-minded woman was so devoted to her native Lorraine that she once said she was prepared to travel there barefoot.

Thus Marie Antoinette was brought up to think of herself as "de Lorraine" as well as "d'Autriche et de Hongrie." In the meantime Lorraine had become a foreign principality attached to France, so that princes of Lorraine who made their lives in France had the status of "foreign princes" only and were not accorded the respect due to foreign royalties nor that due to French dukes. This ambiguous status was one from which the foreign princes ever sought to escape, while those of superior birth in French courtly terms sought to hold them down. A seemingly small point of French etiquette--small at least to outsiders--was to be of considerable significance in the future of Francis Stephen's daughter.

This was an age of multiple intermarriage where royal houses were concerned. Insofar as one can simplify it purely in terms of her four grandparents, Marie Antoinette had the blood of the Bourbons--the Orleans branch--and of Lorraine on her father's side. More remotely, her Orleans great-grandmother, a Palatine princess known as Liselotte, brought her the blood of Mary Queen of Scots via Elizabeth of Bohemia--but this was to go back 200 years. On the maternal side, Marie Antoinette inherited German blood from her grandmother Elizabeth Christina of Brunswick-Wolfbuttel, once described as "the most beautiful queen on earth." Her appearance at the age of fourteen enchanted her husband Charles VI: "Now that I have seen her, everything that has been said about her is but a shadow devoured by the light of the sun." However, if exceptional beauty was to be found in the pool of genes that Marie Antoinette might inherit, it was also true that the lovely Empress became immensely large and dropsical in later years.


From the Hardcover edition.

FROM OUR EDITORS

The Barnes & Noble Review
Was she a sexual predator, political meddler, wastrel, and traitor? Or was she a scapegoat for a corrupt and bankrupt nation, who went with superb dignity to the guillotine, the victim of a vindictive judicial murder? The tragic life of Marie Antoinette, rich in conflicting detail, remains a biographer's challenge, and Antonia Fraser's richly human yet evenhanded account is a reader's delight.

In 1770, Marie Antoinette, aged 14, wed the awkward 16-year-old who in 1774 became Louis XVI. The marriage was intended to strengthen the Austrian-French alliance and produce sons to continue it. Marie Antoinette was of little use in the first endeavor; she lacked political power. Louis was of only occasional help in the second; he suffered from phimosis, an inhibiting physical condition. While the pair wandered through their doomed lives, fury built up in bankrupt France, exploding in the ferocity of the Revolution.

Everybody criticized Marie, who was known both as l'Autrichienne (the Austrian woman) and l'autruche chienne (the ostrich bitch). She was regarded as extravagant ("Madame Deficit"), pro-Austrian, and childless for too long. But, as Fraser demonstrates, Versailles demanded extravagance, and in politics Marie Antoinette was more pawn than player, pushed by wily Austrian diplomats and blocked by shrewd French ministers.

Fraser draws upon a huge range of sources to present a dazzling cast. Mozart, Gluck, Jefferson, Paine, Franklin and numerous others cross her pages. Fersen, the queen's discreet, devoted Swedish lover, looms large. The author succeeds brilliantly in describing how the once-vibrant Marie and the decent, despised, and irresolute Louis transformed themselves as the Revolution took its murderous course. Love of family gave them courage; love of France gave them nobility.

The horrific fate of Marie Antoinette, physically abused by the canaille, viciously libeled by the blood-soaked false prophets of liberty who condemned her, reminds the reader of just how thin the veneer of civilization is -- and how often revolutionaries are worse than those they condemn. Excellent illustrations and an extensive bibliography add to Fraser's fine book. Enthusiasts hungry for more can try Evelyne Lever's "martyred queen" portrait (Marie Antoinette: A Biography) and Chantal Thomas's analysis (The Wicked Queen), both now available in translation. (Peter Skinner)

Peter Skinner lives in New York City.

ANNOTATION

Brilliantly written, Marie Antoinette is a work of impeccable scholarship. Drawing on a wealth of family letters and other archival materials, Antonia Fraser successfully avoids the hagiography of some the French queen￯﾿ﾽs admirers and the misogyny of many of her critics. The result is an utterly riveting and intensely moving book by one of our finest biographers.

FROM THE PUBLISHER

Never before has the life of Marie Antoinette been told so intimately and with such authority as in Antonia Fraser’s newest work, Marie Antoinette: The Journey. Famously known as the eighteenth-century French queen whose excesses have become legend, Marie Antoinette was blamed for instigating the French Revolution. But the story of her journey begun as a fourteen-year-old sent from Vienna to marry the future Louis XVI to her courageous defense before she was sent to the guillotine reveals a woman of greater complexity and character than we have previously understood. We stand beside Marie Antoinette and witness the drama of her life as she becomes a scapegoat of the Ancien Regime when her faults were minor in comparison to the punishments inflicted on her.


The youngest daughter, fifteenth out of sixteen children, of Austrian empress Maria Teresa and Francis I, Marie Antoinette was sent on a literal journey by her mother from Vienna to Versailles with the expectation that she would further Austrian interests at all times. Yet, Marie Antoinette was by nature far from interested in state affairs and much more inclined to exert a gracious, philanthropic role, patronizing the arts especially music, as royalty would come to behave in the nineteenth century. Despite this the French accused her of political interference and wrote scandalous tracts against her, mocking her lack of sophistication. Meanwhile, longing for a family and the birth of an heir who would have cemented the Franco-Austro alliance, the French queen had to endure more than eight years of public humiliation for her barren marriage before the delivery of her first of four children.

Asthese problems unfold, Antonia Fraser also weaves a richly detailed account of Marie Antoinette’s other, more poignant journey: from the ill-educated and unprepared girl who sought refuge in pleasure as a consolation into a magnificent, courageous woman who defied her enemies at her trial with consummate intelligence, arousing the admiration of even the most hostile revolutionaries.

Brilliantly written, Marie Antoinetteis a work of impeccable scholarship. Drawing on a wealth of family letters and other archival materials, Antonia Fraser successfully avoids the hagiography of some the French queen’s admirers and the misogyny of many of her critics. The result is an utterly riveting and intensely moving book by one of our finest biographers.

SYNOPSIS

Never before has the life of Marie Antoinette been told so intimately and with such authority as in Antonia Fraser’s newest work, Marie Antoinette: The Journey. Famously known as the eighteenth-century French queen whose excesses have become legend, Marie Antoinette was blamed for instigating the French Revolution.

FROM THE CRITICS

Romantic Times

Fraser paints a more sympathetic portrait than some and more even-handed than others. She manages to balance Marie's life and the times to this reader's delight. Well-written and scrupulously researched.

Washington Post Book World

In the hands of a vivid writer with a flair for fascinating detail, Versailles comes alive.

Publishers Weekly

A child-princess is married off to a husband of limited carnal appetite. Her indiscretions and na vet , scorned by elderly dowagers, are coupled with charity, joie de vivre and almost divine glamour but her life is cut brutally short. The queen of France's life is rich in emotional resonance, riddled with sexual subplots and personal tragedies, and provides fertile ground for biographers. Fraser's sizable new portrait avoids the saccharine romance of Evelyne Lever's recent Marie Antoinette, balancing empathy for the pleasure-loving queen with an awareness of the inequalities that fed revolution after all, Marie herself was fully conscious of them. Her subject shows no let-them-eat cake arrogance, but is deeply (even surprisingly) compassionate, with a "public reputation for sweetness and mercy" that is only later sullied by vituperative pamphleteers and bitter unrest. She would sometimes be trapped by ingenuousness, and later by a fatal sense of duty. Yet her graceful bearing, acquired under the tutelage of her demanding mother, the empress Maria Teresa, made her an unusually popular princess before she was scapegoated as "Madame Deficit" and much, much worse. The portrait is drawn delicately, with pleasant touches of humor (a long-awaited baby is conceived around the time of Benjamin Franklin's visit: "Perhaps the King found this first contact with the virile New World inspirational"). Fraser's approach is controlled and thoughtful, avoiding the extravagance of Alison Weir's royal biographies. Her queen is neither heroine nor villain, but a young wife and mother who, in her journey into maturity, finds herself caught in a deadly vise. Color and b&w illus. It's a BOMC, History Book Club, Literary Guild and QPB selection. Copyright 2001 Cahners Business Information.

KLIATT

Vivid prose and exhaustive research make memorable Fraser's biography of the doomed Austrian Archduchesse Maria Antonia Josepha Joanna, known as Antoine to her family and Marie Antoinette to the ages. The 15th child of Marie Theresa, Queen-Empress of Austria, and the youngest of eight sisters, all sharing the name Maria, little Antoine was to make a long and tragic journey from sheltered and ill-tutored child to 14-year-old wife of French Dauphin Louis Auguste, the future Louis XVI, to mother, to reviled and maligned queen, to a prematurely aged woman of 38, bound and shorn, being carted to the guillotine. Fraser dispels some of the more flagrant calumnies directed at the queen, such as her involvement in the affair of the Diamond Necklace, and her purported callous "let them eat cake" statement, which story, Fraser points out, was first told about the Spanish princess who married Louis IV some 100 years earlier. She makes a convincing case for Marie Antoinette's designation by the press, the politicians and Court intrigue as scapegoat not only for the ills of an economically troubled nation, but for the entire French Revolution as well. There are numerous illustrations, both b/w and color plates, genealogical charts, an abridged list of sources (which nevertheless runs to 12 pages), and an exhaustive index. Literally hundreds of books have been written about Marie Antoinette, and Fraser's contribution is a relevant, compassionate and accessible portrait of the woman. A solid as well as entertaining read. KLIATT Codes: SA￯﾿ﾽRecommended for senior high school students, advanced students, and adults. 2001, Random House, Anchor, 511p. illus. notes. bibliog. index., Boatner

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