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Der Salon der kühnen Frauen: Roman
Ein hinreißender historischer Roman, der vom Zusammenhalt einer Gruppe von Frauen erzählt, die sich der Übermacht der Männer am Hof des Sonnenkönigs widersetzen.
Versailles zu Zeiten Ludwig XIV. Am Hof des Sonnenkönigs herrschen Pomp und Verschwendungssucht. Wer einen Blick hinter die Kulissen wagt, findet Intrigen, Missgunst Klatsch und Tratsch. Das wissen vor allem die Frauen, die sich regelmäßig in Marie d'Aulnoys Kaminzimmer in Paris treffen und dort zusammen flirten, lachen, Champagner trinken und sich Märchen erzählen. Doch das Geschichtenerzählen ist riskant und droht die Frauen eine nach der anderen in große Gefahr zu bringen …
Sexy, scharfsinnig, zeitgemäß: ein schillernder historischer Roman, der von wahren Begebenheiten inspiriert ist und von der Kraft des Geschichtenerzählens unter mutigen Frauen handelt.
»Elegant und dekadent, vulgär und klug, bezaubernd und dunkel. Das Buch, das ich dringend gebraucht habe.« Sarah Perry
Versailles zu Zeiten Ludwig XIV. Am Hof des Sonnenkönigs herrschen Pomp und Verschwendungssucht. Wer einen Blick hinter die Kulissen wagt, findet Intrigen, Missgunst Klatsch und Tratsch. Das wissen vor allem die Frauen, die sich regelmäßig in Marie d'Aulnoys Kaminzimmer in Paris treffen und dort zusammen flirten, lachen, Champagner trinken und sich Märchen erzählen. Doch das Geschichtenerzählen ist riskant und droht die Frauen eine nach der anderen in große Gefahr zu bringen …
Sexy, scharfsinnig, zeitgemäß: ein schillernder historischer Roman, der von wahren Begebenheiten inspiriert ist und von der Kraft des Geschichtenerzählens unter mutigen Frauen handelt.
»Elegant und dekadent, vulgär und klug, bezaubernd und dunkel. Das Buch, das ich dringend gebraucht habe.« Sarah Perry
289 pages, Kindle Edition
First published July 23, 2024
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Displaying 1 - 30 of 386 reviews
October 27, 2024
'...Mother Goose tales, as they often call them: of ogres, enchantments, and talking creatures. Since she was a small girl she has adored such stories. They could make a game of it, taking it in turns to give them a modern spin'.
It's late 17th Century France, and Louis XIV has ruled for long enough to ensure that all of France revolves around his omnipotence as the Sun King. However, for some of Paris' literati, King Louis' absolutism is a point of critique, and criticising the King is.a sure way to end your life, 'Louis XIV, understanding that story telling is political has placed the literati under strict surveillance'. Undeterred, Madame d'Aulnoy gathers together a salon of mostly women to take turns to re-tell old Mother Goose stories. Perhaps unsurprisingly, those stories seem to somewhat mirror the lives of the King, court, and the salonniéres at Madame's residence, 'Ah, these Modern Fairies! In each age-old tale they borrow, there are hard-won truths...'.
The Modern Fairies is a unique story, inspired by the real adventures of the Modern Fairies in 17th Century France. They helped shape many of the well-known fairy tales we are familiar with today. Clare Pollard not only shares some of these re-tellings but also recreates the people and environment in which they are told, lifting the lid on their imagined lives and the potential debauchery they lived within. The vulgarity and circumstances, narrated about the salon attendees reaches satirical levels and underscores the almost fantastical world in which Louis XIV created and perpetuated. Dispersed throughout the book are the re-tellings of the fairy tales themselves, revealing glimpses of just how the stories we now know and love were shaped.
This is a very unique book, enhanced by the fact that it is inspired by real events. However, if you're easily offended by bawdy, vulgar, humour, this might not be for you.
'We come to escape into the human imagination, which spins gold from the straw base of reality!'.
It's late 17th Century France, and Louis XIV has ruled for long enough to ensure that all of France revolves around his omnipotence as the Sun King. However, for some of Paris' literati, King Louis' absolutism is a point of critique, and criticising the King is.a sure way to end your life, 'Louis XIV, understanding that story telling is political has placed the literati under strict surveillance'. Undeterred, Madame d'Aulnoy gathers together a salon of mostly women to take turns to re-tell old Mother Goose stories. Perhaps unsurprisingly, those stories seem to somewhat mirror the lives of the King, court, and the salonniéres at Madame's residence, 'Ah, these Modern Fairies! In each age-old tale they borrow, there are hard-won truths...'.
The Modern Fairies is a unique story, inspired by the real adventures of the Modern Fairies in 17th Century France. They helped shape many of the well-known fairy tales we are familiar with today. Clare Pollard not only shares some of these re-tellings but also recreates the people and environment in which they are told, lifting the lid on their imagined lives and the potential debauchery they lived within. The vulgarity and circumstances, narrated about the salon attendees reaches satirical levels and underscores the almost fantastical world in which Louis XIV created and perpetuated. Dispersed throughout the book are the re-tellings of the fairy tales themselves, revealing glimpses of just how the stories we now know and love were shaped.
This is a very unique book, enhanced by the fact that it is inspired by real events. However, if you're easily offended by bawdy, vulgar, humour, this might not be for you.
'We come to escape into the human imagination, which spins gold from the straw base of reality!'.
December 14, 2024
Sumptuous. I can't believe a huge portion of this actually happened.
This was one of my favorite fiction books of 2024!
Click here to hear more of my thoughts over on my Booktube channel, abookolive.
This was one of my favorite fiction books of 2024!
Click here to hear more of my thoughts over on my Booktube channel, abookolive.
Read
August 11, 2025Fascinating and revolting account of the salons at which what became our versions of the traditional fairy tales were elaborated. Full of the utter revoltingness - political, moral, personal, hygienic - of Versailles and the horror of the Sun king's grotesque regime. Hugely readable with a sapphic sort-of
love affair and just enough glimmers of human decency to keep you going. A cracking historical novel.
love affair and just enough glimmers of human decency to keep you going. A cracking historical novel.
June 25, 2024
The origins of fairy stories are lost in the myths of our ancient grandmothers, maidservants and wise women. When they were first set down in writing, the authors took their own liberties with the stories and they evolved into the classics we know today. In the salons of Paris in Louis XIV’s reign, it was popular to share these tales, the storytellers putting their own spin on them, often with underlying political satire.
The Modern Fairies is as dark as any fairytale but it’s also very funny and very bawdy. The narrator shares her memories of these times with the reader in an intimate (often very intimate!) way. We learn about the debauchery of life at Versailles in deservedly unflattering terms. Men and women lived in fear of losing their positions, if not their heads. Women who fell out of favour with their husbands or the king would be exiled to chateaux that acted as prisons or locked up in convents. These were bloodthirsty times and revolution against them was just around the corner.
I thoroughly enjoyed this. The author takes liberties with timelines but not with the basic facts. It was interesting to learn how fairy tales evolved and about the lives of those responsible for the earliest written versions. Highly recommended as an interesting fun read.
With thanks to NetGalley and Penguin General UK for a review copy.
The Modern Fairies is as dark as any fairytale but it’s also very funny and very bawdy. The narrator shares her memories of these times with the reader in an intimate (often very intimate!) way. We learn about the debauchery of life at Versailles in deservedly unflattering terms. Men and women lived in fear of losing their positions, if not their heads. Women who fell out of favour with their husbands or the king would be exiled to chateaux that acted as prisons or locked up in convents. These were bloodthirsty times and revolution against them was just around the corner.
I thoroughly enjoyed this. The author takes liberties with timelines but not with the basic facts. It was interesting to learn how fairy tales evolved and about the lives of those responsible for the earliest written versions. Highly recommended as an interesting fun read.
With thanks to NetGalley and Penguin General UK for a review copy.
July 29, 2024
Pollard has given us a fictionalised account of a group of fairy tellers, who started the literary, written fairy tale tradition. We are back at the time of the French Sun King, Louis the XIV, in a salon in Paris where Marie D'Aulnoy and her friends meet and recount their written fairy tale adaptations.
Like any other story, these adaptations are imprinted by the people telling the story. She successfully shows the interlinking between the fairytales themselves , the personal stories of the writers, and the effect of living under the reign of Louis XIV. Thus, the tales are shaped by the cultural and political times in which they were written down and may have also been used to send veiled messages as regards what was happening and morality.
Excellently done, another Pollard I enjoyed.
An ARC gently provided by author/publisher via Netgalley
contes de fées
Like any other story, these adaptations are imprinted by the people telling the story. She successfully shows the interlinking between the fairytales themselves , the personal stories of the writers, and the effect of living under the reign of Louis XIV. Thus, the tales are shaped by the cultural and political times in which they were written down and may have also been used to send veiled messages as regards what was happening and morality.
Excellently done, another Pollard I enjoyed.
An ARC gently provided by author/publisher via Netgalley
contes de fées
August 5, 2024
Just can not get into it. Too many names, too many people I can’t figure out why I should care about them or if I should and some of the stuff included to be spicy or saucy just did not land with me. Not for me.
October 1, 2026
I enjoy historical fiction because I like the past, like thinking about the past, but I often take issue with historical fiction as written. It tries the channel past attitudes, manners of speech and behaviours, but fails in subtle ways (anachronist words, characters who are too obviously of their time or worse, modern people transported back in time and put in fancy dress).
So I vastly prefer a project like this, in which the author and narrator make no pretense that we are actually in the past; indeed, they constantly undermine the idea that we are by peppering descriptions with strange flash forwards or commentary in a more contemporary voice. The narrative voice of The Modern Fairies was like that: describing the opulence of Versailles, but with a healthy dose of skepticism, 21st-century class consciousness, disrespect for authority and one or two winks from the page.
This is also the story of how, as Paris starved and froze its way through a terrible winter, and as Louis the XIV planned his newest rapes and romantic conquests, a group of aristocrats met to steal the folktales of the working class and turn them into little jewelled conceits.
Sorry, got away from myself for a moment there.
It’s about how a group of wealthy Parisians invented the literary fairy tale, as opposed to the folktales and cradle songs that were, for the most part, not yet being collected and anthologized. It’s about how artistry created these timeless stories we all know, preserving their harshness and strangeness while bundling them up in a dressage of castles and balls and mirrored corridors. It’s about how, for these people, that was quite possibly a form of social realism. It’s about how these fairy tales became both wildly popular and came to be seen as subversive, critical of the monarchy, linked to witchcraft.
Among a cast of mostly women, there is also Charles Perrault, perhaps the most famous teller of fairy tales. Refreshingly, he is presented quite sympathetically, as a man slightly out of step with the men of his time, a friend to women, a loving father to his sons, and a lover of crafting a good story.
I really enjoyed this, for its playfulness, bawdiness, frequently lewd humour, that strange and caustic narrative voice and even, yes, the descriptions of golden, mirrored, piss-smelling Versailles.
Also, also, gorgeous cover!
So I vastly prefer a project like this, in which the author and narrator make no pretense that we are actually in the past; indeed, they constantly undermine the idea that we are by peppering descriptions with strange flash forwards or commentary in a more contemporary voice. The narrative voice of The Modern Fairies was like that: describing the opulence of Versailles, but with a healthy dose of skepticism, 21st-century class consciousness, disrespect for authority and one or two winks from the page.
This is also the story of how, as Paris starved and froze its way through a terrible winter, and as Louis the XIV planned his newest rapes and romantic conquests, a group of aristocrats met to steal the folktales of the working class and turn them into little jewelled conceits.
Sorry, got away from myself for a moment there.
It’s about how a group of wealthy Parisians invented the literary fairy tale, as opposed to the folktales and cradle songs that were, for the most part, not yet being collected and anthologized. It’s about how artistry created these timeless stories we all know, preserving their harshness and strangeness while bundling them up in a dressage of castles and balls and mirrored corridors. It’s about how, for these people, that was quite possibly a form of social realism. It’s about how these fairy tales became both wildly popular and came to be seen as subversive, critical of the monarchy, linked to witchcraft.
Among a cast of mostly women, there is also Charles Perrault, perhaps the most famous teller of fairy tales. Refreshingly, he is presented quite sympathetically, as a man slightly out of step with the men of his time, a friend to women, a loving father to his sons, and a lover of crafting a good story.
I really enjoyed this, for its playfulness, bawdiness, frequently lewd humour, that strange and caustic narrative voice and even, yes, the descriptions of golden, mirrored, piss-smelling Versailles.
Also, also, gorgeous cover!
August 14, 2024
You know that question that comes up from time to time? Where would you go if time travel were possible? I've absolutely wondered that on more than one occasion. What I haven't spent much time on is where I wouldn't go. After reading Clare Pollard's utter triumpth of a novel I can safely add at least one location. If it even remotely resembled the picture Ms. Pollard paints I would not set foot in Paris during the reign of Louis XIV for a bajillion dollars.
Pollard's Paris is a decadent nightmare city where face paint, powder, and carefully placed beauty marks barely conceal a turd choked cesspool. The city is populated by vainglorius nobles who orbit the Sun Kings throne, dancing attendance and avoiding his capricious moods (considering the dude bathed ONCE A YEAR I'd have avoided him too) and nearly overwhelmed by an ever increasing number of poverty stricken, furious lower classes who can barely scrape together a few francs while Louis dines on stuffed partridge and pipes champagne through the fountains of Versaille.
Literary salons are allll the rage in Louis's Paris and chief among them is that of Madame d'Aulnoy's where a select group meets to share fairy tales. It is a source of delicious scandal that most of the members are women and there are more than few sordid stories circulating in the city about their romantic entanglements, private perversions and political ideas. But when those stories find their way to Louis's chief of police, Madame d'Aulnoy realizes there is a traitor in their midst.
Pollard is a simply superb writer. She lulls you into a sweet, sweet haze of princesses and castles only to stick you with the poinard of a truly superior, utterly vulgar wit. Even as you tsk tsk at the oppulence and wastefulness of a world rapidly spirally toward revolution you fall in love with these women and feel desperately for the lives of oppression and abuse they suffer through. In a world where men were practically encouraged to beat their wives and a woman could be sent to prison or a convent for the high crime of being annoying is it any wonder they'd seek out comfort and empathy wherever they could find it?
This was a totally gorgeous, utterly appalling read. If, like me, you were not aware that it was possible for a book to be both those things I strongly encourage you to snap this decadent, disgusting little treat right up and devour it like the juicy, succulent pear it is.
Just eat around the maggoty, brown bits.
Pollard's Paris is a decadent nightmare city where face paint, powder, and carefully placed beauty marks barely conceal a turd choked cesspool. The city is populated by vainglorius nobles who orbit the Sun Kings throne, dancing attendance and avoiding his capricious moods (considering the dude bathed ONCE A YEAR I'd have avoided him too) and nearly overwhelmed by an ever increasing number of poverty stricken, furious lower classes who can barely scrape together a few francs while Louis dines on stuffed partridge and pipes champagne through the fountains of Versaille.
Literary salons are allll the rage in Louis's Paris and chief among them is that of Madame d'Aulnoy's where a select group meets to share fairy tales. It is a source of delicious scandal that most of the members are women and there are more than few sordid stories circulating in the city about their romantic entanglements, private perversions and political ideas. But when those stories find their way to Louis's chief of police, Madame d'Aulnoy realizes there is a traitor in their midst.
Pollard is a simply superb writer. She lulls you into a sweet, sweet haze of princesses and castles only to stick you with the poinard of a truly superior, utterly vulgar wit. Even as you tsk tsk at the oppulence and wastefulness of a world rapidly spirally toward revolution you fall in love with these women and feel desperately for the lives of oppression and abuse they suffer through. In a world where men were practically encouraged to beat their wives and a woman could be sent to prison or a convent for the high crime of being annoying is it any wonder they'd seek out comfort and empathy wherever they could find it?
This was a totally gorgeous, utterly appalling read. If, like me, you were not aware that it was possible for a book to be both those things I strongly encourage you to snap this decadent, disgusting little treat right up and devour it like the juicy, succulent pear it is.
Just eat around the maggoty, brown bits.
July 20, 2025
For a book grounded in telling fairytales, it sure was bored of telling fairytales from the very beginning.
December 29, 2024
Set during the reign of King Louis XIV of France, a small group of artists and writers meet in a salon. They share and act out retellings of the “Donkey Skin” stories (aka fairy tales). It is a time of censorship and persecution, and the group suspects someone among them is a spy. These are mostly grim stories with disturbing content, such as sexual violence, many forms of death, and abuse. They read as more of a collection of short stories tied together by the group’s musings. Well-known tales are retold, and the reader will likely recognize many versions of classic tales that have been told and retold over the ages. These are not for children, though. I can appreciate the writing, and the creativity, but it is too dark for my taste.
March 20, 2026
AMO AMO AMO AMO !!!!
April 4, 2024
For anyone else who grew up with Charles Perrault’s fairy tales, this will be so much fun! Pollard crafts a quirky litfic story set in the 1600s but very modernized language - think Coppola’s Marie Antoinette movie.
This is based on real events involving Perrault and the women around him, and how they crafted his famous fairy tales around the reign of Louis XIV. It’s an interesting take, and a shorter novel that doesn’t overstay its welcome. Pollard is definitely a writer I’ll be reading from again!
This is based on real events involving Perrault and the women around him, and how they crafted his famous fairy tales around the reign of Louis XIV. It’s an interesting take, and a shorter novel that doesn’t overstay its welcome. Pollard is definitely a writer I’ll be reading from again!
May 18, 2024
This very possibly will be my favorite book of 2024. Absolutely BRILLIANT.
August 2, 2024
I liked the concept of pairing fairy tales with France in the 1600s but hated the raunchy sexual exploits.
February 14, 2026
*4,5
Ultimamente in quello che leggo, sono sempre più alla ricerca di originalità, non fine a se stessa ma funzionale a veicolare un messaggio. Clare Pollard crea un meccanismo un po’ alla Decamerone per cui il lettore si trova ad ascoltare una serie di storie che vengono narrate all’interno di un salotto letterario nella Francia di Luigi XIV. Questo escamotage permette di inserire un forte elemento di critica al regime. In più la narrazione viene messa in atto da un misterioso narratore onnisciente consolidando ulteriormente la libertà nella narrazione. L’esplorazione del contesto storico risulta ulteriormente di interesse grazie all’inserzione di diversi elementi che possono risultare bizzarri ma che nella maggior parte dei casi sono assolutamente veri. L’autrice é abile nel riempire i buchi storici con la propria inventiva in modo del tutto verosimile inserendo anche l’elemento romance. Il tono é irriverente e spregiudicato, come del resto la personalità delle protagoniste femminili, riuscendo a tenere il lettore agganciato e ben intrattenuto.
Ultimamente in quello che leggo, sono sempre più alla ricerca di originalità, non fine a se stessa ma funzionale a veicolare un messaggio. Clare Pollard crea un meccanismo un po’ alla Decamerone per cui il lettore si trova ad ascoltare una serie di storie che vengono narrate all’interno di un salotto letterario nella Francia di Luigi XIV. Questo escamotage permette di inserire un forte elemento di critica al regime. In più la narrazione viene messa in atto da un misterioso narratore onnisciente consolidando ulteriormente la libertà nella narrazione. L’esplorazione del contesto storico risulta ulteriormente di interesse grazie all’inserzione di diversi elementi che possono risultare bizzarri ma che nella maggior parte dei casi sono assolutamente veri. L’autrice é abile nel riempire i buchi storici con la propria inventiva in modo del tutto verosimile inserendo anche l’elemento romance. Il tono é irriverente e spregiudicato, come del resto la personalità delle protagoniste femminili, riuscendo a tenere il lettore agganciato e ben intrattenuto.
July 29, 2024
A perfect depiction of gilded 17th century France, interspersed with the crude and vulgar reality of the aristocracy. *chefs kiss*
June 21, 2025
I got like 30% into this book and I can’t tell you what’s happening. There’s no way I’m finishing it 🙂↔️ sorry book clurb
May 28, 2024
Probably the horniest book I have ever read, and I've read Penelope Douglas.
A sumptuous feast of a book, Full to the brim with debauchery, seduction and greed. The illicit content is tantalizing, the extremity of sexuality is shocking and seductive. At times, there seems no room to breath before you are bombarded with the next provocation.
That is the book's beauty, beneath the artifice and avarice lurks a wonderfully layered analysis of feminine agency. They use fairy tales to voice their grievances and depict their own fantasies, the gorier the better when a prince is concerned. The escape these stories allow is evident, though fraught for the outside begins to seep in and the threat of the Big Bad Wolf looms closer. The corruption of their safe space mirrors that of a fairy tale, a princess swoons and is betrayed, and her life unravels as she helplessly scrambles to find out what happened.
A sumptuous feast of a book, Full to the brim with debauchery, seduction and greed. The illicit content is tantalizing, the extremity of sexuality is shocking and seductive. At times, there seems no room to breath before you are bombarded with the next provocation.
That is the book's beauty, beneath the artifice and avarice lurks a wonderfully layered analysis of feminine agency. They use fairy tales to voice their grievances and depict their own fantasies, the gorier the better when a prince is concerned. The escape these stories allow is evident, though fraught for the outside begins to seep in and the threat of the Big Bad Wolf looms closer. The corruption of their safe space mirrors that of a fairy tale, a princess swoons and is betrayed, and her life unravels as she helplessly scrambles to find out what happened.
April 1, 2026
“L’amore non è fuoco da soffocare dentro l’anima; tutto ci tradisce, la voce, il silenzio, gli occhi. I fuochi mal coperti divampano più forti”.
October 19, 2026
Parafraseando a mi querida amiga Olga en una reseña, que nada tiene que ver con este título, diré: "diversión diversión".
La verdad sea dicha, de lo más atractivo a mi parecer del libro ha sido el desfase fantasioso que se destilaba en la aristocracia de la época, recargada de lujuria y deseo los y las aristócratas se mueven por terrenos pantanosos e inexplorados en lo referente a la sexualidad, algunos caminos extremadamente perturbadores y otros extremadamente divertidos. Y eso me parece interesante, de forma ligera la autora muestra los problemas del primer mundo de la época y el que estos problemas, sobre todo los relacionados con cuestiones de autopercepción, deseo y sexualidad, sigan hoy más que nunca a la orden del día es bastante loco. Aunque supongo que en parte también es positivo pensar que ahora la gente pueda preocuparse más por estas cosas que por lo que se preocupaba en la clase media/baja de la época (novela ambientada poco antes de la revolución francesa) que debía de ser si hoy podían comer una patata o no. Esto último también es un punto que menciona el libro, pero yo le quiero dar la misma brevedad que la autora.
Por último, me gusta en especial el sentimiento de comunidad que se generaba a través de estos encuentros sociales, aunque la mayoría de veces solo fuera por mantener una fachada y aunque solo pudieran acceder las clases altas. Seamos realistas, el mundo en el que vivimos es un privilegio que nos da muchísimas oportunidades que la gente de no hace tanto apenas imaginaba. Se me hace triste creer que la rueda en la que nos movemos nos aleja más los unos de los otros, apenas quedan sitios en donde la gente joven se junte y hagan comunidad y personalmente siento que es importante, algo que no deberíamos de abandonar.
La verdad sea dicha, de lo más atractivo a mi parecer del libro ha sido el desfase fantasioso que se destilaba en la aristocracia de la época, recargada de lujuria y deseo los y las aristócratas se mueven por terrenos pantanosos e inexplorados en lo referente a la sexualidad, algunos caminos extremadamente perturbadores y otros extremadamente divertidos. Y eso me parece interesante, de forma ligera la autora muestra los problemas del primer mundo de la época y el que estos problemas, sobre todo los relacionados con cuestiones de autopercepción, deseo y sexualidad, sigan hoy más que nunca a la orden del día es bastante loco. Aunque supongo que en parte también es positivo pensar que ahora la gente pueda preocuparse más por estas cosas que por lo que se preocupaba en la clase media/baja de la época (novela ambientada poco antes de la revolución francesa) que debía de ser si hoy podían comer una patata o no. Esto último también es un punto que menciona el libro, pero yo le quiero dar la misma brevedad que la autora.
Por último, me gusta en especial el sentimiento de comunidad que se generaba a través de estos encuentros sociales, aunque la mayoría de veces solo fuera por mantener una fachada y aunque solo pudieran acceder las clases altas. Seamos realistas, el mundo en el que vivimos es un privilegio que nos da muchísimas oportunidades que la gente de no hace tanto apenas imaginaba. Se me hace triste creer que la rueda en la que nos movemos nos aleja más los unos de los otros, apenas quedan sitios en donde la gente joven se junte y hagan comunidad y personalmente siento que es importante, algo que no deberíamos de abandonar.
June 24, 2026
cosa potrebbe mai accadere nella francia tra il diciassettesimo e diciottesimo secolo, sotto il controllo di luigi xiv? di tutto, davvero, ma una cosa è certa: per la mitica penna di clare pollard c'è il gossip. tanto gossip, tante storie che vanno la pena di essere raccontate - e direi che non posso fare a meno di essere d'accordo.
in duecento pagine, l'autrice riesce non solo a farci immergere nel mondo monarchico della versailles dell'epoca, ma quelli che sono soprattutto i lati negativi della questione. del fatto che non ci sono solo bellezze, ma che spesso è solo oro che nasconde... cioccolata, per essere family friendly. all'interno del circolo letterario di madame d'aulnoy, troviamo infatti per la maggior parte donne - anche se non mancano uomini - che raccontano storie che, in un certo senso, conosciamo già. tuttavia, non è solo di quello che parliamo.
l'elemento centrale della narrazione infatti non sono tanto le storie che vengono raccontate e la morale che portano avanti, ma i personaggi: i loro caratteri, tutti quanti diversi ma condizionati dalla società in cui si trovano e dal contesto familiare in cui vivono, e il prevalere dei loro desideri e impulsi. un tema che è piuttosto legato al mondo della commedia, che ho notato spesso nel corso della lettura: mi sento di considerarla proprio una commedia moderna, per quanto non sia canonicamente tale.
se cercate una storia da leggere magari nel corso di quest'estate calda, che sia breve e in grado di trascinare nel corso della lettura, piena di colpi di scena in stile teatrale, potrebbe fare al caso vostro. e in più... CI SONO LE SAFFICHE! non aggiungo altro.
in duecento pagine, l'autrice riesce non solo a farci immergere nel mondo monarchico della versailles dell'epoca, ma quelli che sono soprattutto i lati negativi della questione. del fatto che non ci sono solo bellezze, ma che spesso è solo oro che nasconde... cioccolata, per essere family friendly. all'interno del circolo letterario di madame d'aulnoy, troviamo infatti per la maggior parte donne - anche se non mancano uomini - che raccontano storie che, in un certo senso, conosciamo già. tuttavia, non è solo di quello che parliamo.
l'elemento centrale della narrazione infatti non sono tanto le storie che vengono raccontate e la morale che portano avanti, ma i personaggi: i loro caratteri, tutti quanti diversi ma condizionati dalla società in cui si trovano e dal contesto familiare in cui vivono, e il prevalere dei loro desideri e impulsi. un tema che è piuttosto legato al mondo della commedia, che ho notato spesso nel corso della lettura: mi sento di considerarla proprio una commedia moderna, per quanto non sia canonicamente tale.
se cercate una storia da leggere magari nel corso di quest'estate calda, che sia breve e in grado di trascinare nel corso della lettura, piena di colpi di scena in stile teatrale, potrebbe fare al caso vostro. e in più... CI SONO LE SAFFICHE! non aggiungo altro.
February 19, 2026
"Perché nessuno dice mai che è la bella principessa a diventare la regina cattiva, che sono la stessa persona in momenti diversi della storia? "
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August 29, 2026Un llibre curiós i diferent, és ficció i no és ficció. En moments m'he perdut una mica, però m'ha agradat perquè, en el fons, demostra la importància dels contes populars
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February 27, 2026dnf...interesse non pervenuto
February 4, 2026
Bridgerton incontra Papà Castoro intorno al focolare domestico dei salotti intellettuali francesi (pre Rivoluzione).
Il narratore onnisciente descrive à la Alberto Angela gli intrighi della corte reale, librotrasportando il lettore tra l’opulenza di balli, nobiltà, pettegolezzi e velenose pietanze.
Le forti protagoniste femminili (e Perrault) si dilettano in abbellimenti di racconti di ‘balie e tutrici’, mentre Il Re Sole continua a forgiare un impero fatto di fasti, ori e cortigiani. Fuori Versailles intanto il popolo congela, e freme.
Perrault é un padre di famiglia molto umano e ingenuo, mentre Mme d’Aulnoy é una scaltra padrona di casa che nasconde un lato oscuro sebbene a tratti dolce.
Personaggio adorabilissimo (e Lady oscarissimo), la Principessa di Conti.
Il narratore onnisciente descrive à la Alberto Angela gli intrighi della corte reale, librotrasportando il lettore tra l’opulenza di balli, nobiltà, pettegolezzi e velenose pietanze.
Le forti protagoniste femminili (e Perrault) si dilettano in abbellimenti di racconti di ‘balie e tutrici’, mentre Il Re Sole continua a forgiare un impero fatto di fasti, ori e cortigiani. Fuori Versailles intanto il popolo congela, e freme.
Perrault é un padre di famiglia molto umano e ingenuo, mentre Mme d’Aulnoy é una scaltra padrona di casa che nasconde un lato oscuro sebbene a tratti dolce.
Personaggio adorabilissimo (e Lady oscarissimo), la Principessa di Conti.
July 31, 2024
I can't believe I actually won a GoodReads giveaway!
Such a clever concept filled with even more clever spins, riddles and 'morals'. I definitely enjoyed it, but the writing style isn't the most digestible. I know that that adds to the overall aesthetic and enhances the historical element. After all, there are very few things more pompous than Versailles, but it curbed my interest nonetheless. I found myself on a turtle race to finish.
Such a clever concept filled with even more clever spins, riddles and 'morals'. I definitely enjoyed it, but the writing style isn't the most digestible. I know that that adds to the overall aesthetic and enhances the historical element. After all, there are very few things more pompous than Versailles, but it curbed my interest nonetheless. I found myself on a turtle race to finish.
September 28, 2024
A reviewer describes this book as “elegant and decadent, vulgar and clever, enchanting and dark.“
Yes.
I would even add charming, although it dances lightly through heavy issues, showing them clearly but continuing the dance all the same. And while I braced myself for a sad conclusion, a ray of light broke through the gloom just in time to leave me happy.
Beautifully written, I probably would have rated it 4 stars if I had cared a whit about the Louis XIV era.
Yes.
I would even add charming, although it dances lightly through heavy issues, showing them clearly but continuing the dance all the same. And while I braced myself for a sad conclusion, a ray of light broke through the gloom just in time to leave me happy.
Beautifully written, I probably would have rated it 4 stars if I had cared a whit about the Louis XIV era.
July 2, 2024
DNF - Overwritten, with a narrator voice that sounds like a dry history text book and characters that are flat.
eARC provided by publisher via NetGalley.
eARC provided by publisher via NetGalley.
April 1, 2026
A modo suo originale, ma di sicuro non imperdibile. Direi piacevole, ma purtroppo non l' ho trovato per niente scorrevole.
July 18, 2026
На эту книгу я наткнулась абсолютно случайно, но как только увидела слово «сказки» в аннотации: мигом поняла, что оно мне надо. Хорошо, что я не читала это глазами, потому что, скорее всего, бросила на первой трети. Серьезно, Соня Платошкина, которая начитала книгу в аудио, молодец. Но давайте по существу.
В «Версальских Фаях» писательница Клэр Поллард представляет читателю свою интерпретацию того, что происходило в салоне Мари д'Онуа в период правления Короля-солнце Людовика XIV. За редкими исключениями, все персонажи книги – реально существующие исторические личности. В целом у судеб героев Поллард всё же больше сходств чем различий с их историческими прототипами. И, пожалуй, в этом и главная проблема лично для меня.
Самые интересные события – это те, что произошли в реальности. Вклад автора в сюжетном плане ничтожно мал. Поллард пытается показать Версаль на закате правления Короля-солнца, и зрелище выходит малоприятным: придворные густо белят лица, маскируя следы оспы и «нехороших» болезней. Малоприятная картина. Но писательнице обязательно нужно добавить физиологичности. И вот мы уже читаем про Версаль, пропитанный запахом мочи из-за отсутствия канализации и неделями немытых горшков. Понятно, что это попытка сыграть на контрасте, но фокус не удался. Положительную сторону дворцовой жизни нам вообще не показывают. Ну знаете, то самое напускное богатство и роскошь, за которыми скрывается всякая грязь. Читателя нельзя шокировать мерзостью если пишешь только про мерзость. Более того, Клэр Поллард считает нужным придать практически каждому взаимодействию персонажей сексуализированный подтекст. Да, даже тем, которые могли бы обойтись без него. Вот это бесило больше всего. Не само их наличие, или не то, что это безвкусно и беззубо. Видит бог, я не настолько эстет. А то, что эти подтексты ни на что не влияют и существуют просто «потому что». По мне так, это хуже.
Средняя оценка связана с тем, что я мало что знала о Версале и о правлении Людовика XIV, так что все события книги лично для меня – новая информация. Это были интересные несколько часов на Википедии, но не более. Как художественное произведение вдохновлённое реальными событиями а-ля Филиппа Грегори – это плохо. Как фанфик, написанный про реальных людей и фантазии на тему их сексуальной жизни – ещё хуже.
В «Версальских Фаях» писательница Клэр Поллард представляет читателю свою интерпретацию того, что происходило в салоне Мари д'Онуа в период правления Короля-солнце Людовика XIV. За редкими исключениями, все персонажи книги – реально существующие исторические личности. В целом у судеб героев Поллард всё же больше сходств чем различий с их историческими прототипами. И, пожалуй, в этом и главная проблема лично для меня.
Самые интересные события – это те, что произошли в реальности. Вклад автора в сюжетном плане ничтожно мал. Поллард пытается показать Версаль на закате правления Короля-солнца, и зрелище выходит малоприятным: придворные густо белят лица, маскируя следы оспы и «нехороших» болезней. Малоприятная картина. Но писательнице обязательно нужно добавить физиологичности. И вот мы уже читаем про Версаль, пропитанный запахом мочи из-за отсутствия канализации и неделями немытых горшков. Понятно, что это попытка сыграть на контрасте, но фокус не удался. Положительную сторону дворцовой жизни нам вообще не показывают. Ну знаете, то самое напускное богатство и роскошь, за которыми скрывается всякая грязь. Читателя нельзя шокировать мерзостью если пишешь только про мерзость. Более того, Клэр Поллард считает нужным придать практически каждому взаимодействию персонажей сексуализированный подтекст. Да, даже тем, которые могли бы обойтись без него. Вот это бесило больше всего. Не само их наличие, или не то, что это безвкусно и беззубо. Видит бог, я не настолько эстет. А то, что эти подтексты ни на что не влияют и существуют просто «потому что». По мне так, это хуже.
Средняя оценка связана с тем, что я мало что знала о Версале и о правлении Людовика XIV, так что все события книги лично для меня – новая информация. Это были интересные несколько часов на Википедии, но не более. Как художественное произведение вдохновлённое реальными событиями а-ля Филиппа Грегори – это плохо. Как фанфик, написанный про реальных людей и фантазии на тему их сексуальной жизни – ещё хуже.
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