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Maud Heighton came to Lafond's famous Academie to paint, and to flee the constraints of her small English town. It took all her courage to escape, but Paris, she quickly realizes, is no place for a light purse. While her fellow students enjoy the dazzling decadence of the Belle Epoque, Maud slips into poverty. Quietly starving, and dreading another cold Paris winter, she stumbles upon an opportunity when Christian Morel engages her as a live-in companion to his beautiful young sister, Sylvie. Maud is overjoyed by her good fortune. With a clean room, hot meals, and an umbrella to keep her dry, she is able to hold her head high as she strolls the streets of Montmartre. No longer hostage to poverty and hunger, Maud can at last devote herself to her art.
But all is not as it seems. Christian and Sylvie, Maud soon discovers, are not quite the darlings they pretend to be. Sylvie has a secret addiction to opium and Christian has an ominous air of intrigue. As this dark and powerful tale progresses, Maud is drawn further into the Morels' world of elegant deception. Their secrets become hers, and soon she is caught in a scheme of betrayal and revenge.
Revealing a side of the city that few see, Imogen Robertson's The Paris Winter plunges into the darkness that lies beneath this glittering city of light.
- Sales Rank: #293200 in Books
- Published on: 2016-02-02
- Released on: 2016-02-02
- Original language: English
- Number of items: 1
- Dimensions: 8.27" h x 1.05" w x 5.43" l, .0 pounds
- Binding: Paperback
- 368 pages
Review
“Once the seeds of intrigue are planted, the scope of the book is expanded to encompass murderous plots, shady Parisian undersides, upper-class dealings, gems of history and gems – as in jewels. The women are heartwarming as friends and delightfully effective as crime fighters. With a twisty, well-crafted plot, this novel is rich in historical detail and robust with personality.” ―Kirkus, starred review
“I must have breathed while reading THE PARIS WINTER, but I could not say when. Robertson's dark tale in the City of Light will haunt the reader long after closing its pages.” ―Erika Robuck, Bestselling Author of Hemingway's Girl
“Rich as a ripened red wine, The Paris Winter intoxicates and satisfies the reader's darkest desires to be mysteriously entranced. With dazzling Belle �poque detail and nail-biting plot, Robertson stylishly paints a historical thriller of intrigue and treachery that will have you staying up late to the very last page drop. A compulsive read. I couldn't put it down.” ―Sarah McCoy, author of the international bestseller The Baker's Daughter
“Imogen Robertson has written an enthralling novel. With its beguiling characters, deliciously twisted storyline, and setting in a city that is sometimes seductively glamorous, sometimes shivery with menace, The Paris Winter is an absolute treat for lovers of historical fiction.” ―Margaret Leroy, author of The Soldier’s Wife
“Deliciously chilling and dangerous. The plot and characters are absolutely mesmerizing, drawing you in to their world like the opium itself.” ―Karen Maitland, author of Company of Liars
“The Paris Winter is a wonderful novel, an utterly transportive and richly detailed amalgam of historical fiction and spellbinding thriller. Imogen Robertson brings Belle �poque Paris vividly to life in all its light and shadow, beauty and squalor, glory and treachery.” ―Jennifer Chiaverini, author of Mrs. Lincoln's Dressmaker
“Dramatic and teeming with intrigue, The Paris Winter is a richly detailed historical novel that both thrills and satisfies.” ―Shelf Awareness
“Both a romantic novel and a thriller, in the best possible ways.” ―Spencer Daily Reporter
“Paints a dark, evocative portrait of the turbulent era, highlighting the limits placed on women . . . instead of centering on a conventional love story like similar historical works, the dramatic, intriguing, richly detailed historical novel is held together by the tensile strength of the women's friendship.” ―Shelf Awareness for Readers, starred review
“Robertson is skillful at conjuring up not only a twisty, gripping plot, but also compelling characters . . . these multidimensional characters and Robertson's descriptions of Belle Epoque Paris – even of rats in ancient, flooding cellars – make the reader want to visit, even for a day.” ―BookPage
About the Author
IMOGEN ROBERTSON directed for TV, film, and radio before becoming a full-time author. She is the author several novels, including the Crowther and Westerman series. Imogen was shortlisted for the CWA Ellis Peters Historical Award 2011 and for the CWA Dagger in the Library Award 2012. The Paris Winter was partially inspired by Imogen's paternal grandmother, a free-spirited traveler who set off through Europe with money sewn into her skirts.
Most helpful customer reviews
40 of 41 people found the following review helpful.
The Paris Winter
By Damaskcat
Maud Heighton is studying art in Paris but she is running out of money because Paris is so expensive especially during the Belle Epoque. One of her fellow students is found dead after committing suicide and this seems to Maud like an omen of what could happen to her unless she can find a way of earning money which doesn't interfere with her painting.
Another student - the glamorous Tanya - introduces her to someone who can find her a job and at first the proposed job seems like paradise. She is to keep Sylvie Morel company and teach her painting and sketching in the afternoons and she is to live in which means she is well fed in luxurious surroundings. But is everything exactly as it seems?
The book is well written in a very low key style which somehow draws the reader into the story and keeps them reading. I loved the descriptions of life in Paris with its contrasts between rich and poor, the beautiful architecture and the many eccentric artists. I liked the characters and thought the author really brought them to life. I found Maud to be a sympathetic character and I admired her grit and determination in an age when such qualities were not admired in women. This is an enjoyable reader for anyone who likes historical novels.
27 of 28 people found the following review helpful.
Imogen Robertson keeps getting better!
By Bella Rosa
I'm a big fan of Ms. Robertson's Westerman and Crowther books, so I was curious to read this standalone novel. (Honestly, not enough people write standalone novels anymore.)
Maud Heighton is a young English woman who is studing painting at Lafond's Academie. Literally a starving artist, she is taken under the wing of a wealthy Russian classmate, Tanya, and one of the the classes' models, a Parisian called Yvette. Through them she eventually is introduced to Christian Morel and hired as a companion for his sister Sylvie. Sylvie has an opium habit, and needs someone to keep an eye on her while Christian is at his club. Well fed and content for the first time in many months, Maud develops a deep affection for Sylvie and begins to dream once again about her own future instead of her next meal.
Ms. Robertson creates wonderful characters. Maud is an artist, and it shows in her perspective in the first section of the book. The juxtaposition of color and texture are frequent elements of her descriptions and scene setting. Like Maud, I was lulled into complacency with her life with the Morels, and I was completely shocked when things changed. I also love the way Ms. Robertson uses history, incorporating events of the time period appropriately to her characters. It's not a research dump and the facts never feel shoe-horned in to the story, but you get the information the characters would have living through that time. (I'm specifically talking about the way the Siege of Paris and the Commune are touched on in the story.)
To say any more would cause spoilers. This book lacked the humor that leavens Robertson's mystery series; the second half is chillingly dark. If I had a complaint, it would be that Maud's idyl period lasted a bit too long, but the pacing worked perfectly to catch this reader off her guard right along with Maud. Anything from this author is highly recommended.
12 of 12 people found the following review helpful.
Not as interesting as I had expected it to be.
By myotherself
As I was reading this novel I kept being confused by what it seemed to be trying to be. Was it a mystery? Well then it really took a very long time for it to have any mysterious aspects at all and when it sort of did, it was an expected development because _something_ simply had to happen. There was also the fact that Maud Heighton appeared to be the main character and yet the book was taken over for me by Tanya Koltsova because she was so much more of an interesting character. This story relates the incidents which happened to Maud and Tanya during the winter of 1909-1910 in Paris. Both women are art students at the Academie Lafond, but there the similarities end. Maud is English, destitute, and starving because all her money goes toward the expenses of continuing her lessons. Tanya is Russian, very wealthy, and trying to assert her independence by dodging attempts by her family to have her marry a rich Russian man. For me Maud was bland almost to the point of fading into the background and I never understood why she felt her talent in painting would ever be sufficient to earn her a livelihood once she left Paris. She certainly never seemed to get any encouragement about her art except of the most understated kind from her friends.
I have thoroughly enjoyed all the previous novels I've read by Imogen Robertson. Moving away from her successful series to write this novel was obviously something she felt passionate about because it is plain to see that she feels passionate about the subject matter. This novel just wasn't as interesting to me as I had expected it to be. One of the aspects I did like were the descriptions of paintings which supposedly appeared in an exhibition catalog from 2010. Those were written so well that I could see the painting in my minds eye, all were attributed to anonymous artists but seemed to have been associated with incidents Maud was experiencing in the novel. Maybe they were supposed to indicate that even if her name as an artist didn't live on her art did.
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