Book Blurb:
“Sprightly and sparkling…dramatic incidents abound…a lively rendering of a life and mind that inspires.” In the year of grace 1396, Christine de Pizan is a young Parisian woman living in a tower overlooking the Seine, but hers is no fairy story. Since her beloved husband’s death, she struggles daily to support her aged mother and two small children. Seeking to ease her broken heart, Christine begins to write poetry in a delicate blend of form and emotion that provides a much-needed outlet for her loneliness and sorrow.
In time, Christine begins reading her verses at court, attracting the interest of powerful nobles who become valued—and generous—patrons. She’s buoyed by her success until she learns that, as the only woman poet at court, she has also attracted the jealous attention of the men she has displaced.
Having finally gained confidence and financial stability, Christine takes up her pen in defense of women and as an advocate for peace even as malevolent forces threaten her and the kingdom’s very survival—but will it be enough? Can one woman, armed only with a pen and her wits, step into the breach and turn the tide?
“…Internal struggles with grief and self-doubt, external conflicts against societal expectations, and dangerous court intrigues…” and brimming with meticulously researched detail that brings the fourteenth century to dazzling life, fans of Coirle Mooney and Elizabeth Chadwick will appreciate I, Christine: the incredible true story of the first woman in France to earn her living as an author.
Book Buy Link: https://geni.us/bc6Ju
Author Bio:
Born and raised in the Midwest, Marcia Maxwell discovered a passion for history while working on her Ph.D. dissertation. An edition of a 14th century manuscript in Anglo-Norman French, it became the genesis of her first novel, The Rogue Queen.
Then, while visiting her family one summer she learned that her grandfather’s WWI letters had survived. Using paleographic skills honed in editing the medieval manuscript she transcribed the letters, researched the Great War and the Army Medical Department, then gathered her father’s oral version of his father’s adventures, for Granddad had shared them with no one else. For Two Cents, I’ll Go With You is based on his true story.
Casting around for a new project, she remembered reading poetry by medieval author Christine de Pizan in grad school. Reading and research ensued, with I, Christine appearing five years later. Now living in the Pacific Northwest, Marcia is currently researching her next novel.
Editorial Review:
I, Christine by Marcia Maxwell is a richly layered story set in medieval Paris that follows Christine de Pizan, a determined poetess and intellectual who grapples with personal loss, supernatural omens, and the harsh realities of a patriarchal and politically volatile society. As a widow, Christine strives to secure financial stability and individual recognition. Her journey encompasses internal struggles with grief and self-doubt, external conflicts against societal expectations, and dangerous court intrigues—all while she gradually emerges as a voice for women and a force for cultural change.
Christine craves recognition and status driven by her identity as a talented writer in a society that undervalues women's intellectual pursuits. More than anything, she wants her poetic voice and creative talents to be acknowledged by powerful figures at court. This desire is intertwined with her need to secure a stable, prosperous future for her family—in a world where wealth and social standing are closely guarded—and to redefine her worth beyond the traditional roles imposed on her. Beneath her ambition lies a more profound need for self-trust and the acceptance of her own worth. Christine must learn that true authority and security come from external validation (wealth or status) and an inner realization of her strengths and the integrity of her creative vision. Her journey calls for a moral and emotional transformation: reconciling her inner doubts and embracing her unique identity. Trusting the right people, especially those who recognize her genuine talent. Discerning well-intentioned advice and manipulative external pressures is essential for her growth.
Christine's primary flaw is her persistent self-doubt and sensitivity to criticism, often holding her back from fully realizing her potential. This internal uncertainty makes her vulnerable to impulsiveness and excessive caution in her personal and professional decisions. Sometimes, her inability to trust others fully—even those who genuinely support her—creates dramatic tension as she lets external opinions undermine her self-confidence. While her determined and resilient nature remains a consistent part of her personality, amplifying her internal struggle between her desire for external acknowledgment and her need for inner validation could produce even more dramatic conflict. In essence, Christine does not always realize that her greatest obstacle is her failure to embrace and trust in her creative power.
In the early stages, Christine is torn between her longing for solitude and the external pressures to engage with the world—manifested through the poetry competition, as well as the haunting grief of her deceased husband.
How can that be, Monsieur? Just last week, you told me that all would be resolved in another week’s time!”
The official shook his head, his fleshy jowls quivering. “Adly madame, it is out of my hands. Perhaps next week…”
“Next week, I will have no money to feed my children! May I remind you that my husband is dead, that I have no means of support?” I swallowed hard against the bitter lump rising in my throat and took a few measured breaths, willing my too-shrill voice back to steadiness.
Christine's public confrontation with Monsieur de Montreuil regarding her right to express herself through poetry marks a significant turning point. Here, her internal struggle—balancing familial responsibilities with her desire to break free from imposed gender norms—is brought into sharp relief. By standing up against prejudiced critics, she begins asserting her agency, an essential element of her evolving identity.
Montreuil lifted his chin and gazed past me, his eyes unfocused. “I believe a true poet can speak to any subject. Precision of imagery is what matters, not personal experience.”
“Poetry can only come from a proper and natural movement of one’s mind. It cannot be played like a musical instrument, which any lout can learn. The sentiment expressed in verse must be real. If it is not, even the most precise image cannot hope to touch the heart. Montreuil stared at me for a moment, his jaw slack in surprise, before collecting himself. “One might expect you to be an expert in all things Deschamps,” he sniffed.
The bait dangled before me, but I refused to rise to it. “I studied his book because I wanted to improve my poetry. Come shake off the covers of this sloth, for sitting softly cushioned or tucked in bed is no way to win fame.”
As the narrative unfolds, Christine takes on more overt roles in mediating political disputes and exploring the interplay between art and power. Her internal debates—whether to remain a detached observer or a proactive shaper of events—culminate in her decision to engage more deeply with her creative work and societal duties. These actions manifest her transformation from a reticent poet to a determined, influential figure who leverages her writings to address and even attempts to heal the fractures within her society. The story weaves a rich tapestry of change through these evolving scenes—from early inner conflicts and external challenges to her eventual embrace of an active role in literature and politics. Christine's journey is not a mere reinforcement of who she already was; it is a dynamic evolution where her grief, societal battles, and creative struggles drive her toward a more empowered and self-realized identity.
I quickly unwrapped the second copy and was flipping through its pages when Master de la Porte replied. “It is no mistake, madame.”
“Of course it is! I distinctly remember including his name right after…”
“I humbly beg your pardon, madame, but it is not a mistake. I told Martin and Blanche to exclude it from the finished copies….He leaned close, dropping his voice to an urgent whisper. “We cannot mention the duke with the others—It is too dangerous! Have you not heard what Bourgogne has done to those who oppose him? The crows are still picking Montaigu’s bones at Montfaucon!”…My mouth went dry.
“I…I heard the rumors…”
Christine’s inner monologues and reflections ground her character in realism. The contrast between her personal and public life heightens her multidimensionality. However, in high-tension scenes, the author could enrich the physical descriptions (sweat, trembling hands, haunted eyes) to deepen audience empathy. Montreuil emerges as a persistent critic who challenges her literary contributions and her right to succeed in a male-dominated society. His public criticisms serve as a tangible obstacle, reflecting the broader societal constraints and prejudices that Christine must overcome. However, adding more nuance to Montreuil's motivations, the author could include dialogue hints that reveal his insecurities, making his opposition reflect broader social evils. At the same time, Eustache Deschamps appears as a benefactor and a trusted friend with whom Christine shares creative and ideological tensions. Their disagreements over her poetic style and literary choices, such as his defensiveness over his work and interpretations, create a push-pull dynamic that can challenge and nurture Christine's growth. Deepening their dialogues would show how Eustache's criticisms are given personal stakes—perhaps by showing how his vulnerabilities, ambitions, or regrets color his view of her work. Allow moments where his mentorship evolves into genuine mutual respect, making his eventual concession or growth a meaningful part of Christine's journey. More consistent characterization or a gradual change in his opinions would reduce narrative confusion.
This story presents a rich tapestry of interwoven conflicts, yet a few potential plot gaps warrant clarification. For example, transitioning from a personal nightmare to real-world political danger might benefit from more evident links to ensure that the supernatural threat and the court intrigue are perceived as parts of a coherent whole. Some character motivations, particularly among figures like Montreuil and Deschamps, appear underdeveloped, leaving questions about their ultimate impact on the story’s climax. Plot threads, such as the precise nature of the mob violence and the detailed repercussions at court, might need further explanation to avoid seeming incidental rather than integral. Additionally, the pacing of the transition between Christine's losses and her subsequent political activism sometimes feels abrupt. Addressing these logical inconsistencies through smoother transitions and enhanced backstories would improve clarity.
The author effectively blends historical fiction with fantasy elements and hints of horror, aligning well with what one might expect from a genre that merges period detail with supernatural intrigue. The initial establishment of Christine’s domestic life and societal pressures firmly grounds the narrative in historical fiction, while the supernatural aspects, such as the fiery creatures, introduce a distinctive fantasy edge. Overall, the narrative meets the conventions of its intended genres, though minor enhancements could elevate its impact further.
*****
I, Christine by Marcia Maxwell received 4.0 stars from the Historical Fiction Company
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