Marisa Linton – författare

Choosing Terror: Virtue, Friendship and Authenticity in the French Revolution examines the leaders of the French Revolution - Robespierre and his fellow Jacobins - and particularly the gradual process whereby many of them came to ''choose terror''. These men led the Jacobin Club between 1789 and 1794, and were attempting to establish new democratic politics in France. Exploring revolutionary politics through the eyes of these leaders, and against a political backdrop of a series of traumatic events, wars, and betrayals, Marisa Linton portrays the Jacobins as complex human beings who were influenced by emotions and personal loyalties, as well as by their revolutionary ideology. The Jacobin leaders'' entire political careers were constrained by their need to be seen by their supporters as ''men of virtue'', free from corruption and ambition, and concerned only with the public good. In the early stages of the Revolution, being seen as ''men of virtue'' empowered the Jacobin leaders, and aided them in their efforts to forge their political careers. However, with the onset of war, there was a growing conviction that political leaders who feigned virtue were ''the enemy within'', secretly conspiring with France''s external enemies. By Year Two, the year of the Terror, the Jacobin identity had become a destructive force: in order to demonstrate their own authenticity, they had to be seen to act virtuously, and be prepared, if the public good demanded it, to denounce and destroy their friends, and even to sacrifice their own lives. This desperate thinking resulted in the politicians'' terror, one of the most ruthless of all forms of terror during the Revolution. Choosing Terror seeks neither to cast blame, nor to exonerate, but to understand the process whereby such things can happen.

Choosing Terror: Virtue, Friendship and Authenticity in the French Revolution examines the leaders of the French Revolution - Robespierre and his fellow Jacobins - and particularly the gradual process whereby many of them came to ''choose terror''. These men led the Jacobin Club between 1789 and 1794, and were attempting to establish new democratic politics in France. Exploring revolutionary politics through the eyes of these leaders, and against a political backdrop of a series of traumatic events, wars, and betrayals, Marisa Linton portrays the Jacobins as complex human beings who were influenced by emotions and personal loyalties, as well as by their revolutionary ideology. The Jacobin leaders'' entire political careers were constrained by their need to be seen by their supporters as ''men of virtue'', free from corruption and ambition, and concerned only with the public good. In the early stages of the Revolution, being seen as ''men of virtue'' empowered the Jacobin leaders, and aided them in their efforts to forge their political careers. However, with the onset of war, there was a growing conviction that political leaders who feigned virtue were ''the enemy within'', secretly conspiring with France''s external enemies. By Year Two, the year of the Terror, the Jacobin identity had become a destructive force: in order to demonstrate their own authenticity, they had to be seen to act virtuously, and be prepared, if the public good demanded it, to denounce and destroy their friends, and even to sacrifice their own lives. This desperate thinking resulted in the politicians'' terror, one of the most ruthless of all forms of terror during the Revolution. Choosing Terror seeks neither to cast blame, nor to exonerate, but to understand the process whereby such things can happen.

Choosing Terror: Virtue, Friendship and Authenticity in the French Revolution examines the leaders of the French Revolution - Robespierre and his fellow Jacobins - and particularly the gradual process whereby many of them came to 'choose terror'. These men led the Jacobin Club between 1789 and 1794, and were attempting to establish new democratic politics in France. Exploring revolutionary politics through the eyes of these leaders, and against a political backdrop of a series of traumatic events, wars, and betrayals, Marisa Linton portrays the Jacobins as complex human beings who were influenced by emotions and personal loyalties, as well as by their revolutionary ideology.The Jacobin leaders' entire political careers were constrained by their need to be seen by their supporters as 'men of virtue', free from corruption and ambition, and concerned only with the public good. In the early stages of the Revolution, being seen as 'men of virtue' empowered the Jacobin leaders, and aided them in their efforts to forge their political careers. However, with the onset of war, there was a growing conviction that political leaders who feigned virtue were 'the enemy within', secretly conspiring with France's external enemies. By year two, the year of the Terror, the Jacobin identity had become a destructive force: in order to demonstrate their own authenticity, they had to be seen to act virtuously, and be prepared, if the public good demanded it, to denounce and destroy their friends, and even to sacrifice their own lives. This desperate thinking resulted in the politicians' terror, one of the most ruthless of all forms of terror during the Revolution. Choosing Terror seeks neither to cast blame, nor to exonerate, but to understand the process whereby such things can happen.

Choosing Terror: Virtue, Friendship and Authenticity in the French Revolution examines the leaders of the French Revolution - Robespierre and his fellow Jacobins - and particularly the gradual process whereby many of them came to 'choose terror'. These men led the Jacobin Club between 1789 and 1794, and were attempting to establish new democratic politics in France. Exploring revolutionary politics through the eyes of these leaders, and against a political backdrop of a series of traumatic events, wars, and betrayals, Marisa Linton portrays the Jacobins as complex human beings who were influenced by emotions and personal loyalties, as well as by their revolutionary ideology.The Jacobin leaders' entire political careers were constrained by their need to be seen by their supporters as 'men of virtue', free from corruption and ambition, and concerned only with the public good. In the early stages of the Revolution, being seen as 'men of virtue' empowered the Jacobin leaders, and aided them in their efforts to forge their political careers. However, with the onset of war, there was a growing conviction that political leaders who feigned virtue were 'the enemy within', secretly conspiring with France's external enemies. By Year Two, the year of the Terror, the Jacobin identity had become a destructive force: in order to demonstrate their own authenticity, they had to be seen to act virtuously, and be prepared, if the public good demanded it, to denounce and destroy their friends, and even to sacrifice their own lives. This desperate thinking resulted in the politicians' terror, one of the most ruthless of all forms of terror during the Revolution. Choosing Terror seeks neither to cast blame, nor to exonerate, but to understand the process whereby such things can happen.

Conspiratorial views of events abound even in our modern, rational world. Often such theories serve to explain the inexplicable. Sometimes they are developed for motives of political expediency: it is simpler to see political opponents as conspirators and terrorists, putting them into one convenient basket, than to seek to understand and disentangle the complex motivations of opponents. So it is not surprising to see that just when the French Revolution was creating the modern political world, a constant obsession with conspiracies lay at the heart of the revolutionary conception of politics. The book considers the nature and development of the conspiracy obsession from the end of the old regime to the Directory. Chapters focus on conspiracy and fears of conspiracy in the old regime; in the Constituent Assembly; by the king and Marie Antoinette; amongst the people of Paris; on attitudes towards the peasantry and conspiracy; on Jacobin politics of the Year II and the ‘foreign plot’; on counter-revolutionary plots and imaginary plots; on Babeuf and the ‘conspiracy of equals’; and finally on fear of conspiracy as an intellectual impasse in the revolutionary mentality. Inspired by recent debates, this book is a comprehensive survey of the nature of conspiracy in the French Revolution, with each chapter written by a leading historian on the question. Each chapter is an original contribution to the topic, written however to include the wider issues for the area concerned. There is an emphasis throughout on clarity and accessibility, making the volume suitable for a wide readership as well as undergraduates and advanced researchers

SHERLOCK HOLMES DIDN'T DEAL WITH THE SUPERNATURAL. EVIE WINSTANLEY DOES.'Everything I want from dark academia' Susan J. Morris'A terrifically engaging tale of supernatural goings-on' Tim MajorIt's 1904, and being a detective - let alone an occult detective - is no profession for a woman. But that won't stop Evie Winstanley.When her father, a collector of occult books, dies in strange circumstances, Evie is determined to investigate. Her only lead: a cryptic mention of the 'Circle of Shadows.' From a chilling séance on the lonely Yorkshire moors to the sinister, hedonistic halls of Oxford's elite, Evie hunts for answers, stalked by whispers of an ancient monster and an ever-shifting, ominous symbol.But when a young woman's body surfaces in the Cherwell, bearing that same mark, Evie uncovers a truth far more terrifying than a single murder. Now, Evie isn't just seeking justice; she's fighting to save her sister, in a dark and twisted adventure where gilded boys unleash hell and defiant women must pick up the pieces. Nothing will stop her investigation, not outraging Edwardian notions of female propriety, and certainly not offers of romance.Blending historical fantasy with Golden Age classic crime, Circle of Shadows is a dark and twisty adventure through an occult Edwardian England where wealthy boys toy with powers they don't understand, and a lone woman takes a stand against them.NETGALLEY READERS LOVE CIRCLE OF SHADOWS!'If you're looking for an eerie, gothic, historical fantasy packed with secrets, suspense, and a dash of horror, then Circle of Shadows is for you''An eerie and evocative Edwardian occult mystery, with a wonderful protagonist in Evie' 'A suspenseful historical fantasy' 'Plenty of twists and an all round great story. I hope there will be more books featuring Evie!'

SHERLOCK HOLMES DIDN'T DEAL WITH THE SUPERNATURAL. EVIE WINSTANLEY DOES.'Everything I want from dark academia' Susan J. Morris'A terrifically engaging tale of supernatural goings-on' Tim MajorIt's 1904, and being a detective - let alone an occult detective - is no profession for a woman. But that won't stop Evie Winstanley.When her father, a collector of occult books, dies in strange circumstances, Evie is determined to investigate. Her only lead: a cryptic mention of the 'Circle of Shadows.' From a chilling séance on the lonely Yorkshire moors to the sinister, hedonistic halls of Oxford's elite, Evie hunts for answers, stalked by whispers of an ancient monster and an ever-shifting, ominous symbol.But when a young woman's body surfaces in the Cherwell, bearing that same mark, Evie uncovers a truth far more terrifying than a single murder. Now, Evie isn't just seeking justice; she's fighting to save her sister, in a dark and twisted adventure where gilded boys unleash hell and defiant women must pick up the pieces. Nothing will stop her investigation, not outraging Edwardian notions of female propriety, and certainly not offers of romance.Blending historical fantasy with Golden Age classic crime, Circle of Shadows is a dark and twisty adventure through an occult Edwardian England where wealthy boys toy with powers they don't understand, and a lone woman takes a stand against them.NETGALLEY READERS LOVE CIRCLE OF SHADOWS!'If you're looking for an eerie, gothic, historical fantasy packed with secrets, suspense, and a dash of horror, then Circle of Shadows is for you''An eerie and evocative Edwardian occult mystery, with a wonderful protagonist in Evie' 'A suspenseful historical fantasy' 'Plenty of twists and an all round great story. I hope there will be more books featuring Evie!'

SHERLOCK HOLMES DIDN'T DEAL WITH THE SUPERNATURAL. EVIE WINSTANLEY DOES.'Everything I want from dark academia' Susan J. Morris'A terrifically engaging tale of supernatural goings-on' Tim MajorIt's 1904, and being a detective - let alone an occult detective - is no profession for a woman. But that won't stop Evie Winstanley.When her father, a collector of occult books, dies in strange circumstances, Evie is determined to investigate. Her only lead: a cryptic mention of the 'Circle of Shadows.' From a chilling séance on the lonely Yorkshire moors to the sinister, hedonistic halls of Oxford's elite, Evie hunts for answers, stalked by whispers of an ancient monster and an ever-shifting, ominous symbol.But when a young woman's body surfaces in the Cherwell, bearing that same mark, Evie uncovers a truth far more terrifying than a single murder. Now, Evie isn't just seeking justice; she's fighting to save her sister, in a dark and twisted adventure where gilded boys unleash hell and defiant women must pick up the pieces. Nothing will stop her investigation, not outraging Edwardian notions of female propriety, and certainly not offers of romance.Blending historical fantasy with Golden Age classic crime, Circle of Shadows is a dark and twisty adventure through an occult Edwardian England where wealthy boys toy with powers they don't understand, and a lone woman takes a stand against them.NETGALLEY READERS LOVE CIRCLE OF SHADOWS!'If you're looking for an eerie, gothic, historical fantasy packed with secrets, suspense, and a dash of horror, then Circle of Shadows is for you''An eerie and evocative Edwardian occult mystery, with a wonderful protagonist in Evie' 'A suspenseful historical fantasy' 'Plenty of twists and an all round great story. I hope there will be more books featuring Evie!'

At the heart of how history sees the French Revolution lies the enigma of the Terror. How did this archetypal revolution, founded on the principles of liberty and equality and the promotion of human rights, arrive at circumstances where it carried out the violent and terrible repression of its opponents? The guillotine, initially designed to be a ‘humane’ form of capital punishment, became a formidable instrument of political repression and left a deep imprint, not only on how we see the Revolution, but also on how France’s image has been depicted in the world.This book reconstructs the Terror in all its complexity. It shows that the popular view of a so-called ‘system of terror’ was retrospectively invented by the group of revolutionaries who overthrew Robespierre, as a way of trying to exonerate themselves from culpability. What we think of as ‘the Terror’ is best understood as an improvised and sometimes chaotic response to events, based on the urgent needs of a revolutionary government confronted by a succession of political and military crises. It was a government of ‘exception’ – a crisis government.Terror brings together a wealth of factual elements, along with recent thinking on the ideological, emotional and tactical dimensions of revolutionary politics, to throw new light on how the phenomenon of terror came to demonise the image and memory of the French Revolution.  It will be essential reading for students and scholars of the French Revolution and for anyone concerned with the ways in which political conflict can descend into violence.

At the heart of how history sees the French Revolution lies the enigma of the Terror. How did this archetypal revolution, founded on the principles of liberty and equality and the promotion of human rights, arrive at circumstances where it carried out the violent and terrible repression of its opponents? The guillotine, initially designed to be a ‘humane’ form of capital punishment, became a formidable instrument of political repression and left a deep imprint, not only on how we see the Revolution, but also on how France’s image has been depicted in the world.This book reconstructs the Terror in all its complexity. It shows that the popular view of a so-called ‘system of terror’ was retrospectively invented by the group of revolutionaries who overthrew Robespierre, as a way of trying to exonerate themselves from culpability. What we think of as ‘the Terror’ is best understood as an improvised and sometimes chaotic response to events, based on the urgent needs of a revolutionary government confronted by a succession of political and military crises. It was a government of ‘exception’ – a crisis government.Terror brings together a wealth of factual elements, along with recent thinking on the ideological, emotional and tactical dimensions of revolutionary politics, to throw new light on how the phenomenon of terror came to demonise the image and memory of the French Revolution.  It will be essential reading for students and scholars of the French Revolution and for anyone concerned with the ways in which political conflict can descend into violence.

At the heart of how history sees the French Revolution lies the enigma of the Terror. How did this archetypal revolution, founded on the principles of liberty and equality and the promotion of human rights, arrive at circumstances where it carried out the violent and terrible repression of its opponents? The guillotine, initially designed to be a ‘humane’ form of capital punishment, became a formidable instrument of political repression and left a deep imprint, not only on how we see the Revolution, but also on how France’s image has been depicted in the world.

This book reconstructs the Terror in all its complexity. It shows that the popular view of a so-called ‘system of terror’ was retrospectively invented by the group of revolutionaries who overthrew Robespierre, as a way of trying to exonerate themselves from culpability. What we think of as ‘the Terror’ is best understood as an improvised and sometimes chaotic response to events, based on the urgent needs of a revolutionary government confronted by a succession of political and military crises. It was a government of ‘exception’ – a crisis government.

Terror brings together a wealth of factual elements, along with recent thinking on the ideological, emotional and tactical dimensions of revolutionary politics, to throw new light on how the phenomenon of terror came to demonise the image and memory of the French Revolution.  It will be essential reading for students and scholars of the French Revolution and for anyone concerned with the ways in which political conflict can descend into violence.