The Widow Clicquot: The Story of a Champagne Empire and the Woman Who Ruled It
The Widow Clicquot: The Story of a Champagne Empire and the Woman Who Ruled It book cover

The Widow Clicquot: The Story of a Champagne Empire and the Woman Who Ruled It

Hardcover – Illustrated, October 28, 2008

Price
$14.89
Format
Hardcover
Pages
288
Publisher
Harper Business
Publication Date
ISBN-13
978-0061288562
Dimensions
6 x 0.97 x 9 inches
Weight
1.09 pounds

Description

Amazon Best of the Month, October 2008 : With its trademark fizz and sparkling taste, champagne has long been the beverage of choice for those in a celebratory mood. From the artillery of popping corks on New Year's Eve to the clinking of newlywed glasses, a bit of the bubbly has locked arms with good cheer for centuries. Yet had it not been for the pioneering Barbe-Nicole Ponsardin, the libation deemed "the wine of civilization" by Winston Churchill might today be available only to the excessively wealthy or extremely lucky. Author Tilar J. Mazzeo toasts the élan of Champagne's Grand Dame with The Widow Clicquot , a fascinating story of the cunning bravery and good fortune that helped build the Veuve Clicquot brand. Widowed at age twenty-seven by the death of her husband François Clicquot, Barbe-Nicole assumed control of her family’s wine business amid the chaos of The Napoleonic Wars. That she became a prominent female leader in a male-dominated industry was one thing; building an empire amid savage political unrest was quite another. With passionate research and true admiration for her subject, Mazzeo pays homage to the beloved Widow from Reims and the remarkable weight her name still carries today. -Dave Callanan "Mazzeo's tale moves swiftly through Barbe-Nicole's many accomplishments, including her method for storing bottles nose-down--an innovation that allowed the second fermentation detritus to be cleared efficiently, setting her far ahead of her competitors." -- Los Angeles TimesThe Widow Clicquot is someone we should all know about....Long a shadowy, legend-obscured figure, in Tilar Mazzeo's agile hands the widow sheds her weeds and takes form before our eyes as a distinctly modern entrepreneur....The result is narrative history that fizzes with life and feeling. --Benjamin Wallace, author of the New York Times bestseller, The Billionaire's VinegarJoan of Arc and Madame Clicquot were the two women heroes I knew when growing up in France. What a gift to have this new, well-researched biography of one of the world's first 'legitimate' businesswoman, our contemporary as a global business leader. --Mireille Guiliano, author of the New York Times #1 bestseller, French Women Don't Get Fat"Told in a light and graceful style that is just right for its subject.... [I]t's a fascinating trip, made even more so by Ms. Mazzeo's charming cameo appearances as a kind of tour guide.... This example of Barbe-Nicole's voice is exceptional...an intoxicating business biography." -- Julia Flynn Siler, The Wall Street Journal Joan of Arc and Madame Clicquot were the two women heroes I knew when growing up in France. What a gift to have this new, well-researched biography of one of the world's first 'legitimate' businesswoman, our contemporary as a global business leader."Told in a light and graceful style that is just right for its subject.... [I]t's a fascinating trip, made even more so by Ms. Mazzeo's charming cameo appearances as a kind of tour guide.... This example of Barbe-Nicole's voice is exceptional...an intoxicating business biography." If you like champagne, "The Widow Clicquot" by Tilar J. Mazzeo is definitely worth a drink." -- Associated Press The story of the visionary young widow who built a champagne empire, showed the world how to live with style, and emerged a legend Veuve Clicquot champagne epitomizes glamour, style, and luxury. But who was this young widow—the Veuve Clicquot—whose champagne sparkled at the courts of France, Britain, and Russia, and how did she rise to celebrity and fortune? In The Widow Clicquot , Tilar J. Mazzeo brings to life—for the first time—the fascinating woman behind the iconic yellow label: Barbe-Nicole Clicquot Ponsardin. A young witness to the dramatic events of the French Revolution and a new widow during the chaotic years of the Napoleonic Wars, Barbe-Nicole defied convention by assuming—after her husband's death—the reins of the fledgling wine business they had nurtured. Steering the company through dizzying political and financial reversals, she became one of the world's first great businesswomen and one of the richest women of her time. Although the Widow Clicquot is still a legend in her native France, her story has never been told in all its richness—until now. Painstakingly researched and elegantly written, The Widow Clicquot provides a glimpse into the life of a woman who arranged clandestine and perilous champagne deliveries to Russia one day and entertained Napoléon and Joséphine Bonaparte on another. She was a daring and determined entrepreneur, a bold risk taker, and an audacious and intelligent woman who took control of her own destiny when fate left her on the brink of financial ruin. Her legacy lives on today, not simply through the famous product that still bears her name, but now through Mazzeo's finely crafted book. As much a fascinating journey through the process of making this temperamental wine as a biography of a uniquely tempered woman, The Widow Clicquot is utterly intoxicating. Tilar J. Mazzeo is the author of numerous works of cultural history and biography, including the New York Times bestselling The Widow Clicquot , The Secret of Chanel No. 5 , and nearly two dozen other books, articles, essays, and reviews on wine, travel, and the history of luxury. The Clara C. Piper Associate Professor of English at Colby College, she divides her time between coastal Maine, New York City, and Vancouver Island, British Columbia. Excerpt. © Reprinted by permission. All rights reserved. The Widow Clicquot The Story of a Champagne Empire and the Woman Who Ruled It By Tilar Mazzeo HarperCollins Publishers, Inc. Copyright © 2008 Tilar MazzeoAll right reserved. ISBN: 9780061288562 Chapter One Child of the Revolution, Child of the Champagne What people in the Champagne remembered later about the summer of 1789 were the cobbled streets of Reims resounding with the chanting, angry mobs calling for liberty and equality. The French Revolution had begun, although no one would use those words yet to describe one of the most monumental events in the history of modern civilization. Democracy had taken root in the colonies of America only a decade before, and a new nation had emerged, aided in its war for independence from Great Britain by the military and financial might of France, one of the world's most powerful and ancient kingdoms. Now, democracy had also come to France. It was a bloody and brutal beginning. The young girls in the royal convent of Saint-Pierre-les-Dames, just beyond the old city center of Reims—a bustling commercial town of perhaps thirty thousand inhabitants, at the heart of the French textile industry and only ninety miles to the east of Paris—had little to do with this larger world of war and politics. Two centuries before, Mary, Queen of Scots had been a student in the abbey from the tender age of five, under the care of her aunt, the noble abbess Renée de Lorraine. The other girls at this Catholic convent school often came, like Mary Stuart and her noble aunt, from the ranks of the aristocracy, and they spent their days learning the graceful arts expected of the wealthy daughters of the social elite: embroidery, music, dance steps, and their prayers. The cloistered courtyard echoed with the light steps and rustling habits of nuns moving silently in the shadows, and the garden was shady and welcoming even in the summer heat. Their parents had sent them to Saint-Pierre-les-Dames to be educated in safety and privilege. But in July 1789, a royal abbey was just possibly the most dangerous place of all for these girls. The nobility and the church had crushed the peasantry with crippling taxes for centuries, and suddenly that summer, long-simmering resentments finally broke out into an open class war that changed the history of France. Old scores were being settled in horrifying ways. It was only a matter of time before the nuns and these young girls—the daughters of the city's social elite—became the targets of public abuse. Already, there were stories from Paris of nuns being raped and the rich being murdered in the streets. Now, wine flowed from the public fountains, and the laughs and cheers of the crowd in Reims had become more and more feverish. Behind the shuttered windows, cloistered within the royal walls of Saint-Pierre-les-Dames, one of those girls may not have known that the world and her future were being transformed until the mob was nearly at their doorstep. Barbe-Nicole Ponsardin was eleven years old when the Revolution began. She was a small and serious girl, with golden blond hair and large gray eyes, the eldest daughter of one of the city's wealthiest and most important businessmen—an affluent and cultured man who dreamed of moving his family into the aristocracy and had sent his child, accordingly, to this prestigious royal convent to be educated with the daughters of feudal lords and princes. Now, the streets of Reims were alive with angry crowds, and it seemed that Barbe-Nicole would share the fate of her aristocratic classmates. The shops everywhere were closed, and the fields were empty. In the center of the city, in the grand family mansion on rue Cérès, just beyond the shadow of the great cathedral, her parents—Ponce Jean Nicolas Philippe and Marie Jeanne Josèphe Clémentine Ponsardin, or more simply Nicolas and Jeanne-Clémentine—were frantic. Even if there were a way to send a carriage through the streets of Reims to fetch Barbe-Nicole, such a display of wealth and fear would only advertise her privilege and increase her danger on the streets. Their last hope rested with the family dressmaker, a modest woman but with remarkable bravery. Arriving quietly at the convent door with a small bundle of garments, anxious not to be observed, she knew the only way to spirit a wealthy daughter through the streets of revolutionary France: in disguise. After she dressed the child in the clothes of the working poor, they hurried. The shapeless tunic must have itched, and Barbe-Nicole's first steps in the coarse wooden shoes—so different from her own soft leather slippers—were surely unsteady. In another moment they had slipped out into the frenzied streets of Reims, praying to pass unnoticed. No one would bother a dressmaker or a peasant girl, but the convent-educated daughter of a bourgeois civic leader—a man who had personally helped to crown the king only a decade before—would make a compelling target for abuse. Much worse would happen to some of those whom Nicolas and Jeanne-Clémentine had entertained on those long summer evenings in the splendid halls of their family estate before the Revolution. The roads beyond the convent were a brilliant red tide of men in Phrygian caps, classical symbols of liberty once worn by freed slaves in ancient democracies, singing familiar military marches with new words. In the distance was the sound of beating drums, and heels striking the cobble pavement echoed off the stone facades of the grandest buildings in Reims, as the men organized themselves into makeshift militias. There were fears throughout France of an imminent invasion, as the other great monarchs of Europe roused themselves to send troops to crush the popular uprising that had electrified the masses across the continent. Hurrying through those chaotic streets must have been terrifying for a small girl. All around her was uproar as the mob gathered. They moved quickly past. Then, perhaps in the crowds of angry men, one or two looked at Barbe-Nicole with the perplexed stare of dim recognition. Perhaps she witnessed some of the many small atrocities of the Revolution—the vandalism, the beatings. The day was something no one who experienced it would ever forget. Continues... Excerpted from The Widow Clicquot by Tilar Mazzeo Copyright © 2008 by Tilar Mazzeo. Excerpted by permission. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site. Read more

Features & Highlights

  • The Widow Clicquot
  • is the
  • New York Times
  • bestselling business biography of the visionary young widow who built a champagne empire, became a legend in her tumultuous times, and showed the world how to live with style. Tilar J. Mazzeo brings to life the woman behind the label, Barbe-Nicole Clicquot Ponsardin, in this utterly intoxicating book that is as much a fascinating journey through the process of making this temperamental wine as a biography of a uniquely tempered and fascinating woman.

Customer Reviews

Rating Breakdown

★★★★★
30%
(530)
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25%
(441)
★★★
15%
(265)
★★
7%
(124)
23%
(405)

Most Helpful Reviews

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surely not

I love champagne, especially The Widow; I love France and history and stories about brave women.

I didn't love this book.

Mazzeo couldn't decide what sort of book she was writing. It's not a scholarly study (for all that she splashes her degree across the title page) nor - as several other reviewers point out - is it quite a work of fiction. It's almost a personal memoir - too personal for my taste - but it misses the mark there, too.

Certainly Mazzeo wants to impress us. She tries very hard to make Barbe-Nicole Clicquot a metaphor for women in history, for the narrative of white space, for all those unvoiced shuttles, but she has this horridly Sarah Palin-esqe tendency to get cute about it -- the thinner the facts, the more adorable the narration.

There are two sorts of biographies: those which contain facts and analysis and those which speculate. This is the latter.

The word "surely" appears on every page.

OK, not much is known about Madame Clicquot (whom Mazzeo relentlessly and patronizingly refers to by her first name); but a great deal is known about the history of Reims and the champagne industry. Mazzeo has done admirable work on this and if she would just give it to the reader, all would be well. But she wants to be a biographer, and this leads her down a dubious path.

The most important critical/theoretical work on women's biography is the late Carolyn Heilbrun's path-making Writing a Woman's Life [[ASIN:034536256X Writing a Woman's Life (Ballantine Reader's Circle)]]. Mazzeo must have read it, since she brings out various of its insights with girlish glee, but she never cites it. And she misses the big point, even as she laments the lack of a narrative women's history. The point is this: women's lives don't conform to the same paradigms as men's lives. Yes, Mazzeo says this, but -- rather like the Wife of Bath - she paints a very patriarchal lion even as she objects to the paradigm of lion-painting.

As for Mazzeo's claim to scholarship, the final nail in that myth's coffin is her statement in the opening paragraph of the last chapter, in which she crows delightedly over the Oxford English Dictionary STILL listing "champagne" as a meaning for "widow."

Well duh. The Oxford English Dictionary STILL lists every meaning ever attached to every word: that's the whole point of the OED. What the point of this book is, I'm not sure. Not tenure, I hope.
46 people found this helpful
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surely not

I love champagne, especially The Widow; I love France and history and stories about brave women.

I didn't love this book.

Mazzeo couldn't decide what sort of book she was writing. It's not a scholarly study (for all that she splashes her degree across the title page) nor - as several other reviewers point out - is it quite a work of fiction. It's almost a personal memoir - too personal for my taste - but it misses the mark there, too.

Certainly Mazzeo wants to impress us. She tries very hard to make Barbe-Nicole Clicquot a metaphor for women in history, for the narrative of white space, for all those unvoiced shuttles, but she has this horridly Sarah Palin-esqe tendency to get cute about it -- the thinner the facts, the more adorable the narration.

There are two sorts of biographies: those which contain facts and analysis and those which speculate. This is the latter.

The word "surely" appears on every page.

OK, not much is known about Madame Clicquot (whom Mazzeo relentlessly and patronizingly refers to by her first name); but a great deal is known about the history of Reims and the champagne industry. Mazzeo has done admirable work on this and if she would just give it to the reader, all would be well. But she wants to be a biographer, and this leads her down a dubious path.

The most important critical/theoretical work on women's biography is the late Carolyn Heilbrun's path-making Writing a Woman's Life [[ASIN:034536256X Writing a Woman's Life (Ballantine Reader's Circle)]]. Mazzeo must have read it, since she brings out various of its insights with girlish glee, but she never cites it. And she misses the big point, even as she laments the lack of a narrative women's history. The point is this: women's lives don't conform to the same paradigms as men's lives. Yes, Mazzeo says this, but -- rather like the Wife of Bath - she paints a very patriarchal lion even as she objects to the paradigm of lion-painting.

As for Mazzeo's claim to scholarship, the final nail in that myth's coffin is her statement in the opening paragraph of the last chapter, in which she crows delightedly over the Oxford English Dictionary STILL listing "champagne" as a meaning for "widow."

Well duh. The Oxford English Dictionary STILL lists every meaning ever attached to every word: that's the whole point of the OED. What the point of this book is, I'm not sure. Not tenure, I hope.
46 people found this helpful
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Boring, More Speculation Than Facts & No Widow??

Dear God. The worse pile of drivel ever. I’m 65 pages in to a 185 page book and there’s no widow. How is that even possible?!?
99% so far of what’s written is speculation about her life & about how to make champagne. This book reads worse that a bad history professor.
Nothing is known about this woman’s early years. So instead of focusing on facts, and hello the WIDOW part, the author starts in her childhood years saying she “could” have done this or “perhaps” she did this or “quite possibly” knew this person.
The author knows nothing and is literally making things up for the sake of word count.
The only reason this could have possibly been a NYTimes best seller is cuz folks like me bought it and were excited to read it. Not because it was well written, had valuable/interesting info or even worth a read.
At least I bought a hard cover that will look nice on a coffee table. Hopefully this gets better. Again tho...page 65 out of 185 and no widow.
22 people found this helpful
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Maddeningly repetitive

I have been listening to the audio version of this book. I am about to tear out my hair because it is so poorly written and narrated. The author's method of "imagining" what her characters "must have" seen, thought, and felt is very distracting and certainly undermines her credibility. Similarly, she goes over the same information many times...WHY?? The narrator of the audio version, Susan Erickson, makes the experience of listening to the book even more painful by coming to a full stop before each French name or word and then s l o w l y pronouncing it phonetically. AWFUL! TERRIBLE!
11 people found this helpful
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Caution: for serious champagne-o-philes only

I really wanted to like this book. I like histories, business books, wine, France and Veuve Cliquot champagne and this book promised a way to indulge all of those. Unfortunately, the book really failed to engage... it took me four weeks to get through the first 100 pages, and that included attempts during two 11 hour flights to and from Tokyo.

I'm still somewhat baffled as much of the first 8 chapters is imagined, as today there isn't much more than a few letters and the company accounts to go on. This ought to be fertile terroir for good storytelling, but instead I found the book plodding: no possible turn of events went unimagined -- including two different deaths for Madame Cliquot's husband -- in a very intense, serious and "preachy" fashion. The narrative is not compelling, and the language moribund: "perhaps" and "surely" are the most frequently used words. This is no [[ASIN:B001H4K15M The Looming Tower: Al-Qaeda and the Road to 9/11]]

When it comes to the twists and turns of the wine trade and the history of champagne-making, the writing is better... but these seem lost in a humorless text. My favorite book blending storytelling and wine technique remains [[ASIN:0151012865 The Battle for Wine and Love: or How I Saved the World from Parkerization]].
10 people found this helpful
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Fizzled out pretty fast

I was excited to read this but once I plopped down into my comfy chair my enthusiasm halted to a screeching halt. It read a bit like a history novel, I was expecting little more life and ease, books like this aren't something I read in a week, it took me a month to finish this and it felt a little laborious. I hate to forcer myself to read anything, after years of going though that dilemma I stopped myself but this wasn't really an option with the Vine book so I finished, but man, if I paid money for this in the story I would be pissed..

Like the other reviewer said, little too much guessing and smoothing over was going on with this surpassingly "Painstakingly researched" novel. Next time I come across a forced book like this I will pass on finishing it. I'd rather drink the champagne than read about it, or the history behind the one woman empire.
8 people found this helpful
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A disappointment.

Unfortunately, this book proves that a talent for writing is not a factor in getting a publishing deal.
For example, the paragraph at the bottom of page 168 is simply gibberish.
Thankfully, this book was a gift.
4 people found this helpful
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Culutral History at Its Best

This is one of he finest books about wine ever written. What makes it so very special is the fact that it is a book that explains how a time and place produced both a special person and a special cultural product. The story of the Widow Clicquot is compelling enough. But when you add to that story all the rich details of history (e.g., the role of Napoleon in the development of champagne) as well as the many fascinating personalities that comprise the story of the rise of this great wine and the house that made it special, you have a book that knows no equal. This is a story to be savoured, along with a glass of the Grand Dame.
3 people found this helpful
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Good reconstructed bio

To paraphrase Lincoln, those that like this sort of thing will find plenty here to like. I mean that in both a good and not-so-good way.

"The Widow Clicquot" exists in that delicate world between biography and historical fiction, where gaping holes in the historical record are filled with supposition, educated guesses and intuition based on the few tiny nuggets of info that do survive. Those who are looking for a pure, hard-driving bio are most likely going to be irritated by the extrapolations ("On what basis does she say *that*?! How does she *know*?!"). Fair enough, but having been in the trenches of academic history I'm slightly more forgiving... I know first hand just how difficult it is to reconstruct a life from the past, especially when this life occurred in one of those, er, "dynamic" eras of political, social or economic upheaval when people were less concerned with good record-keeping.

I think those who like reading about unconventional women, innovative entrepreneurs, the history of one of the world's most enjoyable luxuries, or popular history in general will readily forgive the author her many extrapolations and greatly enjoy this book. The good widow Clicquot sounds like the kind of formidable woman you'd love to meet in person (and talk about as soon as she left the room!). Mazzeo's writing is engaging, and she does a good job with filling in gaps of Barbe-Nicole's life-story with info on the history and production of champagne, which the casual reader will most likely find enjoyable and informative without feeling unduly "academic." To a surprising degree, Mazzeo is able to make the good Widow's business ventures suspenseful and riveting, making these sections of the book particularly enjoyable.

Very often, the success of a biography, particularly on a poorly documented subject, depends on the degree you can trust the historian, particularly his or her ability to understand all the available info well enough to fill in the inevitable blanks. For what it's worth, I do trust Mazzeo's reading of the sources enough to give her extrapolations the benefit of the doubt.

For those who like this kind of bio, I'd also recommend Joyce Tyldesley's Hatchepsut: The Female Pharaoh.
3 people found this helpful
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Make Believe

This book is a difficult read. The author has to "imagine" what it was like back in the day when this lady lived. She references that many times because she (or anyone) does not have any facts regarding the exact life of this subject in her early years. This book is only for people who are really, really interested in wine and wine history, myself included. But it is a tedious read.
2 people found this helpful