How long did the guillotine's blade hang over the heads of French criminals? Was it abandoned in the late 1800s? Did French citizens of the early days of the twentieth century decry its brutality? No. The blade was allowed to do its work well into our own time. In 1974, Hamida Djandoubi brutally tortured 22 year-old Elisabeth Bousquet in an apartment in Marseille, putting cigarettes out on her body and lighting her on fire, finally strangling her to death in the Provencal countryside where he left her body to rot. In 1977, he became the last person executed by guillotine in France in a multifaceted case as mesmerizing for its senseless violence as it is though-provoking for its depiction of a France both in love with and afraid of The Foreigner. In a thrilling and enlightening account of a horrendous murder paired with the history of the guillotine and the history of capital punishment, Jeremy Mercer, a writer well known for his view of the underbelly of French life, considers the case of Hamida Djandoubi in the vast flow of blood that France's guillotine has produced. In his hands, France never looked so bloody...

How long did the guillotine’s blade hang over the heads of French criminals? Was it abandoned in the late 1800s? Did French citizens of the early days of the twentieth century decry its brutality? No. The blade was allowed to do its work well into our own time. In 1974, Hamida Djandoubi brutally tortured 22 year-old Elisabeth Bousquet in an apartment in Marseille, putting cigarettes out on her body and lighting her on fire, finally strangling her to death in the Provencal countryside where he left her body to rot. In 1977, he became the last person executed by guillotine in France in a multifaceted case as mesmerizing for its senseless violence as it is though-provoking for its depiction of a France both in love with and afraid of The Foreigner. In a thrilling and enlightening account of a horrendous murder paired with the history of the guillotine and the history of capital punishment, Jeremy Mercer, a writer well known for his view of the underbelly of French life, considers the case of Hamida Djandoubi in the vast flow of blood that France's guillotine has produced. In his hands, France never looked so bloody...

The Man Who Thought He Was Napoleon is built around a bizarre historical event and an off-hand challenge. The event? In December 1840, nearly twenty years after his death, the remains of Napoleon were returned to Paris for burial—and the next day, the director of a Paris hospital for the insane admitted fourteen men who claimed to be Napoleon. The challenge, meanwhile, is the claim by great French psychiatrist Jean-Étienne-Dominique Esquirol (1772–1840) that he could recount the history of France through asylum registries. From those two components, Laure Murat embarks on an exploration of the surprising relationship between history and madness. She uncovers countless stories of patients whose delusions seem to be rooted in the historical or political traumas of their time, like the watchmaker who believed he lived with a new head, his original having been removed at the guillotine. In the troubled wake of the Revolution, meanwhile, French physicians diagnosed a number of mental illnesses tied to current events, from “revolutionary neuroses” and “democratic disease” to the “ambitious monomania” of the Restoration. How, Murat asks, do history and psychiatry, the nation and the individual psyche, interface? A fascinating history of psychiatry—but of a wholly new sort—The Man Who Thought He Was Napoleon offers the first sustained analysis of the intertwined discourses of madness, psychiatry, history, and political theory.

*Includes pictures *Includes contemporary accounts describing the use of the guillotine *Includes online resources and a bibliography for further reading *Includes a table of contents "But here I should imagine the most terrible part of the whole punishment is, not the bodily pain at all-but the certain knowledge that in an hour, then in ten minutes, then in half a minute, then now-this very instant-your soul must quit your body and that you will no longer be a man-and that this is certain, certain!" - Fyodor Dostoyevsky, The Idiot The Guillotine. Its very name recalls scenes of horror during the French Revolution, as nobles lost their heads while gangs of people cheered and Madame Defarge knitted. Some of history's most famous people lost their heads at the guillotine, including Marie Antoinette, King Louis XVI of France, and Robespierre, and the apparatus is immediately recognizable across the world, not just for its appearance but for all the stories it featured prominently in. However, the truth behind this device is much more complicated than its short-lived use during France's Reign of Terror. For one thing, societies have been executing people since ancient times and have used various devices, the guillotine being just one. Even as early as the 13th century, there were moves among some to make the arduous task of state-sanctioned executions quicker and easier, and in time, the evolution of various devices helped bring about the invention of the guillotine. Though many their names have now faded into history, both the instruments of the past and the people who used them were the parents of this monstrous device. But a funny thing happened along the way as people became less and less enamored of killing each other, even for those who had themselves committed murder. As the Age of Enlightenment spread in the mid-1700s, so did a sense that government should not take lives at all, or if they did, that they should do so as quickly and painlessly as possible. Thus it was that the guillotine was created, not to hurt others so much as to dispatch those condemned as painlessly as possible. It is but a sad coincidence that its design was perfected on the eve of one of the bloodiest eras in French history; had it been developed at another point in time, it might very-well have been hailed as a merciful way to mete out justice. Like all important devices, the guillotine did not remain unchanged during its centuries of use. Its design was periodically tweaked for decades until the latter half of the 19th century, when it was completely redesigned, likely in light of a growing hostility toward capital punishment in general and beheadings in particular. By this time, such notable Frenchmen as Victor Hugo had spoken out against the right of the state to take a human life. Even the Sanson family, who had served as France's executioners for more nearly 200 years, had given up their work, and it fell to others to master the new apparatus. These men would be increasingly maligned for their work as a more civilized world insisted that it was not for the state to conduct executions. That said, it often surprises people to learn that the guillotine remained in use through the middle part of the 20th century, outliving other barbaric practices like slavery by nearly 100 years. Though the government outlawed public executions in the mid-1930s, men and women continued to be beheaded in the name of justice long after the end of World War II. But ultimately, the times were changing, and Nazi and Japanese atrocities had opened the eyes of many to man's ability to hurt fellow man. Killing was even less attractive to those who had already killed in the name of patriotism, and their voices raised, higher and higher, until ultimately the device that had dispatched royalty and paupers alike was finally used for the last time. As one author wrote, "May it never be used again."

The day of 9 Thermidor (27 July 1794) is universally acknowledged as a major turning-point in the history of the French Revolution. Maximilien Robespierre, the most prominent member of the Committee of Public Safety, was planning to destroy one of the most dangerous plots that the Revolution had faced.

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This book recounts the dramatic true story of the Discalced Carmelite nuns of Compiègne, martyred during the French Revolution's "Great Terror," and known to the world through their fictional representation in Gertrud von Le Fort's Song at the Scaffold and Francis Poulenc's Dialogues of the Carmelites. At the height of the French Revolution's "Great Terror," a community of sixteen Carmelite nuns from Compiègne offered their lives to restore peace to the church and to France. Ten days after their deaths by the guillotine, Robespierre fell, and with his execution on the same scaffold the Reign of Terror effectively ended. Had God thus accepted and used the Carmelites' generous self-gift? Through Gertrud von Le Fort's modern novella, Song at the Scaffold, and Francis Poulenc's famed opera, Dialogues of the Carmelites, (with its libretto by Georges Bernanos), modern audiences around the world have become captivated by the mysterious destiny of these Compiègne martyrs, Blessed Teresa of St. Augustine and her companions. Now, for the first time in English, William Bush explores at length the facts behind the fictional representations, and reflects on their spiritual significance. Based on years of research, this book recounts in lively detail virtually all that is known of the life and background of each of the martyrs, as well as the troubled times in which they lived. The Compiègne Carmelites, sustained by their remarkable prioress, emerge as distinct individuals, struggling as Christians to understand and respond to an awesome calling, relying not on their own strength but on the mercy of God and the guiding hand of Providence. The book includes an index and 15 photos.