Marie-Josée Poisson is the author of the new novel Blood Bound: Unlacing Secret Ties. It has been translated from French into English by Flora-Lee Bendit.
Q: What inspired you to write Blood Bound: Unlacing Secret Ties?
A: When I found out that Madame de Pompadour was born Jeanne-Antoinette Poisson, I decided to weave a fiction around the fact that we shared the same family name: Poisson, which means fish.
As you can imagine, it lends itself easily to all sorts of teasing and mockery. For me, it meant stupid jokes on the school bus from pubescent boys, or being called "Mrs. Poison" during my professional years as a communications executive. Even in English, this name is a curse.
For the Marquise, it led to vicious insults from the nobles and ministers of Versailles about her bourgeois—some would say vulgar—surname. It all culminated in the derogatory Poissonnades verses. Since I’d had my fair share of trouble with that name, I felt a kinship with her, even though we cannot be related.
There is no possible relation between Jeanne-Antoinette and me: my first ancestor came to New France (today’s Québec) in 1645, almost a century before the Marquise was born in France. Just like the fictional bloodline in my novel, the story takes place both in Montréal and Paris.
The other spark was finding out that she had a son who died in his first year of life. My theory: he was sent to a wet nurse and never came back. A common occurrence in mid-18th century France. We know when he was born, we know where he was baptized but no date or place of his death are to be found. So I felt free to imagine a destiny for him.
Q: How did you create your characters Lou Ashby and Geoffroy Le Hideux?
A: I wanted Lou to bear some resemblance to the Marquise, both physically and intellectually. Throughout the novel, I planted small clues that gradually point readers toward the truth.
Lou shares Jeanne-Antoinette’s colouring and build, but also her intelligence, cultural sophistication, and social skills. What interested me most was that both women understand the importance of managing their public image. Lou does this through her work in modern media relations, while Jeanne-Antoinette had to navigate the hostile and highly political environment of the court of Versailles.
As for Geoffroy, he is entirely fictional. I wanted to create a believable partner for Lou—someone who could match her intellectually and who would be equally compelling in his own right. Making him a nobleman, albeit one who keeps that aspect of his identity largely private, added another dimension to the story, especially once the mystery surrounding Lou’s ancestry begins to unfold.
His profession, however, was inspired by a real person. During my research, I met a costume historian whose expertise and enthusiasm left a lasting impression on me. She held the same position that Geoffroy occupies at the Musée des Arts Décoratifs: Curator of Pre-Twentieth-Century Costume Collections. While Geoffroy himself is entirely a product of my imagination, his professional world is grounded in reality.
Q: How did you research the novel, and did you learn anything that especially surprised you?
A: The research for this novel involved extensive documentation, both in Montréal and Paris.
My very first step was having my family tree researched. Before embarking on a work of fiction rooted in ancestry, I wanted to understand where I truly came from.
To recreate the world of Nouvelle France, I immersed myself in the history of Montréal. I studied numerous books, pored over old maps, and walked the cobblestone streets of Vieux-Montréal to discover what traces of the original walled city still remained.
To gain a deeper understanding of Jeanne-Antoinette, I also retraced her footsteps in Paris. I was fortunate to gain access to places that are rarely, if ever, open to the public, including the École Militaire, the Élysée Palace, the Cabinet des Dessins at the Louvre, and even Madame de Pompadour’s private apartments in the North Attic of Versailles. The Musée des Arts Décoratifs was another invaluable resource.
One completely unexpected discovery was a little-known portrait of Madame de Pompadour by Drouais. Remarkably, it was right here in Montréal, tucked away in the reserve collection of the Stewart Museum, which has since merged with the McCord Stewart Museum. Standing before it, I felt as though I were meeting her face to face, across the centuries. It was an extraordinarily moving and emotional moment.
Being passionate about mid-18th century French and Canadian history, I thoroughly enjoyed researching and writing Blood Bound: Unlacing Secret Ties.
Q: The author Rebecca Morris said of the book, “Meticulously researched, filled with memorable characters and vivid settings, Unlacing Secret Ties explores the burdens and the blessings of an extraordinary inheritance.” What do you think of that description?
A: Very apt. I think Rebecca truly understands what I set out to accomplish with this novel. The book is certainly the product of meticulous research, but it is also driven by its characters, both real and fictional.
While the contemporary characters are largely products of my imagination—with the exception of Georges Poisson and Emmanuel Obein—the historical figures are firmly grounded in reality and based on extensive documentation.
As for my young hero, the Marquise's son, he began as a real person: Madame de Pompadour's short lived firstborn. From that starting point, however, I allowed fiction to take over. His fate in the novel is entirely imagined.
At its heart, the story explores questions of inheritance and identity. Coming to terms with one's legacy is not always easy, especially when it carries unexpected truths. That is precisely the challenge Lou must face as she uncovers her connection to the past.
Q: What do you hope readers take away from the book?
A: One comment I hear frequently from readers is that they learn a great deal while reading my novels. If the book can serve as a history lesson while remaining entertaining, then I consider that a success.
I also hope it encourages readers to become curious about their own ancestry and family stories. Researching the past can lead to fascinating discoveries and a deeper understanding of who we are.
As a bonus, the novel offers a portrait of Paris that differs from the postcard-perfect image so often presented. I wanted to explore the city's hidden corners, its history, and the realities of living in that urban environment.
Q: What are you working on now?
A: Promoting the English edition of my first novel has kept me busy over the past few months. Before that, however, I spent nearly a year working on the translation with my translator, Flora-Lee Bendit. Because I am bilingual, I was closely involved in the process. It was much more than a straightforward translation from French into English.
In many ways, it felt like a rewriting, as we worked to preserve not only the meaning of the text but also its tone, rhythm, and nuances for a new readership. Flora-Lee did a splendid job. With her sensitivity and know-how, she breathed new life into my characters and painted a perfect picture of the places that served as a backdrop to the plot.
As for what comes next, I am currently toying with two different ideas for a new book. They are still in the early stages, however, and authors tend to be superstitious creatures. We are often reluctant to reveal too much about a project before it has fully taken shape!
Q: Anything else we should know?
A: One of the things I enjoy most about being a writer is meeting my readers. Since March, I’ve had the opportunity to connect with some in Montréal, Toronto, Halifax, and Calgary. This fall, I’ll be heading to Winnipeg as well.
Whether it’s at a book signing, a reading, or a panel discussion, I always enjoy hearing what people have to say about my work. Whether their comments are encouraging, challenging, or thought-provoking, I invariably learn something from those exchanges.
Writing may be a solitary activity, but sharing opinions with readers is what brings the whole experience full circle. I hope there will be many more such encounters in the months to come.
--Interview with Deborah Kalb
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