Amélie de Bourbon (born 13 March 1977 in Paris) is a French writer, historian and columnist.[1]
In 2001, she published her first novel, The Coronation of Louis XVII. According to Le Parisien, "it is a testimony more than a novel", retracing both the last days of Louis XVII, son of Louis XVI and Marie-Antoinette, and the investigation that made it possible to elucidate the mystery of the Louis XVII affair through DNA.[2]
She received the Cino Del Duca Prize prize, which rewards promising talent. After a stint in publishing, she was a project manager for Luc Ferry.
In 2015, she published her second novel, Le Secret de l'empereur, about the abdication of Emperor Charles V and his retirement to the monastery of Yuste. "The plot of the book revolves around a strange clock, the functioning and purpose of which escape his mysterious and glorious ancestor, while he lives in retirement in the monastery of Yuste, in the depths of Extremadura, after having abdicated in favor of his son Philip II of Spain," says Alain Beuve-Méry.[3] The novel received the Marguerite Puhl-Demange Prize, awarded by a jury of readers in Metz in 2016,[4] and the prize for the historical novel at the Rendez-vous de l'histoire de Blois in 2016.
From October 2017 to June 2019, she contributed every week to Le Parisien Week-End with historical columns. The collection of these chronicles, Étonnantes histoires de l'Histoire, was published by Éditions de l'Archipel. Since 2018, she has been a member of the sponsorship committee of the Centre des Monuments Nationaux.
In 2023, she published L'Ambition, the first volume of her third novel, Les trafiquants d'éternité, a trilogy devoted to the life of Pope Paul III, a major player in the Catholic Counter-Reformation, and founder of the dynasty of the Dukes of Parma.[5] [6] For L'Orient littéraire, "In her painting of Renaissance Italy, Amélie de Bourbon Parme demonstrates a rare mastery of the historical novel. (...) The period is perfectly chosen, convulsive as can be, the plots are entangled, destinies are made and unmade, the setting (...) is reconstructed with erudition, but without any heaviness."[7]