Tag Archives: feminist

The Ghost Woods by C.J. Cooke

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Oh God, there it is, lit up by the car’s headlights. Four pointy turrets and dark stone walls laced with red ivy. It looks like Dracula’s holiday home.

Something unspeakably evil is stalking the grounds of Lichen Hall.

Two women, from different backgrounds, at different times, (1959 and 1965) find themselves in the same position, pregnant without a mate in a period in which that was not considered socially acceptable. Such women were often shunted off to mother-and-baby homes. You may have heard of the Madgalene laundries of Ireland. They were awful, and were not restricted to the Emerald Isle. But Mrs. Whitlock’s Lichen House is soooooo much worse. There is plenty of strangeness about the place and some of its inhabitants, well beyond garden-variety human unpleasantness.

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C.J. Cooke – image from Curtis Brown

In 1959, seventeen-year-old Mabel Anne Haggith finds herself five months deep in a family way, despite never having had sex. Her mother and stepfather have sent her off to be seen to, out of sight of the neighbors. She is truly a clueless innocent. She feels that there are ghosts in her body. In 1965 Pearl Gotham, twenty-two, a nurse, is likewise facing emerging problems, an unreliable bf among them. Both are taken in by the welcoming, if somewhat chilly, Mrs. Whitlock. The house seems likelier to generate nightmares than comfort to women in need. In fact, it has much in common with the abusive mother-and-baby institutions of its time. More about that later.

Mabel is very much a pleaser, eager to fit in, even when hazed by those already there. She is shy and unsure of herself, working class, uneducated, and for all intents and purposed alone in the world. Until she finds a friend in another young woman there, Morven.

Pearl arrives with much more confidence. A nurse, she is aware of the seriousness of the lack of real medical care at Lichen House. She is also much more worldly, more socially able, not just with the other young women but with Mrs. Whitlock as well. In addition she is charged with tutoring Mrs. Whitlock’s decidedly odd grandson.

Cooke offers a cornucopia of detail that gives the creepiness texture and provides a constant source of surprising revelations. There are mysteries to be sussed out. The overarching imagery of the story has to do with fungi. The house itself is seriously infested with molds of various sorts, and is rapidly sinking into decrepitude.

I follow her gaze to an enormous mass of yellow fungus creeping up the side of a wall. What looks like a series of giant ears are bulging from the gap in the doorframe, right down to the floor. As I draw my eye across the length of the vestibule I spot more fungus spewing from cracks in the tiles and the window frames. The vaulted ceiling is sullied by black blooms of mold. Black frills poke out from the wooden steps at my feet. And at the end of the staircase, a plume of honey-gold mushrooms nub out from the newel post, perfectly formed. It makes me feel physically ill.
“What happened?” I ask, burying my mouth in the crook of my arm.
She sighs wearily. “An infestation of fungus. I still can’t quite believe it. This house has been standing for four hundred years. It has withstood bombs, floods, and a bolt of lightning.” She folds her arms, exasperated. “Fungus can eat through rock, can you believe that?”
“Good God,” I say.

The woods manifest spots of light that can lure one in. Mrs. Whitlock celebrates every birth with a puff of fairy dust toward the newbie. Mr. Whitlock maintains a Micrarium, a sort of mini- museum, a cabinet of curiosities focused on fungi. He makes a big deal about cordyceps, which may be familiar to fans of The Last of Us.

There is plenty of strangeness. Who posts a “Help Me” poster in one of the rooms? Who is that little boy Pearl sees dashing about, the one the other young women deny having seen? Mrs. Whitlock seems particularly averse to making use of the medical profession, forcing her guests to give birth in the house, with only the assistance of the women living there. What’s up with that? Mr. And Mrs. Whitlock were reputed to have had a son who died in an auto accident, but his body was never recovered. Huh? Who is the mysterious, threatening figure in the woods?

“So there’s a story about a witch who lives in the ghost woods out in the forest.”
“I’ve heard of that,” I say. “Mrs. Whitlock mentioned it. At least, the ghost woods part. I don’t believe she mentioned a witch.”
“Well, I heard about it when I first came here,” Rahmi says, and I see Aretta give her a look, as though to warn her not to say more. Rahmi notices, and bites back whatever she was going to say. “I’ve seen her,” she says guardedly.
“Who, the witch?” I say, and she nods. I study her face, expecting her to say “Boo!” or something, revealing it all as a big joke.
“Well, then,” I say, raising my glass of water as though it is a crisp Chardonnay. “I shall seek out this witch in the ghost woods. A little bit of spookiness will spice this place up nicely.”
“Don’t,” Rahmi says, though I’m not sure how much I should take this at face value. “It might be the last thing you ever do.”

As the story goes, Nicnevin was a witch who had lain with a girl who had fallen asleep in the woods. When the girl gave birth, it was to a monstrosity, and it was killed. Nicnevin made the family mad before killing them, then took over the family hall to be a place of rot and ruin, naming it Lichen Hall.

In addition to the ample gothicness of the novel, there is plenty of character and plot content to keep you flipping those pages, and maybe loading up on bleach. Both Mabel and Pearl are sympathetic. What will happen with them, with their babies? What kind of danger are they in? You will definitely care.

There is also plenty of payload beneath the overlaid story. In an image of how women were treated in the 50s and 60s, the awfulness of Mrs. Whitlock’s Lichen House offers a vibrant image of a decaying institution, controlled by ill-meaning people, enforcing wrong-headed social norms, and crushing any people or behaviors falling outside the prescribed lanes. It is a moving, powerful, effective tale.

The Ghost Woods is, first and foremost, a gothic novel, the last installment of a thematic trio that considers our relationship with nature, motherhood, memory, and trauma (the previous two installments are The Nesting and The Lighthouse Witches). I suppose the question could legitimately be asked whether motherhood, gay rights, reproductive rights, and gender inequality have any place in a gothic novel. For me, the gothic is exactly the space to explore darkness of any kind, and the practice of othering is one of the darkest corners of human history. – from the Author’s Note

Review posted – 06/27/25

Publication date US trade paperback – 4/29/25
First published UK – hardcover – 10/13/22

I received an ARE of The Ghost Woods from Berkley in return for a fair review and a pinch of fairy dust. Thanks, folks, and thanks to NetGalley for facilitating.

This review is cross-posted on Goodreads. Stop by and say Hi!

=======================================EXTRA STUFF

Links to Cooke’s personal, FB, Instagram, and Twitter pages

Her personal site was strangely unavailable when I was testing this. I am hoping it has been restored by the time you see this.

Profile – from GR

C.J. (Carolyn) Cooke is an acclaimed, award-winning poet, novelist and academic with numerous publications as Carolyn Jess-Cooke and Caro Carver. Her work has been published in twenty-three languages to date. Born in Belfast, C.J. has a PhD in Literature from Queen’s University, Belfast, and is currently Reader in Creative Writing at the University of Glasgow, where she also researches the impact of motherhood on women’s writing and creative writing interventions for mental health. Her books have been reviewed in The New York Times, The Guardian, Good Housekeeping, and the Daily Mail. She has been nominated for an Edgar Award and an ITW Thriller Award, selected as Waterstones’ Paperback Book of the Year and a BBC 2 Pick, and has had two Book of the Month Club selections in the last year. She lives in Scotland with her husband and four children.

Interviews
—–Rachel Herron – Ep. 208: CJ Cooke on the Thrills of Contemporary Gothic Horror – video – 33:29 – begin at 8:10 – not specific to this book, but interesting
—– Murder by the Book – – C.J. Cooke in Conversation with Rachel Harrison

My review of prior work by Cooke
—–The Lighthouse Witches).

Songs/Music
—–The Beatles – I Want To Hold Your Hand – referenced in Chapter 2

Item of Interest from the author
—–Insta – CJ holds forth on the mother-and-baby homes theme from The Ghost Woods on her insta page
—– Google Play Books – Excerpt – audio – 10:36

Items of Interest
—–Small Things Like These by Claire Keegan – a great novel re the Magdalene laundries
—–Wiki – Magdalene laundries in Ireland
—–What Moves the Dead – another novel involving fungi

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Filed under Feminism, Fiction, Horror, Suspense

The Invisible Hour by Alice Hoffman

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in every fairy tale girl who is saved is the one who rescues herself.

people in love were such fools, they made up excuses, they wound up doing as they pleased no matter how much good advice they been given.

The Invisible Hour is a twice-told tale of a mother and a daughter.

Ivy Jacobs’ Beacon Hill family did not exactly treat it as a crimson-letter day when the sixteen-year-old informed her parents that she was pregnant by a feckless Harvard sophomore. Despite her tender years, Ivy wanted to see the pregnancy through and keep the baby. Decisions and plans were made, none of them involving input from Ivy. The newborn would be put up for adoption. Ivy bails, getting as far away as she can, which turns out to be a sort-of commune in western Massachusetts.

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Alice Hoffman – image from Penguin Random House – shot by Alyssa Peek

Mia Jacob is the daughter Ivy bore. We meet her at 15. Living in the place to which her mother had fled, The Community. More of a cult really, an authoritarian farm where the leader’s will is law. Joel Davis took Ivy in, married her soon after she’d arrived, so is Mia’s step-father. But child-rearing is communal here, so parenting is not what you or I would recognize. You will recognize the cult-leader, control-freak personality Joel wears like the headgear sported by the QAnon Shaman. Vanity is supposedly being punished, but it is accomplishment, growth, intelligence and independence that are the targets. He likes his followers unquestioning and compliant.

Ivy has stolen parenting moments over the years, so has had a hand in helping Mia find her true self, a young woman who is curious about the world, eager to learn, to investigate, to explore, to read. Discovery of her criminal reading marks her for punishment. When we meet Mia she is, as her mother was, a teen about to flee her oppressive environment.

Although we learn about and spend time with both women, it is Mia who is our primary focus. In a dark time, she considers suicide, but, fortuitously, reads a book that saves her, changing her life, giving her hope, The Scarlet Letter.

We follow her coming of age, assisted by her mother and an understanding librarian in the town where The Community sells their produce.

Her passion for Hawthorne is such that she finds in it a magical power. Alice Hoffman loves her some fairy tales, so it will come as no great shock that one fine day Mia finds herself transported back to the 19th century, and into the presence of her literary love object. Complications ensue. In those, however, we get a sense of Hawthorne, his personality, his material conditions, his family and friends, and his writing challenges. Nice looking fellah, too, to go with that oversized talent.

There is some wonderful imagery woven into the novel. The notion of invisibility is large among these. There are times in which it might be useful to go unseen, as in when one is doing something for which one might be punished, or which are simply secret. On the other hand, it is not so wonderful to be unseen in normal human interactions. Like “Yo, dude, human here. Whaddaya? Blind?” There is some literal invisibility as well.

Apples are a core element as well. There is a particular breed of apple grown in the area, which is no Eden. They seem less associated with The Fall than with a push. Joel uses leaves of that apple tree as a threat. One could certainly see his actions as serpentine. Mia even decides never to eat apples, given the associations she has for them with The Community. Howdaya like dem apples? Johnny Appleseed comes in for some attention, with plantings of his effort bearing local fruit.

The woods as a magical place gets a visit or two. Indeed, magical things go on there. Strange people and buildings appear. There is even one “Once upon a time” in the book. The Woods is where Mia goes to escape.

Much of the tension in the book centers around women taking control of their own lives. This happens in various ways. There is the usual disobedience one would expect, with the most daring taking the greatest risks. Reading figures large in this, as subservience is sustained under the lash of forced-ignorance. Reading is the gateway drug to independent thinking, and dreaming of better. Some women even learn herbal medicine, to see to their needs. The comparisons of the modern day with the repressive Puritan world depicted in The Scarlet Letter are clearly drawn. Plus ça change…

I think it’s a bad idea to write for the moment because the moment passes so quickly. The other thing about time is that what’s right and what’s good and what’s accepted suddenly becomes not. I thought about that with the way women were treated in “The Scarlet Letter,” the way that the Puritans blamed women, and they believed in original sin and that women were responsible for that because of Eve. It all changed, but then it changes back. And then it changes again. A lot of the things that women are coping with right now are not that different, really. The judgment against women. – from the Salon interview

There is a garden in town where all the plants are red. It may feel familiar to frequent readers of Hoffman.

This new book [The Invisible Hour] actually takes place in a town where I wrote a book of connecting stories about called The Red Garden, so it’s the same place. It’s just a novel that takes place in that town. – from the Salon interview

I consider myself an Alice Hoffman fan. While I have not read all her books, I have certainly read more than a couple. Any reader of her books knows that there are certain things one can expect. Among other things, there will be an engaging lead, facing difficult choices, and there will usually be bits, at least, of magic, often of a fairy tale sort. So, one cannot really gripe about a time-travel element pushing things too far, particularly when done in the service of giving us a closer look at a literary icon. My sole gripe is that I felt that the baddie was given too much magical license to pursue his dark ends.

Otherwise, despite it’s title, The Invisible Hours very much deserves to be seen. It offers not only an uplifting, engaging tale of empowerment, but an homage to one of the greats of American literature, and long-form praise of the power, the importance, the necessity of reading. I am sure we can all see the value in that.

“Q: Did you set out to write a novel so deeply rooted in women’s empowerment? How did it evolve to include time travel?”

“A: I started to think about The Scarlet Letter and how modern-day issues for women are not that foreign from issues in that time period. I’m not certain I realized when I first read Nathaniel Hawthorne’s great novel what the deeper meaning of his heroine’s situation is—she has no say over her body or her choices and yet, she does make her own choices. It’s a very brave book.
I’ve always wanted to time travel and been drawn to books about time travel. I think during the time of Covid, when I was writing this, more than ever I want it to be in another time period.”
– from A Conversation with Alice Hoffman, an appendix in the book

Review posted – 12/22/23

Publication date – 8/15/23

This review is cross-posted on my site, Goodreads. Stop by and say Hi!

=======================================EXTRA STUFF

Links to the author’s personal, Instagram and FB pages
Profile

Other Hoffman books I have reviewed:
—–1999 – Local Girls
—–2003 – Green Angel
—–2004 – Blackbird House
—–2005 – The Ice Queen
—–2011 – The Red Garden
—–2011 – The Dovekeepers
—–2017 – Faithful
—–2017 – The Rules of Magic
—–2019 – The World That We Knew

Interviews
—–Salon – “I want to believe”: Alice Hoffman is always seeking magic, practical and otherwise by Alison Stine
—–Shondaland – Alice Hoffman Talks Her Latest Novel, ‘The Invisible Hour’ by Sandra Ebejer
—–Harvard Review – An Interview with Alice Hoffman by Christina Thompson

Song
—–Agnes Obel – Brother Sparrow – relevance to the chapter title

Item of Interest from the author
—–Salon – Alice Hoffman: Five amazing tips to help you write your novel

Items of Interest
—–Wiki on Nathaniel Hawthorne
—–Wiki on Johnny Appleseed, mentioned multiple times
—–Gutenberg – full text of The Scarlet Letter
—–Good Will Hunting – Howdaya like dem apples?
—–Wiki on the QAnon Shaman

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Filed under Fantasy, Feminism, Fiction, Historical Fiction, Literary Fiction, Religion

First to the Front by Larissa Rinehart

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On Sunday February 18, [1945] the lieutenant in charge of Navy press at the
Oakland air base agreed to see her. Eying her credentials once more, he handed them back.
“And just where was it you wanted to go,” he asked.
She had been rehearsing her response ever since her credentials first arrived in the mail.
“As far forward as you’ll let me,” she replied.
“Be here at 0600, tomorrow,” he said.

…good intentions have rarely paved such a direct route to hell.

Back in World War II there was a small bit of graffiti that appeared in many places across the world. It showed a nose, the fingers of two hands and eyes peeking over a wall, or a fence, along with the words “Kilroy was here.” It was meant to show that American soldiers had been in a particular place, and that they had been everywhere. If Dickey Chapelle had wanted to, she could have left her graffiti across the world as well, not just to show that she had been there, but that she had been the first woman, the first reporter, the first woman reporter who had done the job in many, many dangerous places.

She slept in Bedouin tents in the Algerian desert, and in the foxholes she dug herself in the hills overlooking Beirut. She rode in picket boats between battleships off the coast of Iwo Jima and flew in a nuclear-armed jet stationed on an aircraft carrier in the Aegean sea. On New Year’s Eve 1958, she patrolled the Soviet border with the Turkish infantry. On New Year’s Day 1959, she photographed Fidel Castro’s army as they entered Havana. She jumped out of planes over America, the Dominican Republic, South Korea, Laos, and Vietnam. She heard bullets flying over her head in Asia, North America, Europe, and Africa, and knew that they all sounded the same.

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Engraving of Kilroy on the National World War II Memorial in Washington D.C. – image and descriptive text from Wikipedia

It is likely you have heard of Margaret Bourke-White, famed for her coverage of World War II. You may have heard of Marguerite Higgins, noted for reporting on the Korean War. It is very unlikely you have heard of the subject of this book. Go on Wikipedia, or most other places that aggregate such information, and look up World War II correspondents. Chapelle, whose full name was Georgette Louise Marie Meyer Chapelle, is unlikely to appear. Yet, she did seminal work covering diverse elements of the war, including battles on the front lines. She even trained as a paratrooper, so she could jump into battle zones with American military units, which she did. Lorissa Rinehart seeks to correct that oversight.

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Lorissa Rinehart – Image from Macmillan

She tracks Dickey from her brief stint as a student of aeronautical engineering at MIT. Soon after, she was a journalist in Florida, covering a tragic air show in Cuba. It was her first real reporting “at the front” of a deadly event. And the way ahead was set. When Hitler invaded Poland in 1939, she saw that war was coming with United States. Although Congress did not agree to declare war, it did ramp up production of airplanes and other war materials to support the effort against Nazism.

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Dickey Chapelle – Image from Narratively, courtesy of Wisconsin Historical Society

She learned that she would have to become a photographer if she wanted to cover the war. So she took photography classes. Among her teachers was the man she would marry, Anthony “Tony” Chapelle. Their relationship was never a natural. He was much older, controlling, with a temper, described by some as a consummate con man. He would be jealous of her successes, and seemingly always eager to undermine her confidence. But he was a very successful war photographer and taught her the skills that would enhance her natural eye, helping make her the great photojournalist she would become.

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Dickey Chapelle photographs marines in 1955 – image From Wall Street Journal – from Wisconsin Historical Society

Rinehart tracks not only Chapelle’s adventures on the front lines of many military conflicts, but the skirmishes in which she was forced to engage to gain permission to be there at all. Sexism, as one would expect, forms a major portion of those struggles, but some had to do with her being a journalist at all, regardless of her gender. There is a string of firsts next to her name in the history of journalism, and the word “female” does not appear in all of them. Sadly, she was the first female correspondent killed in Viet Nam.

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Chapelle with Pilots – image from the Wisconsin Historical Society

Dickey was tough as nails, enduring some of the same training as the GIs she was covering. In addition to her considerable coverage of World War II, she was on the front lines of the major hot spots in the Cold War. Not only embedded with marines, Chapelle spent considerable time with troops from Turkey, Castro’s rebels in Cuba, anti-Castro plotters in Florida, secret American forces in Laos, Laotian anti-communist fighters, Algerian revolutionaries, Hungarian rebels, and more. The list is substantial. She would keep diving in, wanting to get the immediate experience of the fighters, the civilians caught in the crossfire, the human impact of war. No Five o’clock Follies for Dickey. She was not interested in being a stenographer for brass talking points, seeing that approach as the enemy of truthful reporting.

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Dickey Chapelle sits and drinks coffee with the FLN Scorpion Battalion Rebels in the Atlas Mountains in Algeria
– image and descriptive text from the Wisconsin Historical Society – shot by Dickey Chapelle

Chapelle was captured, imprisoned, and tortured in Hungary by Soviet forces. It gave her a particularly pointed perspective on the treatment of prisoners by Western militaries, and the greater implications of the USA not holding to the highest international standards.

One of her greatest gifts was a respect for local cultures and particularly local fighters. She was quite aware of how hard they trained, how hard and far they pushed themselves, how much deprivation they willingly endured. Yet she encountered attitudes from American officers and leaders that regarded non-white fighters through a self-defeating racist lens. Chapelle tried to get the message across to those in command how wrong they were in their regard for the locals the USA was supposedly there to support. Despite occasionally breaking through the brain-truth barrier, that engagement proved a demoralizing, losing battle.

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Iwo Jima Medical Facilities – image from the Wisconsin Historical Society – shot by Dickey Chapelle

Another example of her analytical capability was fed by her time with a community in Laos, led by a cleric, possessed of superior tactical and political approaches. She tried to bring her knowledge of this to American military leaders. It was not a total failure. Although her ideas were not implemented to a meaningful extent, she was eventually brought in by the military to teach what she knew to new officers.

Through much of her work, which included extensive coverage of the on-the-ground Marshall Plan in Europe, her marriage to Tony was seemingly in constant crisis. It was an ongoing war, with dustups aplenty, advances and retreats, damage incurred, but resulted, ultimately, in a separation of forces, which freed Chapelle to pursue her front-line compulsion unimpeded by contrary wishes.

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Fidel Castro with cigar, and five other men
– image from the Wisconsin Historical Society – shot by Dickey Chapelle

Her employers were not always news outlets. She was employed by the Red Cross to document the need for blood in the war zone. She covered a hospital ship, and medical units on the battlefield. It was hoped that her coverage would give a boost to a national blood drive encouraging Americans to give blood for wounded soldiers. It was a huge success. She worked for the American Friends Service Committee covering military behavior in the Dominican Republic. Other non-profits paid for her to report from other parts of the world. And sundry magazines provided enough employment to keep her working almost constantly.

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A woman in a headscarf crosses an improvised bridge in the vicinity of the village of Tamsweg, escaping from Hungary to Austria
– image from the Wisconsin Historical Society – shot by Dickey Chapelle

This is an amazing book about an amazing woman.The story of Dickey Chapelle reads like fiction. Even though we know this is a biography, and that what is on the page has already occurred, Rinehart makes the story sing. Her story-telling skill brings us into the scenes of conflict, sometimes terror, so we tremble or gird along with her subject. She taps into the adventure of Dickey’s life, as well as the peril. This is the life that Dickey had sought, and which would be her undoing. The book reads like a novel, fast, exciting, eye-opening, frustrating, enraging, sad, but ultimately satisfying. Dickey Chapelle’s was a life that was as rich with stumbling blocks as it was with jobs well done, but ultimately it was a life well lived, offering concrete benefits to those who were exposed to her work, and an inspiration for many who have followed in her bootsteps.

I side with prisoners against guards, enlisted men against officers, weakness against power.
—Dickey Chapelle

Review posted – 10/6/23

Publication date – 7/11/23

I received a copy of First to the Front from St. Martin’s Press in return for a fair review. Thanks, folks.

This review is cross-posted on Goodreads. Stop by and say Hi!

======================================EXTRA STUFF

Links to Lorissa Rinehart’s personal, FB, and Instagram pages

Profile – from Women Also Know History

Lorissa Rinehart writes about art, war, and their points of intersection.
Her writing has recently appeared in Hyperallergic, Perfect Strangers, and Narratively, among other publications…When not writing she can be found photographing the natural world impinging upon the urban landscape or digging in the dirt with her husband and two sons in Santa Barbara, California. She holds an MA from NYU in Experimental Humanities and a BA in Literature from UC Santa Cruz.

Interviews
—–Writers Talking – Season 2 Episode 7 – Talking to Lorissa Rinehart – podcast – 50:30
—–Hidden History Podcast – A Conversation with Lorissa Rinehart with John Rodriguez – video – 40:18 – begin at 1:43 – there is a transcript on the side
—–Cold War Conversations – Dickey Chapelle – Trailblazing Female Cold War Journalist – audio – 1:01:50

Items of Interest from the author
—–The War Horse – excerpt
—–Facebook reel – Rinehart on Dickey Chapelle showing incredible guts
—–FB – The Top 10 Books She Read to Prepare
—–The History Reader – Escaping Algeria – excerpt
—–Narratively – The Parachuting Female Photojournalist Who Dove Into War Headfirst

Item of Interest
—–Milwaukee PBS – Behind the Pearl Earrings: The Story of Dickey Chapelle, Combat Photojournalist – video documentary- 56:05
—–Political Dictionary – Five o’clock Follies

#womeninwwii #womeninwar #womenjournalists #womenheroes #wwiibooks #wwiihistory #newbooks #mustread

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Filed under American history, Bio/Autobio/Memoir, biography, Feminism, History, Journalism, Non-fiction, Public policy, Reviews, World History

Stone Blind by Natalie Haynes

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Perseus…has no interest in the well being of any creature if it impedes his desire to do whatever he wants. He is a vicious little thug and the sooner you grasp that, and stop thinking of him as a brave boy hero, the closer you’ll be to understanding what actually happened.

Who decides what is a monster?

When Natalie Haynes wrote Pandora’s Jar, a collection of ten essays on the women in Greek myths, she included a chapter on Medusa. In nine-thousand words she offered a non-standard view of the story of heroic Perseus slaying the gorgon. But the story stayed with her, well, the rage about the story of how ill-treated this supposed monster had been, anyway. If the feeling remained that powerful for so long, it was a message. She needed to devote a full book to this outrage in order to get any peace. Thus Stone Blind.

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Natalie Haynes – image from Hay Festival

We learn how Medusa came by her notable do. After being sexually assaulted by Poseidon in one of Athena’s temples, the goddess was appalled. No, not by the rape. I mean a god’s gotta do what a god’s gotta do. But that he raped Medusa in Athena’s temple! Desecration! Well, that cannot go unpunished. So, Athena seeks revenge on Poseidon by assaulting Medusa, figuring, we guess, that this might make Poseidon sad, or something. Uses her goddess powers to turn Medusa’s hair to snakes and her eyes to weapons of mass destruction. Any living creature she looks at will be lithified.

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Image from Mythopedia – Head of Medusa by Peter Paul Rubens – 1618

Then there is the other half of this tale, Perseus. We are treated to his dodgy beginnings, another godly sexual assault. He is not portrayed here as the hero so many ancient writings proclaim. Decent enough kid, living with his mom, Danae, and a stepfather sort, until mom is threatened with being forcibly married to the local king, a total douche. Junior tries to make a deal to get her out of it, said douche sending him on a seemingly impossible quest. Good luck, kid. I mean, seriously, how in hell can he hope to bring back a gorgon’s head?

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Image from Ancient Origins

Zeus feels a need to help the kid out. I mean, Perseus may be a bastard, but hey, in Greek mythology, that would put him in the majority. Am I right? Still, he is Zeus’s bastard, so Pop does what he can to help him out, sending along two gods to coach and aid the lad as needed. Hermes and Athena snark all over Perseus, pointing out his many weaknesses and flaws, while providing some very real assistance. They may not hold the kid in high regard, but neither can they piss off the boss. Very high school gym, and totally hilarious.

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Image from Wiki – Perseus Turning Phineus and his followers to stone by Luca Giordano – 1680s

Which should not be terribly surprising. Haynes is not just an author and classicist, but a stand-up comedian. You can glean what you need to know about her comedic career from the Historical Archivist interview linked in EXTRA STUFF. There is plenty of humor beside godly dissing of Perseus. Athena (referred to as Athene in the book) tries to talk an unnamed mortal into signing on to a huge battle between the Olympian gods and the Giants, new powerhouse versus the current champs. It is clearly a tough sell.

‘If you get trodden on by a giant or a god – which wouldn’t be intentional on our part, incidentally – but in the heat of battle one of us might step in the wrong place and there you’d be. . . . Well, would have been. Anyway, it would be painless. Probably very painful just before it was painless, but not for long.’… ‘Come on. If you do die, I’ll put in a word for you to get a constellation. Promise.’

There are plenty more like these, including a particularly shocking approach to relieving a really bad headache.

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Image from Scary For Kids (reminds me of the nun I had for eighth grade)

But the whole quest experience uncovers Perseus’s inner god-like inclinations. He becomes an entitled rich kid with far too many high-powered connections helping him out. And develops a taste for slaughter. When Andromeda sees a knight in shining armor, come to save her from certain death by sea monster, her parents suggest that “Maybe, Sweetie, you might consider how gleeful he was when he was murdering defenseless people?” Or noting that if he had really been solid on keeping promises he might have headed straight home to save his mom with that snaky head instead of stopping off to frolic in blood for a few days. “This boy’s gonna be trouble, Andy.”

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Image from Classical Literature

The gods have issues. The Housewives of Olympus could well include some unspeakable husbands, who seem to have a thing for forcing themselves on whomever (or whatever) catches their eye. As a group they are always on the lookout for slights, insults, or minor border transgressions. What a bunch of whiny bitches! But with power, unfortunately, to make life unspeakable for us mere mortals, whose life expectancy is not even a rounding error to their eternal foolishness. Medusa, in that way, was one of us. There is uncertainty about Perseus.

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Image from Talking Humanities

Sisters abound. Apparently, triple-sister deities was a thing for the ancient Greeks. We are treated to POVs from Medusa’s two gorgon sibs, and look on as Perseus hoodwinks the three hapless Graiai sisters, who are doomed to having to share a single eye and a single tooth among them. (Could you please wipe that thing off before you pass it along?) The Nereids are more numerous (50) and a bit of a dark force here.

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From Greek Legends and Myths – by Arnold Böcklin (1827–1901)

Never one to stick to a single POV, Haynes offers us many discrete perspectives over seventy-five chapters. Fifteen are one-offs. The Gorgoneion leads the pack with thirteen chapters, followed by Athene with eleven, Andromeda with eight and Medusa with seven. There are some unusual POVs in the mix, a talking head (no, not David Byrne), a crow, and an olive tree among them. Haynes dips into omniscient narrator mode for a handful of chapters as well.

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Image From Empire

As noted in EXTRA STUFF, there is a particularly offensive sculpture of Perseus holding Medusa’s severed head. Not only has he murdered her, he is standing on her corpse. You can see how this would piss off a classicist who knows that Medusa never hurt anyone. Damage done by her death-gaze was inadvertent or done by others using her head as a weapon. And this supposedly brave warrior killed this woman in her sleep. Studly, no? And with all sorts of magical help from his father’s peeps. What a guy!

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Image from Smithsonian American art Museum – by Lucien Levy-Dhurmer – 1915

Natalie Haynes set out to tell Medusa’s story, and it is completely clear by the end that the monstrosity here is the treatment this innocent female mortal received, at the hands of abusers both male and female. Haynes keeps the story rolling with the diverse perspectives and short chapters, so that even if you remember most of the classic myth there will be plenty of mythological history you never knew. You will also laugh out loud, which is a pretty good trick for what is really a #METOO novel. The abuse of the powerless, of women in particular, by the powerful has been going on only forever. Haynes has made clear just how the stories we have told for thousands of years reinforce, and even celebrate, that abuse. Next up for her, fiction-wise, is Medea. I can’t wait.

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Image from Smithsonian American Art Museum – by Alice Pike Barney – 1892

Medusa may not have been a goddess, but it seems quite clear that Natalie Haynes is. This is a wonderful read, not to be missed.

He’s just a bag of meat wandering round, irritating people.’

Review posted – 02/24/23

Publication dates – Hardcover
———-UK – September 15, 2022 Mantle
———-USA – February 7, 2021 – Harper

This review has been cross-posted on GoodReads. Stop by and say Hi!

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Image from Wiki by Caravaggio – 1597

=======================================EXTRA STUFF

Links to the author’s personal, Twitter and Instagram pages

Interviews
—–The Bookseller – Natalie Haynes on challenging patriarchal historical narratives and championing female voices by Alice O’Keeffe
—–CBC – Natalie Haynes on the fantastic and fearsome women of Greek myth
—–LDJ Historical Archivist – Brick Classicist of the Year 2023 Natalie Haynes – video – 16:46 – this is delicious
—–Harvard Bookstore – Natalie Haynes discusses “Stone Blind” – video 1:03:55 – – This is amazing! So much info. You will learn a lot here.

My review of other work by the author
—–2021 (USA) – A Thousand Ships – Helen of Troy and the women of the Homeric epics

Items of Interest
—–Wiki on Gorgoneion
—–The Page 69 Test – Stone Blind – a bit of fluff
—–Widewalls – An Icon of Justice – Or Something Else? A New Medusa in a NYC Park – interesting contemporary sculptural response to a classical outrage.

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Left: Benvenuto Cellini – Perseus holding the head of Medusa, 1545–1554. Image creative commons / Right: Luciano Garbati – Medusa With The Head of Perseus, 2008-2020. Installed at Collect Pond Park. Courtesy of MWTH Project – images and text from Widewalls article
The MWTH (Medusa with the head) image is sometimes accompanied by the ff: “Be thankful we only want equality and not payback.”

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Filed under Fantasy, Feminism, Fiction, Historical Fiction, Literary Fiction

The Last Chairlift by John Irving

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Think of your first good kiss. Was it life-changing, or was it no big deal? Do you remember how old you were? Did it matter, at the time, who gave it to you? Do you even remember who it was?
I’ll tell you this: when you’re thirteen and your mother gives you your first good kiss, you better hope someone matches it or eclipses it—soon. That’s your only hope.

Autobiography just isn’t good or bad enough to work as fiction… Unrevised, real life is just a mess.

The overall format is one of a frame, with Adam Brewster opening by letting us know that this is the story of his life and times, then returning to turn out the lights when the tale has been completed. It is a family saga of Irving’s era, 50’s 60s, (Vietnam) 70s, 80s (Reagan, AIDS) et al, to the mad, reactionary violence of the 21st century. Adam Brewster, a writer and screenwriter, is our narrator for a look at the sexual politics of a lifetime, from his birth in 1941 to his later days some eighty years on.

Adam’s mother, Rachel Brewster (Little Ray), was a nearly-pro ski nut, who spent large parts of every year on the slopes, settling for work as an instructor. That left Adam in the hands of his grandmother for much of his upbringing, assisted by a passel of relations. He would hunger for time with his only known parent for much of his life, a core element of the novel.

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John Irving – image from Outside Magazine

Readers of John Irving will recognize much that is familiar, from his prior work and his life. The novel is set in Exeter, New Hampshire, Irving’s home town; includes a benign stepparent teaching at Phillips Exeter (as his actual stepfather did); includes the narrator as a student there. Yep, Irving attended. There is wrestling, of course. Bears are limited to a kind of snowshoe shaped like their paws. A hotel figures large. There is an absent biological father, (Irving’s father was in the US Army Air Force. He never met him.); a mother with too many secrets; there is also reference made to an inappropriate relationship between an adult woman and an underage boy. (something Irving himself experienced); considerable attention is directed to feeling like, to being, an outsider.

”That’s just who you are, Adam,” my older cousin said. “There’s a foreignness inside you—beginning with where you come from. The foreignness is in you—that’s just who you are. You and me and Ray—we’re outliers.”

In fact, Irving turns the tables here, as Adam, as the only straight among the main characters, is the outsider in his own family, always the last to get things, he is nonetheless loved and supported by his sexually diverse relations.

His mother’s lifelong lover, Molly, effectively his stepmother, tells Adam, “There’s more than one way to love people, Kid.” It serves as a core message for the book and for Irving’s oeuvre. One of the main characters is transgender. He first wrote a sympathetic trans character in The World According to Garp, in 1978. So, when his son, born many years after the book was published, came out to his parents as trans, she knew her father would be completely supportive.

The politics of divergent sexuality through time manifests in diverse venues. Raucous comedic material performed at a comedy club in one era is considered too much for a later sensibility, a new puritanism of correctness. Safety for being different is a concern. Adam is very worried when his stepfather is out in their town dressed as a woman, even trails him sometimes in case a backup is needed. Reagan’s unwillingness to address AIDS until six years into his presidency is noted. Acceptance increases over time, but increased acceptance sparks increased resistance. A performer of material deemed unacceptable to some becomes a target for violence in a more disturbed climate.

In addition to the overarching theme of looking at sexual politics, sexuality is shown as far less important than the connection between people. Things that may seem sexual actually have a lot less to do with sex than connection. For instance, Adam and his mother often sleep together, in the slumbering, not biblical sense, well past the age where that is generally deemed ok. There is another relationship in which a straight man and a gay woman share a bed, sans fooling around.

There is hilarity aplenty, not least with Adam’s young sequence of damaged or damaging lovers. Lots of cringy LOL material there. I counted a dozen “LOLs” in my notes, some for entire chapters.

And then there are ghosts. Irving calls this a ghost story. I refer you to a piece on his site that addresses this directly.

Ghosts don’t just warn us about the future; they remind us of what we’ve forgotten about the past. All this is to say, I have a history of being interested in ghosts. And here come the ghosts again. In my new novel…the ghosts are more prominent than before; the ghosts, or hints of ghosts, begin and end the novel.

We all have ghosts we live with, but the ones here are visible, well, to some, anyway. They hang out in large numbers at a hotel in Aspen, but also turn up at home. The spectres are historical and familial, with some able to interact with the physical world (sometimes with LOL results) sometimes condemned to remain non-impactful. They do indeed, as noted above, remind us of the past, sometimes darkly so, but some offer direction and comfort. And Irving uses his behemoth of a novel to keep generating new ones. They pass over in a wide range of ways; lightning, murder on a stage, sudden avalanche, cancer, suicide, murder in a hotel, falling from a chairlift, leaping from a chairlift, death in war, et al. Falkner famously said “The past is never dead. It’s not even the past.” I guess it could be said for many characters in The Last Chairlift that even the dead are never entirely dead.

Adam’s profession offers ample opportunity for Irving (winner of a National Book Award AND a screenwriting Oscar) to present a wealth of material about writing, both for the screen and for print.

“My life could be a movie,” you hear people say, but what do they mean? Don’t they mean their lives are too incredible to be real—too unbelievably good or bad? “My life could be a movie” means you think movies are both less than realistic and more than you can expect from real life. “My life could be a movie” means you think your life has been special enough to get made as a movie; it means you think your life has been spectacularly blessed or cursed.
But my life is a movie, and not for the usual self-congratulatory or self-pitying reasons. My life is a movie because I’m a screenwriter. I’m first and foremost a novelist, but even when I write a novel, I’m a visualizer—I’m seeing the story unfold as if it were already on film.

Imagining the stories you want to write, and waiting to write them, is part of the writing process—like thinking about the characters you want to create, but not creating them. Yet when I did this, when I was just a kid at Exeter—when I thought about writing all the time, but I never finished anything I was writing—this amounted to little more than daydreaming.

you don’t see with hindsight in a first draft. You have to finish the first draft to see what you’ve missed.

Fiction writers like what we call truthful exaggeration. When we write about something that really happened—or it almost happened, could have happened—we just enhance what happened. Essentially, the story remains real, but we make it better than it truly was, or we make it more awful—­depending on our inclination.

There are many more—it is a very long book—but this last one in particular speaks very directly to Irving’s process. As noted up top, he returns to familiar themes and situations. In interviews he says that he begins with the same life experiences, but then changes where they go, how they morph, as if his creative process was to take the stem cells of his experiences and direct them to grow into a wide range of possible pieces. Same source, different outcomes.

It is not just the characters and situation that have morphed, it is the form as well. As Adam is a screenwriter as well as a novelist, and as this story is Adam’s, it is fitting that how he perceives the world makes its way into how he presents his story. There are long chapters that are written in screenplay format, complete with fade-ins, fade-outs, off-screen narration, closeups, wide-shots, the whole toolkit. It is an interesting tactic. I found it off-putting, but it does allow for a different approach to the material.

He does not just talk about writing per se, but incorporates into the novel considerable attention to his favorite book of all time, Moby Dick. (he has the last line of Moby Dick tattooed on his left forearm) This book opens with My mother named me Adam…, which resonates with Call me Ishmael and no less with …I am born from David Copperfield, Dickens being a particular Irving favorite. He sees himself as more of a 19th century novelist than a 21st century one.

…because those novels have always represented the model of the form for me. I loathed Hemingway. I thought Faulkner was excessive. Fitzgerald was ok, but lazy at times. I was enamored of the kind of novel all of my classmates at school despised.

References to Melville’s masterpiece (sometimes hilariously), Dickens, Ibsen, and plenty of others abound.

It is pretty clear that John Irving has had an interesting life. Eighty years old at the time of publication, he does not see The Last Chairlift as his last hurrah. In fact, he signed a three-book deal with Simon and Schuster, of which this was merely the first. He promises, though, that the next two will be a lot shorter.

Until then, this one will certainly suffice. Irving has lost none of his sense of humor. This book was more than occasionally laugh-out-loud funny. He has lost none of his feel for writing relatable humans. While some of the supporting cast are painted in broad strokes, to illustrate this or that sociopolitical issue of a given time, the main ones, and even hordes of second-tier characters are drawn with fine lines, and deep sensitivity. He has lost none of his vision, seeing clearly the currents of the eras considered, and how those have impacted social and political possibility for rounded humans who do not fit the square holes of a boilerplate majority. For all that Irving writes about people who are different, he makes it eminently clear that in matters that count we all share the same needs, to be loved, seen, and respected for who we are. Here’s hoping it will not be another seven years until we get to enjoy another of John Irving’s marvelous works.

…the dead don’t entirely go away—not if you see them on the subway, or in your heart.

Review posted – February 17, 2023

Publication date – October 18, 2022

I received an ARE of The Last Chairlift from Simon & Schuster in return for a fair review. Thanks, folks, and thanks to NetGalley for facilitating.

This review has been cross-posted on GoodReads. Stop by and say Hi!

=======================================EXTRA STUFF

Irving’s personal and FB pages

Interviews
—–CBS Sunday Morning – John Irving: A Writer’s Life with Rita Braver – a delight – Sees himself as a 19th century writer
—–Late Night with Seth Meyers – John Irving Doesn’t Write a Book Until He Knows How It’s Going to End
—–Freethought Matters – Freethought Matters: John Irving
– video – 28:08 – with Ann Laurie Gaylor and Dan Barker – Interview begins at 2:57 – focus on chairlift begins at about 18:00
—–NPR Podcasts – Book of the Day – ‘The Last Chairlift’ is John Irving’s latest novel on sexual politics with Scott Simon – Audio – 10:26
—–Hazlift – ‘Hope is an Elusive Quality’: An Interview with John Irving by Haley Cunningham
—–Toronto Star – Hugging us back in the dark: John Irving on making us care about his characters, sexual politics, and the ghosts in his new book ‘The Last Chairlift’ by Deborah Dundas

Items of Interest from the author
—–Here Come the Ghosts Again on ghosts in his novels
—–CBS News – excerpt
—–Lithub – excerpt

My review of another book by Irving
—–In One Person

Items of Interest
—– Moby Dick – Full text – with annotations
—–David Copperfield – Full text – with footnote annotations

Items of Interest from the author
—– Here Come the Ghosts Againon ghosts in his novels

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Filed under Feminism, Fiction, Historical Fiction, Literary Fiction, Reviews

The Mad Girls of New York by Maya Rodale

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God save Nellie from the ladies’ pages. If a woman was lucky enough to get a job working for a paper—which spared her from working in a factory, or as a domestic or a wife (shudder)—she would have to spend her days writing about household hints and recipes, garden shows and charity luncheons. It was mind-numbingly tedious and she wanted to avoid it at all costs. It was one reason why she had left Pittsburgh.

There is nothing worse than being told that you don’t know your own mind or body. If you aren’t mad when you go in, chances are you will be by the time you come out.

When twenty-three-year-old Nellie Bly headed to New York City in 1887, she left a message for her boss at The Pittsburgh Gazette.

I’m off for New York. Look out for me.
—Nellie Bly

Good advice. It was no easy task for Elizabeth (Elly) Jane Cochrane. Women in journalism were relegated to the “ladies’ page” when they were hired at all. And often had to use pen names to get their work into print. Persistence paid off, though, and Cochrane finally got a gig with The New York World, by promising to go undercover at the New York City Asylum for the Insane on Blackwell’s Island. (called Roosevelt Island today). The notorious institution had already been the subject of multiple journalistic examinations. But it was a tough place to get into, and, as it had changed from a co-ed institution to a women’s asylum in 1872, it would take a female to be able to get inside, one of the downsides to journalism being such a boys’ club. But Nellie’s self-confidence, and courage, knew no bounds, so she dove right in.

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Maya Rodale – image from Open Shelf – photo by Elsa Ngan

The Mad Girls of New York is a novelization of Bly’s actual early adventures in NYC. Some of the characters are taken from Bly’s seminal work, Ten Days in an Asylum, which was comprised of and expanded from the articles she had written for the New York World, a series that made her reputation. She persuaded those who needed persuading that she was mad, in order to be institutionalized as a patient. It was surprisingly easy. Once in, she experienced the horrors inflicted on the patients, although inmates would have been more accurate.

The asylum was a physically cold place, and the residents were provided with painfully inadequate clothing and covers. The food was unspeakable, often insect-ridden, the physical accommodations spartan, the doctors dismissive, the nurses abusive, and the cleanliness regimen was cruel. It did not help that some of the help was recruited from the prison that was also on the island.

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Nellie Bly – image from the Irish Times

We meet several groups of characters. The journalism pack leads off. This includes the editors she interviews during a project on why the papers do not hire women. There is a fair bit of LOL to be had in this as she leaves them spinning and sputtering in their own contradictions. There are the other women journalists with whom she engages, a club of sorts, who help each other out, getting together in an establishment, The Ordinary, that serves women only. Such institutions did exist at the time. She has a competition going with a male reporter, Sam Colton, from Chicago. There is also a simmering attraction between the two, but it is not romancy enough to intrude into the story too much, thankfully. There is also a flirtation with the hunky, single mayor.

When you learn that there was in fact a hot bachelor mayor of New York City named Hugh Grant, you must include it in your novel. – from Rodale’s Twitter feed

Rodale has produced numerous romance novels, (22 by my count, plus some novellas, a children‘s book and a couple of non-fics) so it would have been a shock if there were not some sparks flying in this tale. But if you are hoping for ignition into conflagration, you will have to check out her considerable romance work instead.

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The New York City Asylum for the Insane – image from Wikipedia – cheery-looking, no?

Then there are the patients. Anne is in need of care, but cannot afford decent treatment at a private institution. The Princess has a regal bearing but will only say three words, Rose, Daisy, and Violet, over and over. Tillie has a nervous condition, truly needs some rest, some peace and quiet, in a warm place, but her friends dumped her off at Bellevue (with friends like that…). Prayer Girl, who pleads with god to kill her ASAP, somehow never takes the initiative herself. Women are committed to this place for a variety of reasons, few of them good. Many devolve to a broad category of their being inconvenient, something Martha Mitchell might recognize. Then there is Mrs Grady, the Nurse Ratched of this enterprise, a cruel overseer, super control freak, eager to inflict pain and punishment and never willing to hear any of the real concerns of her charges. Toss in a few cruel cops and attendants, a clueless doctor, and another who at least shows some bits of humanity.

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Newspaper Row in Lower Manhattan. That is City Hall in the foreground on the left. The domed building to the east of City Hall is the New York World Building. The Brooklyn Bridge had not yet been built when this shot was taken, but if it had, it would appear to the north (left) of the World Bldg) – image from Stuff Nobody Cares About

Rodale’s focus is on how women were treated, not just in this horrid institution, but in all institutions of the wider world, using her story-telling skills to show us how women were regarded as a lesser life form, in politics, in journalism, in finance, in the overall world of work, well…paid work. Slaving at home for hubby and progeny was still just fine and dandy. She shows the struggles that smart, driven women had to endure in order to access the same level of opportunity and respect as men, just to be able to cover hard news. Bly was one of a group of women called “Girl Stunt Reporters,” daring women journalists who put themselves in peril in order to delve into many of the social wrongs of the late 19th century.

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Hugh J. Grant two-term NYC Mayor – image from Wikipedia

Rodale spices up the story, as if it needed additional condiments, with a mystery about a high-society spouse gone strangely missing, with the widower chomping at the bit to wed a younger, richer, woman. She incorporates actual historical events and people into the tale, sometimes with name changes, sometimes with tweaking of timelines. Some personages retain their names, including the aforementioned mayor, Hugh Grant, (who did not actually become mayor until 1889, two years after the events of this novel) Hetty Green (The Witch of Wall Street), Harriet Hubbard Ayer, a writer of articles about beauty and health for the New York World, and others.

Despite the harshness of the conditions Bly, and now Rodale, reveal, there is no graphic violence or sexual behavior in The Mad Girls of New York. This helps make it perfectly suitable for younger readers, particularly girls, who may not know about Nellie, and what a pioneer she was. It is a very fluid, quick read.

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Hetty Green – The Witch of Wall Street – image from wiki

The book is listed as A Nellie Bly Novel #1, so we can presume there are more in the works. I do not have any inside intel on this, but I imagine that Nellie’s around-the-world-in-80-days challenge (she did it in 72) will be among the upcomings. Something to look forward to.

Nellie’s story is a remarkable one. Rodale has done a very nice job of letting modern readers in on what Nellie faced as a gutsy, newbie reporter in New York, and what she accomplished, at least in the short term, encouraging us to learn more about this brilliant, dogged, remarkable woman. You’d have to be crazy to pass this one by.

The madhouse had been horrible, but this part—writing it all down with the promise of seeing the atrocities in print, made it feel worthwhile. When she thought of the public reading her words and knowing about the suffering that happened at Blackwell’s, Nellie felt shivers. Do stunts, Marian had flippantly suggested. But Nellie had found her life’s work.

Review posted – May 6, 2022

Publication date – April 26, 2022

I received an ARE of The Mad Girls of New York from Berkley in return for a fair review. Thanks, folks, and thanks to NetGalley for facilitating. Can I get a warmer blanket, please?

This review has been cross-posted Goodreads.

=======================================EXTRA STUFF

Links to the author’s personal, Instagram, and Twitter pages

Interview
—–Wine, Women and Words – Nerding out about Nellie with Maya Rodale with Michelle Leivas and Diana Giovinazzo

Item of Interest from the author
—–Lithub – The Real-Life Heroines of an Outrageous Era: A Gilded Age Reading List

My obsession with the Gilded Age began with romance novels—I wanted to set a series in old New York in the world of Mrs. Astor’s ballroom and dollar Princesses, which felt like an updated version of the Regency Era. But in researching the time period I discovered that the best stories weren’t just uptown in Fifth Avenue mansions—they were everywhere. I also discovered that the Gilded Age was a golden age for independent, ambitious, boundary breaking real life heroines.
One of my favorites is Nellie Bly…She was the first and most daring of the stunt girl reporters, who found fame and success by going undercover to report stories that detailed women’s experiences as factory girls, or getting abortions, or learning ballet.

Items of Interest
—–Wiki on Nellie Bly
—–Wiki on Hugh J. Grant – NYC’s 88th mayor
—–Wiki on Hetty Green – “The Witch of Wall Street” – Marian goes to see her to get intel on Jay Wallace in chapter 24
—–Wiki on – Harriet Ayer – Nellie’s mentor in the book
—–Library of Congress – Research Guide for Nellie Bly
—–Gutenberg – Ten Days in a Madhouse – the full text
—–Wiki on The Martha Mitchell effect
—–Smithsonian – These Women Reporters Went Undercover to Get the Most Important Scoops of Their Day – an outstanding piece by Kim Todd, author of Sensational: The Hidden History of America’s “Girl Stunt Reporters
—–Wiki on The Ladies Ordinary – a women-only establishment where Nellie meets with other reporters
—–For a real blow to your consciousness, check out this site, for Octagon NYC. This part of the original asylum has been converted, as all things in NYC are, into luxury housing. The prices are insane. (a 540 sq ft studio is $3,028 a month, a 3 BR, 1,316 sq ft goes for $7500 a month)
—–The American Journal of Psychiatry has a brief, but informative, piece – The Lunatic Asylum on Blackwell’s Island and the New York Press

Reminds Me Of
—–Leslie Parry’s 2015 novel, Church of Marvels, includes a look at Blackwell’s when one of the characters spends some time inside.
—–One Flew Over the Cuckoo’s Nest – the film

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Filed under Feminism, Fiction, Historical Fiction, New York City

A Thousand Ships by Natalie Haynes

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Sing, O goddess, the anger of Achilles son of Peleus, that brought countless ills upon the Achaeans. Many a brave soul did it send hurrying down to Hades, and many a hero did it yield a prey to dogs and vultures, for so were the counsels of Jove fulfilled from the day on which the son of Atreus, king of men, and great Achilles, first fell out with one another. – the opening of The Iliad by Homer

I’m not sure I could have made it more obvious, but he hasn’t understood at all. I’m not offering him the story of one woman during the Trojan War, I’m offering him the story of all the women in the war. Well, most of them (I haven’t decided about Helen yet. She gets on my nerves.). I’m giving him the chance to see the war from both ends: how it was caused and how its consequences played out. Epic in scale and subject matter.

Calliope, Homer’s presumed muse, keeps trying to get him to tell the broader tale, not just the one about the men and their battles and intrigues. But he insists on a singular, male-oriented view of the Troy story (Ilios is Greek for Troy). That is the only one we have gotten, well, from him, anyway. Other classical writers have offered some different perspectives, Euripedes in particular.

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Natalie Haynes – Image from her site – photo credit: Dan Mersh

We have all read it, (you did do the assigned reading in school right?) or certainly at least heard about it. The Iliad, by Homer, is the most widely read epic poem ever. The action centers on the leaders and the combatants, with a healthy dose of less-than-divine gods and goddesses, and adventure aplenty. It is rather light, though, on the stories about the impact of this lengthy war on women. Whudduwe? Chopped livah?

So, Natalie Haynes offers a retelling of the story of Troy from the perspective of its female characters, the story she imagines Calliope might have been pressing on her reluctant client. And the Odyssey as well, as we trail Odysseus through some of his dodgy travails.

The drama of war is not always found on the battlefield. It’s in the build-up, the aftermath, the margins. Where the women are waiting. – Haynes – from The Observer article

Beware Greeks bearing gifts.

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Trojan Horse – image from ThoughtCo.com

Just like today, the lives of regular people in Greek mythology are made miserable by the feckless, selfish, ignorant actions of the people in charge. And those on high are not shy about using others, other gods, lower-level gods, demi-gods, and mere mortals to implement their dark desires. For example, Gaia, mother of Titans (take that, Daenerys) is maybe a bit more like Joan Crawford (Earth-Mommy dearest?) in this telling, or a very unhappy landlady. (banging on the ceiling with a broom handle?)

Mankind was just so impossibly heavy. There were so many of them and they showed no sign of halting their endless reproduction. Stop, she wanted to cry out, please stop. You cannot all fit on the space between the oceans…you must stop, so that I can rest beneath your ever-increasing weight.

Zeusy, Sweetie, can you help me out here? And what better way to take off a bit of excess earthly poundage than a lengthy and particularly bloody war. Sure, Gai, no prob. And thus, with the eager assistance of a cast of the greedy, prideful, bloodthirsty, short-sighted, dumb, and just plain foolish, we get a decade-long war, short on forward movement but long on casualties, and stories.

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Cassandra in front of the burning city of Troy – by Evelyn De Morgan – from Wikimedia

We follow a cast of mostly female characters as they endure or succumb to the horrors of war, politics and religion. Hecabe, Priam’s widow is a central core among the captive wives and daughters of the defeated Trojans, holding the group together as they ponder and plan for their fates in the hands of their captors. They cope with their treatment by the Greek victors. Some names will be familiar. Others, less so. You have probably heard of Cassandra. And certainly you know of Hector, but not his widow Andromache. They face moral choices no less than their y-chromosome counterparts. When and how to resist, when and how to go along. Finding ways to seek justice, revenge, or freedom. Banding together. Even the hated Helen is given a turn. Their lives, and deaths are no less heroic, despite a lower body count.

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Penthesilea – image from Total War Saga: Troy

Non-Trojan women get a perspective as well. You may have heard of Hippolyta, Queen of the Amazons, but maybe not of Penthesilea, an amazing Amazonian character, Xena, or Wonder Woman, sans the tech. Leading her force into battle, looking to take on Achilles himself. You go, girl. Clytemnestra, wife of Agamemnon, gets some recognition for the atrocities she has endured, not just the one for which she has received a dark reputation.

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Penelope – image from The Arts Desk – painting by John William Waterhouse

Penelope tells Odysseus’s story via letters, having heard of his doings from local bards, who clearly get great reception on their muse-links. So, Ody, the war’s over, dinner is getting cold, your son would like to meet you, what time do you think you’ll be home? There are several Penelope chapters, written as letters to her MIA hubs. Pretty funny stuff, looking at the adventures of Odysseus from the perspective of the ones left behind. Oh, so after you poked out the Polyphemus’s one eye and were sailing off into the distance, you felt it necessary to tell him your real name? Just what the hell is wrong with you? You knew that Poseidon was his father, right? Hope you enjoy that curse he dumped on you. Well, no wonder you got blown off course. How old are you?…Really, you took a side trip to Hades? What were you thinking? Shacked up with Circe for a year and that Orygian home-wrecker Calypso for seven FU@#ING YEARS!!! My patience is running a wee bit thin, husband. Her exasperation really comes through.

You were wedded to fame more than you were ever wedded to me. And certainly, your relationship with your own glory has been unceasing.

The men do not come off well, overall, Achilles is not just the greatest warrior who ever lived, but a feckless murder machine who sees no difference between taking on Trojan warriors on the battlefield and mowing down unarmed old men, women, and children from his horse. His bf, Patroclus, thinks a high body count is all that matters, regardless of type. Agamemnon, nominal leader of the Greek coalition army, is venal, pathetic, entitled and cowardly. Can he be impeached? Really, you are willing to slaughter one of your kids to get a fair wind for your ships just because some priest tells you so? Really? Dude, you deserve what you get.

What kind of man wore a bronze breastplate and a plumed helmet to return home? One who believed that his power was seated in his costume, she supposed. The red leather of his scabbard was very fine, studded with gold flecks. She did not recognize it, and realized this must be part of his share of the fabled wealth of Troy. To have killed her child for a decorated bit of animal skin. She could feel the contempt shaping her mouth into a sneer, and stopped herself. Now was not the time to lose control. That would happen later.

The gods are portrayed as their usual awful selves, which is no surprise. Power corrupts, and, apparently, makes you really stupid, too. While most of the women come to a bad end. This is not a spoiler, because you read the book, right? But some get in a few licks of their own, and a few even escape.

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Detail of painting The Muses Urania and Calliope by Simon Vouet, in which she holds a copy of the Odyssey – image from Wikimedia

There are many lessons from The Iliad that still pertain thousands of years after its writing. Antenor telling those in charge that the Trojan horse might, just possibly, be a ploy, and Cassandra cursed with knowing what lies ahead but never being acknowledged might, just possibly, remind some of the Trump administration’s response to the Covid crisis. And a Trojan willing to open the gates for an invading horde might certainly resonate with corrupt American legislators offering tours and even directions to a Capitol-invading mob in 2021. The classics are classic for a reason

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Clytemnestra and Agamemnon – Pierre-Narcisse Guerin (1774-1833) – Image from Greek Legends and Myths

To see or hear Haynes speak is to be instantly charmed, and better, educated and entertained. She is a gifted lecturer, bringing to her talks all the effervescence, delight, and enthusiasm she clearly brings to her fiction. She is an amazing writer, bringing the ancients to life for us in the 21st century. And her decade-plus career as a stand-up comedian clearly informs her work. While not LOL-funny here, her portrayal of Penelope’s remarkable forbearance certainly has a sharp comedic edge. Overall, Haynes has given voice to a side of the Trojan War that has been much overlooked. A Thousand Ships deserves to get millions of readers. It’s smart, entertaining take on a classic story is a new classic, all its own.

A war does not ignore the lives of half the people it touches. So why do we?

Review posted – January 22, 2021

Publication dates
———- May 2nd 2019 by Mantle (UK)
———–January 26, 2021 – Harper (USA)

=============================EXTRA STUFF

Links to the author’s personal, Twitter and Instagram pages

Interviews
—–NPR – The Trojan Women — And Many More — Speak Up In ‘A Thousand Ships’ by Lulu Garcia-Navarro
—–Books on the Go – Ep 78: Interview with Natalie Haynes, ‘A Thousand Ships’ – with Anna Bailliekaras – audio – 36:43
—–The Guardian – Standups on why they quit comedy: ‘I have nightmares about having to do it again’ by Brian Logan – Haynes is one of several stand up comedians who talk about why they got out
—–Salon London – In conversation with ‘the Nation’s Great Muse’: Natalie Haynes – video – 1:04:13
—–Harrogate Literature Festival – mostly on Pandora’s Jar rather than A Thousand Ships, but wonderfully entertaining, and some outstanding and surprising information about Helen
—–The Guardian – Standups on why they quit comedy: ‘I have nightmares about having to do it again’ by Brian Logan – Haynes is one of several stand-up comedians who talk about why they got out

Items of Interest – by the author
—–Natalie Haynes: Troy Story – A. G. Leventis WCN Ancient Worlds Study Day 2019
You must watch this. You will not be sorry
—–Natalie Haynes Stands Up for the Classics – BBC Radio 4 – A lecture series by Haynes – audio
—–The Observer – Helen of Troy: the Greek epics are not just about war – they’re about women
—–Decline and fall: what Donald Trump can learn from the Roman emperors
—–Troy Story – Heroes Gods and Amazons!

Items of Interest
—– Where Does the Phrase “Beware of Greeks Bearing Gifts” Come From? By N.S. Gill
—–wiki on Calliope
—–wiki on Clytemnestra
—–Homer (no, wiseguy, not the one from The Simpsons) – The Iliad – full-text from Gutenberg

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Digging for Truth – We Keep the Dead Close by Becky Cooper

book cover

I’m here because, for the past ten years. I have been haunted by a murder that took place a few steps away. It was told to me my junior year of college like a ghost story: a young woman, a Harvard graduate student of archaeology, was bludgeoned to death in her off-campus apartment in January 1969. Her body was covered with fur blankets and the killer threw red ochre on her body, a perfect recreation of a burial ritual. No one heard any screams; nothing was stolen. Decades passed, and her case remained unsolved. Unsolved, that is, until yesterday.

“Every nation-state wants an important past,” Karl said. So, often the ruling parties will commission archaeologists. But sometimes the past the archaeologists find is not what the powers want them to find.

In Becky Cooper’s gripping true-crime tale, We Keep the Dead Close, there are two mysteries at work. Who brutally murdered Jane Britton and why, and was Harvard University involved in covering up the murder? If so, did they know who the guilty party was?

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Becky Cooper – from the Boston Globe – photo by Becky Cooper

Ok, so here is how I went about reading the book. In addition to entering into my review file the names of the suspects people connected to the crime, I also kept a running list of the questions I thought needed answering as the book moved along. Here is a sample from reading through page 32:

Questions so far
—–Was Jim H (Jane’s sort-of bf) at her door at 9a as reported by her friends and neighbors, the Mitchells?
—–Where is Jim H now?
—–Who were the two men dashing to a car at 12:30a as reported by neighbor Ravi?
—–Why was Jane’s cat screaming at 8p, and if the place was effectively soundproof how did neighbor Carol Presser hear it?
—–Sounds like the killer was left-handed, given the location of the fatal blow.
—–What’s the deal with the red ochre sprinkled over Jane’s body?

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Jane Britton – image from Wikimedia

I kept a separate list for the question of whether Harvard engaged in a coverup. In a book of over 400 pages you can see how this list might grow. And grow it did, even as I checked off many of the questions when they were answered. But that was one of the major joys of reading this, or, I guess, any true crime book, or fictional crime book for that matter. Seeing if what strikes the author, or the investigators, is also what strikes you, the reader, the rousing of our inner Sherlock. Aside from the mystery, the whodunit of the story, there is content in abundance. For example, how can an institution like Harvard at the very least appear to be involved in covering up a crime, and yet remain unaccountable. Maybe that is not so surprising given that, after lives of diverse forms of crime, the Trump family remains on the spacious side of prison bars. But still, there is, or at least should be, some shock value to this. Did Harvard leadership hide a capital crime, did Harvard obstruct justice for fifty years? Cooper looks at evidence suggesting that it did.

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Professor Karl Lamberg-Karlovsky was a prime suspect in Britton’s murder – image from the NY Post – grad students had accumulated a file on him. One of them died under questionable circumstances.

As noted in the opening quote at top, Cooper had come across this story while an undergraduate at Radcliffe. The professor presumed most likely to have done the deed was still teaching at Harvard. Cooper graduated, moved on, was having a life, but the story stuck with her. Ten years after her undergrad days, she returned to the scene of the crime, as a graduate student, determined to find out the truth of Jane Britton’s death.

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The Dig team in Iran in 1968 – from West Hunter

This is a journey very reminiscent of Michelle McNamara’s amazing I’ll Be Gone in the Dark, in which she helped track down the Golden State Killer. Could Cooper do the same? We follow her through the labyrinth of her investigation, talking with everyone who knew Jane at the time of her death, and then branching out to the people who knew the people who knew her. She keeps trying to get access to official police records, a remarkably difficult undertaking for such a cold case, even moreso as Massachusetts is one of the worst states in the nation on Freedom of Information access, and gets in touch with local and state investigators who were involved back then. Suspects get their time in the spotlight, then are replaced with others. Was it one of these, or maybe someone in Jane’s circle who was never thought of as a suspect, or maybe someone else entirely?

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Jane Britton and Ed Franquemont at their college graduation in 1967 – image from Town & Country – source: the Jane Britton Police File – Franquemont, an ex, was universally disliked by Jane’s friends. He may have been physically abusive to her

But there is a whole lot more going on here than a procedural effort to unearth the truth in a nearly fifty-year-old cold case. There is a consideration of historical and all-too-contemporary gender discrimination issues at Harvard, a strong thread about story that permeates, and a subset of that, on rumor as a means of social control.

Cooper documents decades of dismissive treatment of women, not just at Harvard, but in academia well beyond those ivied walls. This manifests in many ways. Women at Harvard in the 1970s learned to dress as sexlessly as possible in order to de-emphasize their gender, lest they be seen as less academically capable than their male clasamates. In the 1980s, women were ushered to positions in the university that were high on administrative duties and low in departmental influence. In 1994 Nancy Hopkins documented the bias against women, showing that only 8 percent of the science faculty at MIT were women, and even lower, 5 percent, at Harvard. In 2005 Hopkins confronted then Harvard president Larry Summers at a conference when he claimed that female under-representation in science faculties was the result of innate biological differences. In the twenty-teens, Associate Professor Kimberly Theidon, was active at Harvard speaking out about sex discrimination and sexual assault, faulting Harvard for its lagging sexual assault policy. When her concerns made it into The Crimson, Harvard’s newspaper, her tenure application, which had already been approved by the authorizing committee, was withdrawn. Behind-closed-door deliberations on tenure decisions shields Harvard from much-needed transparency.

The tenure decision-making process “is an invitation to abuse,” Howard Georgi, a Harvard physicist who has served on tenure committees told Science magazine in 1999. “There’s no question this has affected women.”

The whole notion for the book began, of course, with the story BC heard when she was a Radcliffe undergrad. The police withholding their information made the story of Jane’s death largely oral, and certainly unofficial. And we know from the game Telephone, how stories can change when passed along that way. The file kept by graduate students at Harvard about Karl, with so many elements poorly examined, if researched at all, made that a kind of urban legend. Everybody back at the time of her death had their own experience of Jane and BC tries to make sense of them, learn from their Rashomon-like views the truth of who Jane was. She presents to us a Jane Britton who is not just a body deprived of life, but a three-dimensional person, with a personality, a history, hopes, talents, complications, and ambitions.

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Jane Britton’s boyfriend, Jim Humphries, was also a possible suspect. – image from the NY Post – source: Jane Britton police file

We construct history from the pieces that are available to us. Artifacts, physical objects, letters, photographs, newspaper reports, police reports, spaces that existed then that are still around today. Cooper pursues all she can find, but some will never be unearthed. Sometimes those pieces might lead in opposing directions. Sometimes the pieces might lead nowhere. Sometimes small pieces might hold large truths. Sometimes what seem large pieces hold little explanatory value. Which are the important shards? And which are just detritus? It takes persistence, sensitivity, intelligence, and creativity to make the story we construct of these pieces reflect the truth of the person, the event, or the time we are attempting to describe. Karl Lamberg-Karlovsky’s claim to fame, for example, was not the high academic achievement of his field research. It was his ability to transform the bits he found into a compelling tale. And what about the missing puzzle pieces, the police reports that were kept hidden, the people there in 1968 and 1969 who had died? We can never really know all there is to know. But hopefully we can, with the evidence we are able to gather, get close enough.

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Richard Michael (Mike) Gramly (many years later, obviously) not only knew Jane at the time of her death, but was also on an expedition when another young woman vanished mysteriously – he was known to have serious anger issues

There were rumors bouncing around Jane and her death like neutrons in a nuclear reactor. Many of the people with whom Cooper spoke had a favorite suspect they believed guilty of the crime, offering what they knew or, maybe, had heard or suspected as supporting evidence. Did Ed Franquemont beat her? Was Mike Gramly guilty of maybe two killings? Did Jane have an affair with Karl in Iran? Did Jane threaten to expose a professional lie Karl had told? Did she blackmail him to gain an advantage in her exams, and a place on the next dig? Was Karl a plagiarist? Was Karl a murderer? Did rumors surround him because of his arrogance or because he might be guilty? How about Lee Parsons [sorry, I was unable to find a photo, but Lee is a prime suspect]? Something happened between Lee and Jane at a notorious “Incense Party” at his place. But what? Did Lee confess to killing Jane many years later? In Cooper’s investigative travels she crosses paths with an expert in such things.

As I thought more about [medical anthropologist] Mel [Konner]’s assertion that the rumors were a form of punishment, I found myself reading scholarly work on the social functions of gossip. I eventually worked my way to Chris Boehm, a former classmate of Jane’s who’s studied how gossip works in small-scale societies. He had, in fact, used Jane’s murder as an example in his paper about gossip as a form of social control.


According to Boehm, social groups necessarily have a certain amount of “leakiness“ built in. These are the whisper networks; these are the stories that get swapped in the field and passed quietly between graduate students. Their job is to limit outlier behavior and to keep members of the community safe when what can be said out loud is constrained. Gossip, in other words, is punishment for people who move outside the norms.

There is so much going on here, and it is so accessibly presented that you will be rewarded with much more than the knowledge of who killed Jane Britton. You will learn a lot about Harvard, how academia treats women, how gossip works in the world, and how one might go about solving a very cold case. You may or may not want to read this book in the somewhat OCD manner I pursued, focusing on solving the mystery. That way does add considerably to the reading time, as well as the filling feeling one gets from such activities. But whether you dust off each piece of information as it emerges, or speed through Cooper’s excavation on a mud-spattered Jeep, you will be well rewarded. Once you dig out We Keep the Dead Close from your bookseller’s shelves, you will definitely want to keep it close until you finish reading, exploring, and learning. This is an expedition well worth signing up for.

…the act of interpretation molds the facts in service of the storyteller. I have been burned enough times to know. There are no true stories; there are only facts, and the stories we tell ourselves about those facts.

Review posted – January 8, 2021

Publication dates
———-November 10, 2020 – hardcover
———-September 14, 2021 – trade paperback

I received a copy of the book from Grand Central in return for an honest review, or at least, as honest a review as might be possible given the materials I was able to excavate. Thanks, folks.

And thanks to MC. You know who you are.

=============================EXTRA STUFF

Links to the author’s personal, FB, Instagram, Tumblr, and Twitter pages

Interviews
—–This is an EXCELLENT interview – Wellington Square Bookshop – We Keep The Dead Close by Becky Cooper | Author Interview with Sam Hankin – video – 41:15
—–Grand Central Publishing – Becky Cooper & editor Maddie Caldwell in conversation – video – 56:16 – safe to skip the 2:13 intro

Items of Interest
—–Wiki – Murder of Jane Britton
—–WebSleuths.com

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Filed under American history, Bio/Autobio/Memoir, History, Non-fiction, Reviews