July 29, 2019 • No Comments
Today I sent the final draft of Fortune’s Eve to the copy editor. This is the prequel short story to the new Hellion House steampunk fantasy series. Because I’m so excited, I’m posting an appetizer here!
“If we don’t find the wreck soon, we’ll be obliged to turn back,” Norton Fletcher said.
Gideon glanced at the sky, calculating the remaining daylight. His father was right. No one risked traveling outside the city after dark. “That’s death for the crew of the wreck.”
“But not for us.” Fletcher’s face was rigid. “Don’t get caught up in the emotion of these missions. It’s a quick way to die.”
Gideon gave a low laugh to hide his resentment. His father never let go of the impulse to instruct his grown son. “I have compassion.”
“A waste of energy. Everything breaks and everything mends,” Fletcher said. “Live long enough, and you’ll understand.”
“Do you truly believe that?” Gideon asked, heat creeping into his words.
“Yes,” his father replied, “and no. It’s what old men tell themselves to stop the ache of fear in their bellies.”
The words were terse, a bitter blend of the flippant and the true. Questions crowded Gideon’s mind, but Fletcher’s expression closed like a door banging shut, the Dragonfly’s captain replacing the father. Not that the difference was pronounced on most days.
Gideon studied his father, who stood at the pilot’s station with feet planted wide and back ramrod straight. Fletcher wasn’t a large man, but his stocky figure and lined features, weathered by decades of sun and wind, made Gideon think of petrified oak. Fletcher eased a lever forward and the Dragonfly dipped closer to the river, twin propellers thwop-thwopping through the mist. Autumn fogs trailed ghostly fingers around the dirigible as if they meant to snatch it from the sky.
A flare had gone up two hours ago, according to the report of the watchmen who scanned the forest from the great towers that flanked the city gates. Fletcher Industries—one of the premier airship firms in the city—kept half a dozen rescue craft on standby, but the last week had been busy. When word arrived, only the Dragonfly was still at the airfield and the crews were shorthanded. Norton Fletcher—owner, designer, and still one of the best pilots in the sky—had taken the job himself. Of course, Gideon went with him. He was heir to the Fletcher empire and familiar with the day-to-day operations, but he still took pleasure in watching his father work. Or he had. As the afternoon wore on, that first thrill darkened to anxiety. They weren’t finding any trace of the wreck.
Gideon peered over the edge of the gondola, estimating the distance to the dense treetops. Ash, birch, oak, chestnut, and the occasional conifer grew in a lush tangle. They called this area between settlements the Outlands. After the population had fled the countryside, Nature had thrown a party. The result was the beautiful but deadly forest that grew up, covering every trace of civilization. Gideon leaned out another inch, one hand on a sturdy cable. There was still plenty of clearance before they risked scraping the branches, but distance made it hard to see the river. Unfortunately, closing the gap would be unwise. That was the gamble with rescue missions—risk all to save the innocent, and risk becoming a victim oneself.
A trio of dragons soared above the branches as the ship passed overhead. Their population had grown with the forest, but the city dwellers paid them no heed. Few of the creatures grew larger than a goat, and humanity had far more to worry about than an invasive species of lizard.
For the hundredth time that afternoon, the broad silver swath of the river emerged from the encroaching trees. The Dragonfly had followed a zigzagging path, searching both sides of the water. They had seen a fleet of River Rats—clans of wandering thieves and magicians who lived aboard their crafts—and once a smuggler’s ship with gun ports open. Both had probably been bound for the walled farms to the east. There was gold in river business, for those brave enough to risk it. Gideon would take the sky any day.
The foliage slipped from view, and the water gleamed directly below. His heart skipped as he saw what the Dragonfly had come for—the wreckage of a mid-sized sailing craft.
“There!” Gideon cried, pointing over the side with one hand while he fumbled for his spyglass with the other. “Bring the ship around again.”
The crew—four hands besides the Fletchers—jumped to obey, hauling on the lines that adjusted the auxiliary sails. Boilers hissed, feeding the engine that drove the propellers. Slowly, the Dragonfly, with its twin gray and white silk balloons, pivoted in the sky.
“Sir, we dare not go lower,” said Higgins, the grizzled senior airman.
“Then get your gear on,” said Norton Fletcher, guiding the ship into position above the wreck. “We’ll go down for a look, although it’s not promising.”
Hopeful or not, it was still their duty to search for survivors. Gideon grabbed his own equipment, wondering what they’d find. Fools had a way of getting what they deserved.
The river—cold, fast, and often foggy—was riddled with ruined weirs and the stumps of old bridges. Wise travelers took a River Rat who knew the water’s tricks. According to the harbormaster’s records—all crafts were required to declare their routes before they cast off—Mr. Joseph Ellery, esquire, had not. On some level, Gideon wasn’t surprised. He’d met the weedy banker at parties and the theater and had been consistently underwhelmed.
By the time the Dragonfly was hovering in place, Gideon, Higgins, and Crewman Yale were ready to descend. Flight crews typically wore supple leather suits as protection from wind and weather, along with high boots and close-fitting helmets. Gideon added a weapons belt and a rifle in a sling across his back, as well as long knives strapped to his thighs.
“You’ve got an hour of good daylight,” said Fletcher. “Don’t waste it.”
Gideon tried to catch his father’s eye, but the goggles that protected his eyes against the burn of the wind made it impossible. He wasn’t sure why he bothered to grasp that last moment of connection—he should need no reassurance, and emotional displays were not the family way. Still, the unknown that lurked below left a hollow in his gut. When Higgins offered him a flask of smuggled French brandy, he accepted it gratefully and took a swig for luck.
A square metal plate, about five feet across, formed part of the Dragonfly’s main deck. Once unlocked from thick steel hasps, the platform could be raised and lowered with steam-powered efficiency. Cables spooled onto four large wheels that moved on a single automated crank calibrated to keep the plate perfectly level—a key feature of Norton Fletcher’s design. The rescue crew mounted the platform, crouching low and grasping the lines for balance while Fletcher himself released the brake. With a whir of well-oiled gears, they gently floated the forty feet to the river’s shallows.
A breeze caught the platform, swaying it slightly. Gideon didn’t mind. The scent of greenery and rich mud was a novelty, and he inhaled with gratitude. His home stank of smoke and too many bodies crowded close for protection. The Outlands might be deadly, but at least they were clean.
The men jumped the last few feet, boots splashing in shallow water. The wreck was in the middle of the river, but there wasn’t enough of the ship left for survivors to take shelter. The crew would have struck out for dry ground or been carried off by the current. As this was the closer bank, it made sense to begin the search here.
“By our calculations, that’s where the flare was fired,” said Higgins, pointing a dozen yards ahead. “Anyone hoping for rescue wouldn’t go far.”
Gideon nodded agreement and scrambled up the bank, not wasting time. He pushed up his goggles, needing his peripheral vision now. As the September shadows lengthened, the fog was already misting above the water. It would be dusk here long before the sun actually set.
Unholstering his rifle, he strode onward, using his nose as well as his eyes and ears. Death had a smell, as did blood, but the wind was off the river and gave him no clues. A rustle in the trees caught his attention.
Gideon raised the rifle and turned slowly, realizing there had been birdsong a moment ago, and now there wasn’t. Somewhere in the treetops, a dragon squawked and flapped in seeming fury. He began to sweat, soaking the shirt beneath his jacket. He was still on the bank, the bush and trees a dozen yards distant and hiding who knew what. Countless ruins lay buried along the riverside, evidence of a world before walls and the terror of the Unseen.
Gideon swept his rifle in a slow arc, his nerves alive with dread. “Ellery?”
The woods to his left exploded with movement and sound. He swiveled toward it, but was a beat too late. He had a swift impression of rags and bony limbs, but his senses failed. A long shriek of rage split the air as the thing hurtled through the air, arms extended. Gideon had no chance to aim.
July 2, 2019 • No Comments
The selfie craze isn’t exactly new. Back in 1854, André Adolphe Eugène Disdéri, a photographer in Paris, patented a small type of photograph called the carte de visite. This was basically a piece of card with a slightly smaller photo glued to it. The card measured around 2.5 inches by 4 inches and frequently bore the photographer’s address at the bottom. The glory of this new invention was that it was more affordable than previous techniques. Those of modest means could have their picture taken for the first time. We get an intimate view of the working people of the era that doesn’t exist in such variety prior to this period. Many cartes de visites were made for soldiers during the American Civil War.
Here’s one of Edgar Allan Poe in the 1870s. Since pets were also popular themes, he might have also had one done of his raven. A search through the internet will turn up a vast number of cats and dogs, babies, and kids in fancy dress. People really haven’t changed that much.
The popularity of the carte de visite surged when Napoleon III had his card done. Soon all the cool kids were not only getting their own portrait taken, but also collecting the cards of the rich and famous. It was common to display one’s collection of cards and–always a trendsetter–Queen Victoria had an album for photos of her extensive family.
Here’s one of Victoria and Albert:
“[Carte-de-Visite Album of British and European Royalty]” by F. Joubert is licensed under CC CC0 1.0
In the early 1870s, a slightly larger format called the “cabinet card” replaced the carte de visite in popularity.
July 1, 2019 • No Comments
I’m still tweaking this slightly, but here is the first glimpse of Scorpion Dawn. It’s in the upcoming Rogue Skies box set and is the prequel novella to the Hellion House series.
When the prey becomes the hunter
Miranda Fletcher lives in a glittering world of aeronauts and artists, dance cards and dandies, but terror lurks outside the city walls. The countryside is infested with hungry abominations called the Unseen, and a single crack in the capital’s magical defenses invites disaster and death.
When Miranda witnesses a murder, she learns the gates aren’t as secure as the Conclave—the city’s protectors—claim. Despite the danger, it’s a secret the mages fiercely guard. When Miranda and her brother learn too much, the price of the family’s survival is silence.
No one is foolhardy enough to defy the Conclave, much less battle the Unseen. But when tragedy shatters her home, breaking apart bonds of blood and affection, Miranda refuses to turn the other cheek.
Sometimes the smallest creature carries the deadliest sting.
June 23, 2019 • No Comments
I do love this website – when I built it, I asked for a ton of features that the designers worked hard to provide. One key component is the Mooberry Book Manager (authors – if you’re building a website go get it). This allows me to add books as I please, update reviews and pub dates, and change covers as necessary. However, today I was adding books and discovered the latest update had exciting new features that changed the way it worked. Now it’s better and has more control over what appears where, except I had to figure it out. Mission accomplished and life is good but egad it took some poking and prodding.
June 9, 2019 • No Comments
So you want to be a necromancer. As jobs go, there are worse prospects. It’s a niche market with an exclusive but loyal clientele. Pay days may be less than regular, but that’s common with most freelance gigs. Plus, it’s still better than slogging it out as a laboratory assistant for the so-called scientific community. Just ask Igor, who is still trying to file his worker’s compensation claim after the last thunderstorm.
Necromancy is an old profession. The name comes from the Greek nekros, meaning the dead and manteia, meaning prophecy. In other words, necromancy is all about raising the dead and asking them for prophecies. This presupposes the dead are able to divine the future while they are quietly decomposing in their graves. That may seem a stretch, but why not? On one hand, they have nothing else to do. On the other—well, that one fell off. Yeah, there’s a reason necromancers aren’t out there killing it on Wall Street.
Necromancers also claim to have summoned demons to do their bidding. While there is no doubt that demons are more exciting than rudely awakened dead people, this is an expert level maneuver. To prepare for the arduous rituals, adepts practice for months summoning timely pizza delivery, cable TV installers, and teenagers to the dinner table. Only when they are able to command reliable customer service in under ten minutes do they move on to conjuring the forces of darkness. How many survive the attempt is unknown. No doubt a few end up as wizard origami. Those that succeed are definitely barred from doing show and tell at Grade Five career day.
Spoilsports claim necromancy went out of fashion along with witch burnings and the blunderbuss. After all, predictive data modeling looks so much better in an annual report. While that may be true, no software can beat the traditional necromancer for sheer style. Dark robes and glowing sigils are classic and definitely slimming. Custom detailing can be costly, but definitely worth the spend for branding purposes. All the same, choose carefully. Skulls are overdone and don’t get the raven unless you can afford constant dry-cleaning.
If you are serious about a future career in raising the dead, be prepared to entertain a wide variety of requests. Not every job is filled with zest and brimstone. Only fifty percent of clients will ask for a prophecy. Others just want one more conversation with the dearly departed, while a few hire an army of the dead for cinematic purposes. Price accordingly, and be prepared to subcontract cleaning professionals. Zombie armies are unhygienic at best.
So, all you wannabe wizards, are you interested in a profession with a long and fascinating history? Do you like to meet new people with unique (and occasionally demonic) perspectives? Are you a self-starter prepared to work flexible hours? Then necromancy may be for you. It offers the opportunity to work at the cutting and occasionally sacrificial edge. Be prepared to show group leadership skills with your freshly raised dead! Just fill out the attached application and be sure to sign in your own blood.
June 8, 2019 • No Comments
There are so many ways a lady could be deadly without wrinkling her gown. Forget the garter daggers and muff pistols and sword canes in the parasol—those are all terribly stylish but just scratch the surface of potential mayhem. Here are some juicy examples torn from the pages of yesteryear’s headlines:
1. A Fashionable Murder
The New York Times of March 1, 1898, reports that Barotholomew Brandt Brandner, a Parisian visiting Chicago, entered a saloon on State Street only to be murdered by an unknown assailant. Autopsy results showed a concussion, probably from a blow with a liquor bottle. But there was also a puncture that entered the left eye and extended far into the interior of the skull. This was assumed to be caused by a lady’s hat pin. Brandner survived for a week but eventually died from the injury.
Women’s hat pins, while pretty, were sharp steel and usually six to twelve inches long, depending on the style of the hat. Women were well aware of the pin’s potential for self-defence.
2. A Tried and True Method
A true Black Widow, Mary Ann Cotton (née Robson) was born in 1832 in a mining town in the northeast of England. Life in the laboring classes was hard, but enterprising Mary Ann discovered the modern miracle of life insurance. During the course of her forty years, Mary Ann had four husbands (two at once), several lovers, thirteen children, and lots of insurance claims. She was survived by one husband and two children. The estimated number of her victims was around twenty. She was hanged in 1873.
In the age of cholera, gastric fevers, and no refrigeration, stomach complaints were common. So were rodents, and arsenic was a common component of rat poison. Although the sale of arsenic was somewhat regulated, it was still available at the local chemist. Mary Ann brewed in tea, serving unwanted relations until a doctor noticed the body count. Too bad for her, tests for arsenic poisoning were available by the time her final victim was exhumed during the investigation.
Poison has a reputation—deserved or not—as a woman’s weapon. It’s true that the nineteenth century saw a number of cases with wives wishing to be merry widows. However, the amount of hysteria generated by the Victorian press regarding “secret poisoners” makes it sound as if every female forced into a corset and bustle was out for revenge. Then again…
For an excellent biopic of Mary Ann Cotton, check out the mini-series Dark Angel starring Joanne Froggatt.
3. Speaking of Exhumation
Back in the day, medical students had limited access to corpses for dissection. The law of supply and demand gave rise to “resurrectionists,” who dug up the newly dead and sold them to surgical schools. Needless to say, grave robbing is a tedious business and someone was bound to find a way to skip the muddy bits. Why bother with all the midnight shoveling when you could murder someone in the comfort of your own home?
William Burke and William Hare did exactly that in Edinburgh, Scotland, in 1828, when they killed sixteen people and sold their remains. These deaths gave rise to the term “burking,” or asphyxiating the victims by sitting on their chests. It was a low-tech and largely undetectable means of murder.
However, as so often happens in history, the women are often left out of the story. Helen McDougal, Burke’s common-law wife, and Margaret Hare, wife of William Hare, shared in the crimes. Incredibly, of the four, only Burke was eventually convicted.
4. Heavy Metal
There’s always someone in the crowd who goes for the direct approach. When it comes to lethal historical ladies, no one cuts (or chops) to the chase like Lizzie Borden. It’s a good reminder that a lady’s weapon does need to be dainty, just effective.
Lizzie Andrew Borden was tried and acquitted for the August 1892 axe murders of her father and stepmother in Fall River, Massachusetts. Experts and hobbyists alike still debate her innocence and whether her gender impacted the verdict.
For fun, check out Cherie Priest’s Maplecroft for a fantasy interpretation of the case.
5. Fun with Corsets
Corsets or “stays” come in different configurations, depending on the fashion of the day. At the center front is the busk, a slender piece of bone, wood, or other hard material that slides into a pocket of material sewn into the garment. The function of a busk is to keep the corset rigid in order to shape the figure of the wearer. Busks were often highly decorated and given as sweetheart gifts—given the intimate way they were worn, one can only imagine the delicious banter involved.
There is also the suggestion that a small dagger could be slipped into the front of a corset in place of the busk. Although a popular trope, I’ve never been able to find an actual historical precedent for this—probably for good reason. One problem is the hilt sticking out of one’s bodice. Another is the awkwardness involved in drawing a stabby thing that close to one’s face. I leave the option here for consideration, but my money is still on the hat pin for wardrobe weaponry.
June 7, 2019 • No Comments
Here are some truly fascinating clips of real nineteenth-century street life.
This is Manchester in 1901. It looks like rush hour to me.
This is a trip through Paris in the late 1890s. Partway through is a horse-drawn fire truck and a moving pedway!
June 6, 2019 • No Comments
So far, at least, there is no online reservation system for me to book a B&B in my story world. This makes literal boots-on-the-ground research impossible. So—now what? For anyone writing outside their own experience, this is a genuine problem. How do you get real intel on places you can’t go or don’t even exist?
Advice on world-building abounds. Maps, naming conventions, operating codes, and heraldry are all legitimate reference points. My only quibble is that, while they provide valuable detail, they don’t necessarily grab a reader’s heart and soul. Despite the excruciating care writers take with constructing the subjunctive in their new Elvish dialect, most readers skate by that stuff until they reach Rabid Fan territory. What they do remember is the character’s joys and sorrows, because that’s something they can participate in right away. When a character is tossed in a dungeon, their despair, their horror of rats, and the dank stink are more memorable than the name of the prison and where it is located, although that info has its role, too. In other words, worry more about creating an emotional and sensory response and sprinkle in fine detail once you’ve nailed the drama.
This approach makes research somewhat easier because equivalent experience might be available. Got a desert planet? Go find a desert. Need alternate Victorian England? Well, there are bits of the original left, if you squint past the traffic. Castles? Yup, and a person can even sleep in one. Travel is best. Museums can help. Anything that duplicates aspects of your story location will do. The object of the game is to find your imaginary world in the one already around you and to answer the question, “What would my character actually experience if…”
While you’re making the rounds, keep a journal and pay attention to everything. High mountain air feels different than sea level. Dirt isn’t all black. Water tastes different from one city to the next. The sound in an ancient stone building carries differently than in a modern house. Observe and select the most telling details about a place, and this will create an experience that is concrete to your reader. That’s when they say, “I feel like I’ve been there.” Best of all, that’s when they wish to go back.
The same goes for the character’s emotional response to the world around them. Once upon a time, I took a gondola up to a mountain top and discovered to my horror that it was a literal mountaintop with no handrails, no fences, nothing. As I’m terrified of heights, my emotional response was—um—acute, especially when another tourist missed his footing and suddenly slid down the mountainside (he was okay). But the mountain scene I wrote afterward was razor sharp because my emotions were so strong at that moment. How does a character feel about their surroundings? Chances are, those same emotions are somewhere inside the writer. Take the narrative out of the head and put it in the gut.
Once a story world is full of vivid detail, other things to consider include demographics, the economy, transportation, and sanitation. There are too many books where no one seems to have a job, and yet they all have money and nice houses (where do I sign up)? It’s as if the story action occurs on a floating platform very separate from the everyday. Any location seems far more real if there is industry, immigrants and visitors from other lands, and the usual mix of old, young, rich, poor, and in-between. The research lab for the way a city works (or occasionally fails to do so) is all around us. Most historically-based industries and transportation systems have museums, books, and documentaries. Futuristic infrastructure might be based on similar principles. Throughout history, nations rise and fall because of trade profits and how they can take them away from someone else.
How does any of this impact day-to-day living for your characters? It’s the world they move through. It might be their means of survival. It might be motivation. Everyone has an opinion about their Internet provider, the bus/underground system, the price of electricity, rents, the price of groceries, and so on—not to mention industrial pollution and the environment. Providing an awareness of the everyday that is appropriate to your character makes it seem as if the world extends beyond what we see on the page. That makes readers curious, and they come back for more. In addition, because some problems are universal (the price of groceries), that makes characters relatable.
That’s not to say a fairy-tale fantasy filled with prom dresses and glass slippers isn’t okay. Gritty, bloody, darkness isn’t for everyone and despite what nitpickers say, no author’s world is wrong because it’s theirs to make and love. Medieval castles might be damp and uncomfortable in our history, but they can be sparkling and filled with unicorns someplace else—as long as I can hear the unicorns clip-clopping across the marble floors. At the same time, an understanding of the castle’s workings gives it depth. A bit of “how did they live” research will point out obvious factual pitfalls. If the medieval princess puts on her lace gown and looks in the perfectly clear looking-glass before attending a ball with a violin orchestra, I’ll buy that if I am told why and how that world has industries out of step with our own historical timelines. Do what you like but make it so real to the reader that it doesn’t pull them out of the story. Fill their senses and stir their emotions until their brains stop caring about the improbability of it all.
As a reader, we all want to believe. As an author, it’s our job to make it easy. Put down good roots as you let your imagination explore the stars.
June 5, 2019 • No Comments
Jack the Ripper is a favorite subject for fiction writers for many reasons and the notion that the sinister drama is true ranks high among them. However, we don’t know the killer’s name or occupation, if there were one or several killers, and even the exact number of victims. The number of suspects is staggering. Despite the amount of ink spilled on the subject, the undisputed facts of the crime fill only a slim volume. So why, in a time and place where murders were common, did the Ripper case garner so much public attention?
One might say the media co-created the crime, both intentionally and by reflecting the Zeitgeist of the era. While the residents of Whitechapel were justifiably terrified by the murders, the wider public was served up the villain their imaginations demanded.
The dark side of London fascinates those able to view it from a safe distance. By the time of the Ripper, public hangings, complete with printed confessions sold for a penny, had long been entertainment. Relics of famous crimes were sold in the streets, tourists went to the mental hospitals to gawk, and Madame Tussaud created her waxwork Chamber of Horrors, depicting the true crimes of the day. Plays and novels followed where the newspapers led, presenting melodramatic versions of famous murders—or entirely bizarre urban legends, like Spring-Heeled Jack. On top of this was a fascination with the duality of the human psyche—just before the Ripper’s arrival came Stevenson’s smash hit Dr. Jekyll and Mr. Hyde. By 1888, the public appetite for Gothic drama was prodigious.
A climate of social unrest underscored this mood. The Ripper murders are generally agreed to begin in April or August of 1888. Scant months before, soldiers mounted a bayonet charge against jobless protesters in Trafalgar Square. In simplistic terms, the incident reflected the deep division between the prosperous ruling class, who lived mostly in the West End districts like Mayfair, and the impoverished areas of the East End, such as Whitechapel. The East End also housed the migratory population of the docks, abused factory laborers, and immigrant populations. Is it any wonder the bogeyman of the day sprung from those desperate streets? The Ripper was a personification of middle-class fears.
And then there were the police. They had been increasing their numbers over the past few decades, but rather than increasing a sense of safety, public attention was fixed on a series of scandals that undermined their credibility. Missteps during the Ripper investigation gave the public ammunition to criticize, and the press lovingly documented every moment of the train wreck.
As mentioned above, one of the difficulties with the Ripper case is knowing when it began and ended. Prostitutes were frequently murdered, and despite general indignation at police inaction, not much ever got resolved. Were Emma Smith and Martha Tabram Jack’s victims, or those of another? They both had violent deaths—Tabram was stabbed 39 times—but were not mutilated on the scale of later victims. It was those breath-taking excesses that signaled something new was afoot, and the press got to work.
Delicious Gothic horror. Simmering social anxiety. An excuse to air grievances against whoever came to hand—corrupt officials, suspicious radicals, unionists, foreigners, and an unpopular and inept police force. Jack the Ripper’s crime spree was an editor’s dream moment, ripe for endless titillation. Crime sells papers, and the presses ran around the clock during peak carnage. With improved printing technology, illustrated depictions of crimes could be reproduced in greater detail than ever before. Concerned citizens worried that such graphic displays might unbalance the minds of readers, much like the complaints about modern video games. Such quibbling stopped no one—the papers kept the Ripper Murders in the public eye as long as they possibly could.
Much of what we know about Jack the Ripper–including the name–came from a series of notes written by Jack to Scotland Yard and the Central News Agency. The true origin of these letters is doubtful, and their timing perhaps calculated to revive public interest during a slump. The grammar and word usage suggest a forger attempting to appear uneducated. Did the press write the letters themselves? It’s a popular theory, and if that’s true, the version of Jack we carry in our imaginations—taunting, cannibalistic, almost cheeky—is a pure fabrication. The media put a face on the most famous serial killer of all time to boost circulation.
Is that what actually happened? As with so much of the case, we don’t know the truth. There is even some uncertainty over who was the last victim—Mary Jane Kelly, or another murdered prostitute. What we do know is that sometime around 1889 the murders stopped and Jack’s audience moved on. In 1890, Wilde’s The Picture of Dorian Gray appeared, summing up the public’s troubled self-reflection.
Popular attention is fickle, and even Jack the Ripper couldn’t hold center stage forever. Another fascination was pushing Gothic melodrama aside—the clear-eyed rationality of the consulting detective. While the genre was not new, its popularity rose, giving readers the opportunity to solve crimes from the comfort of their firesides. Times had changed and, after the Ripper’s confounding chaos, certainty, justice, and the ever-increasing power of science held appeal.
It was time to invent a new avatar.
June 4, 2019 • No Comments