Fanny Newcomb, the plucky heroine of Fanny Newcomb and the Irish Channel Ripper, is a woman ahead of her age and from the first sentence, I knew Fanny was my kind of girl.
The story opens on a Friday in April, 1889. Fanny is battling with a Hammond typewriting machine and “all hell would break loose” if she hadn’t mastered it by the time her typing students arrived the following Wednesday. Fanny had managed her Father’s law office for a decade but she’d never seen a typewriter before, something she’d failed to mention to her employer, Sylvia Giddings, Principal and Founder of Wisdom Hall Settlement House, at the interview. When her father died, Fanny lost her livelihood, failed as a lady’s companion and run out of resources. The school, located in the impoverished Irish district of New Orleans, offered business classes to the local women and appealed to Fanny’s sense of justice. And besides, teaching was better than marrying and being relegated to home, hearth and afternoon tea with New Orleans society ladies. A life without meaningful work is anathema to Fanny.
Fanny is distracted by the incessant ringing of the infirmary bell and rushes to find twelve-year-old Liam who delivers the news: Dr. Olive Giddings, Sylvia’s sister, is needed at Connor’s Court because someone has been murdered. The women race to the scene and find Nora, Fanny’s star business student, strangled and meet Charity Hospital’s ambulance driver, a doctor whose manner horrifies Olive. As the crowd gathers, rumors start and soon the cry goes out, “Jesus! Joseph and Mary! It’s Jack the Ripper! Here in New Orleans!” The morning edition of the Daily Picayune echoes the crowd at the scene, reporting the woman has had her throat cut. The police don’t think it’s Jack the Ripper and come to Wisdom Hall Settlement House to arrest Sylvia’s carpenter, Karl, for the murder. Fanny knows Karl was working at the school at the time of the murder, added incentive to investigate the crime. She enlists Sylvia and Olive, Liam, beau Lawrence Decatur, tabloid journalist Clarence Holloway and even N.O. Police detective Daniel Crenshaw to help her identify the killer, free Karl and bring Nora the justice she deserves.
Fanny’s investigation reveals more than a murderer. It takes readers through the colorful underbelly of New Orleans’s slums, saloons, prostitution and houses of prostitution. Revealed are the gulfs between the “haves” and “have nots”, the deep prejudices the Irish and German immigrants held for each other and the ingrained racism of white against black, regardless of social standing. Revealed is the rigid class system, hatred of immigrants, lack of concern for the poor and the blatant systems keeping them from rising in station.
The story is a fascinating look into the Gilded Age’s society, its hierarchies and mores. Women were at the bottom and unmarried women the lowest. Fanny questions her own motives and place in the world. Should she marry? Should she strive for independence? Fanny, Sylvia and Olive are spinsters and meddling in men’s work: schools, medicine, investigations. Society thwarts them at every turn. They are shunned, ridiculed, patronized and harangued by a priest as “bad women” on par with prostitutes for being unmarried and working, and like prostitutes, deserving of horrific deaths. In this intolerant and compassionless climate, it’s no wonder a wave of terror overtakes the city. Fanny, Sylvia and Olive want to exonerate Karl, but more, they fight the battle against ignorance and oppression for poor women and for their society as a whole. They are early social justice crusaders patterned after British Beatrice Webb, Americans Jane Addams and Ellen Gates Star, and Progressive Era pioneers Eleanor McMain, Eliza Nicholson and Sara Mayo.
At the end, Daniel Crenshaw is lauded as the hero to solve the case although it couldn’t have been done without Fanny and the Giddings sisters. Fanny understood that “Certainly, no one would have believed that Fanny, Sylvia, and Olive could have interjected themselves into a grisly murder, studied pornography, or visited a whorehouse and a prison. No lady could have attempted any of those social offences.”
Although author Ana Brazil’s historical detail is well researched and rich, at no time does her writing become didactic or does history drown-out the suspense and intrigue. Fanny is a risk taker and has a gift for theft. She manages to steal important documents that help her win the respect of her allies and solve the case. Between the three women of Wisdom Hall Settlement House, they bring most of the resources they need—Fanny’s clever, intelligent mind and legal training, Olive’s deep knowledge of the human body and medicine, and Sylvia’s connections and social standing—to solve the case. Each has something to offer, but it’s Fanny who has the mental acuity to see the patterns and put them together, leading her into extreme dangers. My pulse pounded during the story’s harrowing climax (no spoilers!)
At the end, Brazil leaves readers with hope that there will be another Fanny Newcomb book. “But Fanny Newcomb also knew that she was not finished with investigating or questioning or detecting. And that she would look for any opportunity to seek out justice again. . . .” And what was that frisson I noticed between Fanny and Daniel Crenshaw? I can’t wait for the next adventure to see if Fanny will cave to societal expectations or forge ahead doing what she loves.
I want to wish Ana Brazil hearty congratulations on the publication of her first historical novel. It’s a fun, fast, informative, can’t-put-it-down read for anyone who loves New Orleans, the Gilded Age, strong women protagonists, mysteries and the Southern writing tradition. I love them all!
For a photographic exploration of Fanny’s time visit Ana’s Pinterest Board: Fanny Newcomb and the Irish Channel Ripper