Saturday, March 11, 2023

correct taste: 1856

 from Harper's New Monthly Magazine, January 1856:

"Flounces are universally worn, the number resting entirely at the option of the wearer. Skirts are very full, and so long as to touch the ground, even when distended by the most ample under-dress. The hoops of our grandmothers certainly threaten to reappear, if we may not say that they have actually appeared again. We are confident, however, that the good taste of our countrywomen will prevent a fashion so opposed to correct taste from becoming at all prevalent."

Of course, the cage crinoline, e.g. the "hoopskirt" as we now know it, was patented and went into production in late 1856. Never say never, darlings.

Monday, February 27, 2023

Lombroso, Lie Detectors, and the Law According to Lidia Poët

In one episode of The Law According to Lidia Poët, our heroine mentions a device called a "volumetric glove." Because standard Googling is not going to get you far with this, I searched Google Books, 19th century, and found this treatise on Criminal Man, by Gina Limbroso. This business about the volumetric glove is interesting for several reasons: first, it was an early lie detector; second, it was a tool that grew out of early psychiatric testing to be used for criminal investigation, and demonstrates the close relationship of those two fields—not to mention how the tools of one can be used as weapons in the other.


Here is the transcribed text from the scanned book, edited slightly for length:

"It is well known that any emotion which causes the heart-beats to quicken or become slower makes us blush or turn pale, and these vaso-motor pheomena are entirely beyond our control. If we plunge one of our hands into the volumetric tank [...], the level of the liquid ... will rise and fall at every pulsation, [...] and variations may be observed which correspond to every stimulation of the senses, every thought and above all, every emotion. 

"The volumetric glove [...] is a still more practical and convenient apparatus. It consists of a large gutta-percha glove, which is put on the hand and hermetically sealed at the writes by a mixture of mastic and vaseline. The glove is filled with air as the tank was with water. The greater or smaller pressure exercised on the air by the pulsations of blood in the veins of the hands reacts on the aerial column of an india-rubber tube, and this in its turn on Marey's tympanum (a small chamber half metal and half gutta-percha). This chamber supports a lever carrying an indicator, which rises and falls with the greater or slighter flow of blood in the hand. This lever registered the oscillations on a moving cylinder covered with smoked paper. 

"If after talking to the patient on indifferent subjects, the examiner suddenly mentions persons, friends, or relatives, who interest him and cause him a certain amount of emotion, the curve registered on the revolving cylinder suddenly drops and rises rapidly, thus proving that he possesses natural affections. If, on the other hand, when alluding to relatives and their illnesses, or vice-versa, no corresponding movement is registered on the cylinder, it may be assumed that the patient does not possess much affection.

"My father sometimes made successful use of the plethysmograph to discover whether an accused person was guilty of the crim imputed to him, by mentioning it suddenly while his hands were in the plethysmograph or placing the photograph of the victim unexpectedly before his eyes." (Lombroso, 1887)

The "father" mentioned above was Cesare Lombroso, an Italian physician, criminologist, and phrenologist. As may be inferred from above, Cesare made a career out of attempting to determine the cause of criminal behavior. Cesare's theory was that criminality or lack of morals was inherent, which was influenced by common common racist assumptions of the day and heavily leaned on by lawmakers and monied persons who wanted to keep the hoi polloi in line. Proponents believed both criminals and "lower" races were less evolved and therefore closer to animals in nature. Lombroso made much of criminal activities running in families and published several works about the physical characteristics of criminals, such as the shape of their heads and other features. An early form of racial profiling, if you will.


An early lie-detecting glove, and what a criminal looks like, according to Lombroso. 


Our modern sensibilities aside, Lombroso's work was a little more advanced that the old way of thinking that criminals were just sinners who needed saving/punishment. His theories were disputed even at the time; phrenology and other mechanical explanations for psychiatric illness were not universally accepted even in the 1880s. Other researchers built on his work, which led to closer examinations of criminal behavior, leading psychiatry and criminology further away from simple assumptions of sin and wickedness, and toward advances in treatment of criminals and the insane.

There is a very good summation of Lombroso's work and the developing "science" of criminology (forgive the ironic quotes—it's hard to take these early efforts seriously by today's ethical standards) in the book 1877: America's Year of Living Violently by Michael A. Bellesiles.

Saturday, February 04, 2023

1855 Dress Project Progress report: petticoats and skirt

Time flies when you're busy. 

I feel as if I've been moving along steadily on this project and look up to find it's been over a month since I started it. No shame, of course, just another example of how everything takes longer than you think it will––and costs more.

For instance, when I started this project I had three goals in mind: to learn about styles and construction methods of the 1850s, which is about 30 years earlier than the sartorial era I was most familiar with; to sew entirely by the treadle machine and by hand, to see how long it would take; and to use what materials I had on hand, because most frontier women would not be able to just run down to the store and pick up what they were missing. 

For the most part I had the fabric I needed. I had plenty of stiff cotton organdy from an 1880 petticoat project, and a couple lengths of hoop steel, enough for the bottom two rows on the boned/corded petticoat, and some medium-weight cotton for the petticoat itself. But as I researched methods for making early crinolines I found I either needed more boning or all the cord, depending on how "authentic" I wanted to be. 

The most popular style of corded petticoat on the internet can involve up to 100 yards of cotton cording. I knew I didn't want to pay for that, or take the time to sew all that between two layers, much less wear that weight. Fortunately, extant petticoats in museums as well as in Costume In Detail show how multiple solutions were used by dressmakers of the time. Cord, reed, wire, and spring steel were all sewn into petticoats before the patenting of the improved cage crinoline in 1856. 

In the spirit of making do, I decided to be "historically adequate" and compromise: for the best intersection of weight, cost, and functionality, I would do a boned petticoat incorporating two rows of spring steel at the bottom, and several rows of synthetic whalebone (i.e. plastic) above. 

Of course, that cost me about $50 in additional boning and boning channels. I would have had to spend money on SOMETHING, of course, and it's ironic that the cheapest option was still $50, but that's why we only make this type of underwear once, and try to use things from the stash.

Here are two images of the boned petticoat, one just after the channels were installed, the other with the boning in. 

"corded" petticoat pre-boning




under petticoat fully boned

And here is the "crinoline" petticoat, which couldn't be simpler: just three tiers of stiffened cotton organdy, each gathered onto the tier above. This is the first kind of petticoat I learned to make although I got smarter about grading the size of each tier to give it the correct shape. The bottom tier was 186 inches long before gathering, the middle was 140 inches, and the topmost was just under 90 inches. The waistband here was too wide; I cut it down from a deep yoke to a 1" band. Both waistbands are sized to sit just below the waist to reduce bulk at that area. 


Both petticoats together.

Next up was the skirt. When I started this project I intended to repurpose some plaid silk taffeta that wasn't working out for a c1880 bustle dress, but before I went down that punishing road I decided to do something simpler first. I had a big piece of burgundy linen, part of which was already cut out to make a basic gathered skirt. It was intended to be part of an 18th century-style witch costume for Halloween, but between school and everything else I didn't have time to finish it last fall.

I put pockets in the side seams, bound the back placket, and cartridge-pleated the top by hand.


Installing pockets


Skirt over petticoats, with cartridge pleats. Also the tell-tail of my shop helper.

Once the cartridge pleating was done, I promptly decided I didn't like it, and took it all out again. So the next section will be showing the skirt with deep box pleats. I hope to complete the skirt this weekend and do most of the bodice mock-up and construction so the next post should be substantial.


Sunday, January 01, 2023

1855 Dress Project for Arabia Steamboat Research

 I'm reviving this blog as a place to store the record of my making a 1855-ish dress, as part of my research into 1850's clothing. 

For those who don't know, I work part time at the Arabia Steamboat Museum in Kansas City. I am mostly engaged in documenting and restoring/reconstructing clothing artifacts that were recovered in the winter of 1988-89 and preserved in the early 1990s. We have almost no women's wear in the collection, although museum lore is that there were several crates of women's ready-made cotton dresses, which did not survive 130+ years in the groundwater of eastern Kansas. We have only the buttons left... so many buttons.

So while discussing the likely design of those dresses and whether we might reconstruct one for a display example, someone asked me how long it would take to make one. Now, the dress itself is not a huge problem. I could do that in two days, assuming I had a pattern. But this is an era I have not spent much time in. I never cared for the hoopskirts look so I don't have a collection of patterns or a depth of knowledge about construction methods. A lot changed between 1850 and 1880 where I usually hang out.

Besides, a whole new Victorian outfit involves not just the dress but the undergarments. The cage crinoline or hoopskirt was "invented" which is to say, patented and mass-produced, in late 1856. But the dresses on the Arabia and the ladies on the frontier would have relied on corded petticoats or crinolines (loose-woven, stiff horsehair petticoats). I don't have those either and I don't have a lot of knowledge about how they were made.

Through one thing and another, I have decided to make an 1855 dress, to test the techniques and also to have something to wear for museum events. I intend to make a corded petticoat, a flounced and/or horsehair petticoat, the skirt, and the bodice. I already have a corset, chemise, and drawers that will work for that era so I’ll just use those; I already know it takes me 12-16 hours to make a corset and about 8-10 for the other two items. (Seriously, for some reason a dumb chemise takes a million years to finish.)

Image from The Met.


pattern drafts on a workbench



Because I’m doing this largely as a learning exercise for my work at the Arabia Museum, I will be documenting this process much more thoroughly than usual. I intend to do the work on my 1918 treadle machine and by hand. Call it experimental archeology.

I drew out the pattern for the bodice on Tuesday, just to get a feel for the proportions and fabric requirements, but the bodice will actually be the last thing I make, because it has to fit over the skirt and petticoats.

I must report, however, that I've used a dozen or so historical patterns from magazines like Godey's, which are always single-sized "for a medium-sized lady" and usually only give the vertical measurements, and I've never once had to make one longer in the torso. I'm 5'6", which is two inches above average for a 21st century woman, so I definitely look askance at the claim that people in the 19th century were "so much smaller" than we are now.



Monday, April 20, 2020

noir fiction vs gothic romance

Is there a rule or convention or expectation that every installment in a series of novels has to be the same type of story? I mean what trope is the determining factor? As long as each book in the series has the same setting and mostly the same characters, does it matter if one volume leans more toward action and the hero's journey, and the next is a romance, and the third is a dystopic allegory, and the forth a war story?

I was told once by a beta reader that Curious Weather had "too much romance" for the type of book it was. This assessment, I must assume, was based on the fact that The Curse of Jacob Tracy was a weird western—a boy's adventure book, to be blunt—with no sex and only the barest allusion to romance.

So, naturally, I doubled down on the love story in Curious Weather because the whole point of that book was that it IS a romance, albeit a gothic one.

What are the tropes of the gothic romance? Well, Barbara Michaels is/was my favorite of the modern writers, and she did a batch of supernatural-flavored ones in the 80s, so I take her as my guide.

1. Told from the POV of the heroine, who's out of her usual milieu due to a family shake-up of some kind—or in the modern stories, a professional change.

2. The heroine's new milieu is hostile or threatening in some way, because of isolation, locals, or roommates—or all three.

3. There is at least one love interest, usually two. These two heroes are foils for each other; one seemingly, the other unsuitable in some way, both attractive and/or menacing by turns.

4. Usually the charming love interest turns out to be the villain.

5. There's a mystery afoot, or some deep dark secret.

6. The heroine's efforts to solve the mystery or uncover the secret lead her further into danger.

In many ways it's the same plot as a hard-boiled detective story, just with the gender roles reversed.

I'm pleased to say that Curious Weather alternately embraces and subverts all of these tropes, sometimes both, and you could make an argument that it brings in elements of the noir novel as well. As for the idea that there might be "too much" romance in a noir story... have you read any Mickey Spillane? or Robert B. Parker?

Saturday, April 14, 2018

actual costs of historical costuming

I'm feeling the need to tell on myself a bit here, because once again it's convention season, and every year, every con worth its salt proposes a "costuming on a budget" panel, and I'm always strung out between wanting to help and a fatalistic sense that it's a lost cause.

One CAN do great costumes cheaply. It takes patience and ingenuity and maker skills and a lot of hunting, but we have the Internet these days so it's easier than it used to be. I LOVE thrift-store costumes, partly because I love costumes that can pass as street clothes—people walking around dressed like Velma and Daphne, for instance, or Sam and Dean (hipster or Winchester?).
But it works because the costume itself IS modern streetwear. So right away the scope of such a panel is deceptively ill-defined. I don't believe one can replicate my style of costuming—that is, compile a convincing 1860's gown or bustle dress—from found clothing. The silhouette is too extreme, the underwear too essential. By the Jazz Era the corset goes away and it becomes a lot easier, and of course for men, styles haven't changed much in 180 years, give or take a few zippers.
For me, found-costuming is never going to be my jam. I'm more like a model-railroad builder. I like the designing and the workmanship and getting the details "right," although I'm not a stitch-counter by any means. Furthermore, to me costuming is as much tactile as visual; I was drawn to it because I like the sense of putting on an older style of clothing and stepping away from the 21st century for a while, as much as anyone can. And I like the way good fabrics feel. Cotton, silk, and wool are so much nicer to work with than synthetics, and are generally more comfortable to wear and last longer. I try to buy organic fibers for my everyday wardrobe, too.
But organic fabrics are expensive, and getting more so. The price of quality cotton goods has doubled in the last five years, and some types of silk have tripled. True, you can buy cheaper synthetics or cheap cottons but then you've put all this effort into a garment that is going to fade, bag, and pill after a single wearing. In my lifetime, in America, I've seen sewing go from a skill that could stretch the family budget to a rich woman's hobby. When I sew, I'm practicing skills that have traditionally been drudge work for women, and at the same time, indulging in a mode of dressing with a quality of materials that a skilled laborer would not have been able to afford at any other point in history. Hell, a lot of people can't afford them now. And then you start getting into the issues of sweat shops and arable land and water consumption for cotton farming and waste chemicals for polyester production and animal rights for wool production and all those poor workers have to eat somehow and it just all becomes one impossible Existential black hole.
But I digress.
In preparation for this post, I started calculating the cost of my latest "quick and cheap" Victorian striped polonaise. I knew it wasn't "cheap," but the actual hard numbers made me wince. So I share them now in the spirit of disclosure.
The polonaise (overdress) alone cost a little less than $200 in new (purchased in Feb/March 2018) materials.
  • Striped poly/cotton fabric: $55
  • Black velvet belt/trim: $10 (about 1/4 yard of scrap cotton velveteen)
  • Buttons: $60
  • Lace: $25
  • Earrings: $40 (no I didn't need them—birthday present to myself.)
  • Thread, ribbon, needles, pins, etc... 
And of course I wore it with stuff I already had:
  • Black cotton faille underskirt: ~$80, made 3 years ago
  • Cotton organdy petticoat: ~$50, made 3 years ago
  • Chemise: ~$70, made 2-3 years ago
  • Bustle pad: $25, made 3 years ago
  • Corset: ~$80—I make one every year, more or less, and I recycle the boning & lacing when an old one wears out. Boning is most of the expense.
  • Shoes: $150—the shoes are more than 10 years old and have been repaired more than once, so that cost is factored in.
  • Hat: ~$35-50— made 6-7 years ago from scraps. It is however silk satin built on a buckram frame, so it would probably be closer to $80 if I made it now.
  • Belt-pouch ~$60 picked up 2-3 years ago. 
Throw in makeup, hair pins, stockings, the old costume necklace I acquired in high school, and you're closing in on $800 for that outfit. And we haven't even talked about the three sewing machines, the iron and ironing board, the file cabinet full of patterns, the reference books, the cutting mat, the roll of patterning paper, etc., etc.,

Those are costs spread over months, years, decades. Back when I made my very first corset in 2002, I saw that the cost would be considerable and I wanted my pieces to last for many seasons. So I always get a bit flummoxed when people ask me, "How long did it take you to make that?" because they're not asking the right question.

"Thirty-some years of practice at sewing and patterning, twenty of hoarding fabric and learning where to find the good stuff, the last ten collecting passable shoes and accessories (I also collect old medical equipment, which is equally useless, but doesn't it look cute in my booth? No it's not for sale) and let's not ignore that those skills, that time to practice, the expendable income to buy the good fabrics, are the product of luck and privilege, being a white American with a college education which she probably could have paid off by now if she'd quit spending money making damn costumes."

So. This is why I hesitate to do a "how to costume on a budget" panel. Because it's all too dishonest and depressing. But hey, I look pretty doing it.

Also, the perennial first and last word on the subject: Cheap, Quick, or Accurate, via The Costumer's Guide.

Friday, September 30, 2016

projects in the closet: midnight blue velvet

Those of you who've known me a long time may remember when, lo these many years ago, me and a friend cosplayed Darla and Drusilla in their 1880 garb. (From the Buffy/Angel crossover flashback where Dru and Spike meet.) 




That dress was the beginning of my long infatuation with the Natural Form Era (1878-1882) of fashion, and the original reason Curse of Jacob Tracy is set in 1880. Sad but true. Anyway, I outgrew this dress over the past decade-plus, and it being my first Victorian sewing project there were certain construction elements in the bodice I no longer approved of (we won't even talk about the polyester underskirt). Also, it was green.

So last winter I decided to make it over. I trashed the underskirt, took the bodice and overskirt completely apart. They are both cotton velveteen, originally white, which I had dyed green. I soaked them in dye remover to get them back to beige, then overdyed the fabric indigo. It was an interesting exercise because it was only the second time I'd used fiber reactive dyes, but the overall result was very good--it just was a bit lighter and truer blue than I'd hoped for. I was undecided about what to do next, so I threw the disassembled, indigo pieces in a drawer and let them sit for a year.

With the weather cooling off I started thinking about this project again. A couple weeks ago I was home sick and browsing through RenaissanceFabrics.net I came across this lovely crossweave silk taffeta and I knew that was what I wanted to piece out my velveteen with. 

I bought two yards to see if it would match. It doesn't. 



The discrepancy is stronger than I could capture with my camera; the taffeta is a couple clicks toward the purple. But it's much more the color I want, so I ordered a fresh batch of dye from Dharma Trading Co. and I'm going to tint the velveteen yet again. Stay tuned!

Thursday, July 07, 2016

plus ça change...

Found a post from 2004 when I was still on Critters. This is some of the contradictory feedback I got on one of my first stories, "Galatea."

  • Master Tan's broken English is great, very authentic/is stereotypical and inconsistent 
  • The conflict between Justin and Quinn is great, well done/there is no discernible conflict in the story 
  • The development of Quinn's character is moving and believable/she's a horrible, unsympathetic person 
  • She's a rip-off of Supergirl/Dark Angel/Kill Bill/Le Femme Nikita 
  • It's a strong, character-driven story/nobody's motivations make any sense.

I guess keeping a diary can be useful after all, if only to remind oneself that feedback from the peanut gallery isn't all it's cracked up to be.

Sunday, July 03, 2016

Review of CURSE at Tangent Online!

Wow, this has been a week of unexpected treats. First the Daily Deal from Audible.com (which put Curse at their #1 bestseller slot, temporarily displacing the Game of Thrones and Outlander series), and then the review from Down Under at SQMag, and today Dave Truesdale emailed me with the news that his review at Tangent was going live today:

"What a great stage-setting, atmospheric opening paragraph to The Curse of Jacob Tracy, the debut novel by Holly Messinger. The plush, masculine, Victorian-era appointments describing the library hint at the exotic, of perhaps a once aristocratic European opulence reserved only for the fabulously wealthy. With a sense of foreboding, our interest is piqued. Why does Trace not look into any dark corners, why do big old houses hold nasty surprises for him, who is this enigmatic Miss Fairweather, and why is he in her house in the first place? We're hooked. 
... If you are a connoisseur of supernatural horror, I have a feeling you're going to love this one. I look forward to the further adventures of Jacob Tracy; he's an everyman hero for whom we are happy to cheer."

My author ranking at Amazon had been looking a little depressing lately, so all of this was a great boost get six months after the publication date.

Carry on!


Jacob Tracy review in SQMag

This review of THE CURSE OF JACOB TRACY in the latest SQ Mag is maybe the most lucid and insightful I've seen. 

I was especially intrigued by this bit: 

"The first half or so of the book, it felt as though she had yet to fully engage with Jacob’s voice, but heading toward the climax to the end, the author’s presence totally fades into the characters and setting, letting them tell the story."

That's pretty perceptive, because I was aware myself of the stiltedness of the first 3-4 stories, being strung together as they were from the old short-story format, which has different pacing and demands of character development. The last third of the book, Horseflesh, was the hardest to rewrite and took the most revision, but once I quit fighting it, it settled into itself and flowed. Trace changed a lot between those first 5 stories and the end novel, because my understanding of him and the kind of story I was telling changed a lot.

This bit also made me perk up my ears, so to speak: 

"it felt as though the author started, then shied away from, any romantic elements whatsoever. I realize romance is something some authors don’t want to be associated with, but this girl enjoys a great love story in any genre and at the very least a natural progression of romantic elements, even if it’s not the focus of the plot."

All reader responses to a work of fiction are to some extent a Rorschach test, but none more so than the romantic bits. All you folks who've read CURSE, I'd be curious to know what you thought of the romance in the book, or lack thereof. Did you want more? Less? Do you think Boz was right about Miss Fairweather having the hots for Trace? Comment below.

Thursday, April 28, 2016

COMING SOON: The Romance of Certain Old Bones

Hello internet! It is with pride and trepidation that I announce the imminent arrival of my new Trace & Boz novella, "The Romance of Certain Old Bones," which will make its official debut at Planet Comicon, Kansas City, May 20-22, 2016.

I will have paperback first-editions for sale, with cover art by Chelsea Mann. Ebook edition will launch shortly after the convention.

In the meantime, here's the first two chapters to whet your whistle! This should tide y'all over until the second Trace novel comes out next spring.

The Romance of Certain Old Bones


by Holly Messinger (c)2016


Where wast thou when I laid the foundations of the earth?
declare, if thou hast understanding. – Job 38:4.


Dakota Territory, June 1875

The Aberdeen brothers were the last to leave Yankton. They had traded their wagon for picks and cradles and a mule, their oxen for a couple of mustang ponies, and they rode off into the setting sun at a pace that suggested they were eager to find their fortune… or hoping to avoid pursuit.

Jacob Tracy supposed it was a bit of both. The Aberdeens had invited him along, promising an equal share of any gold they found. There was a very real possibility of striking it rich—General Custer’s expedition had confirmed the presence of gold in the Black Hills the year before—but Jacob thought it more likely the boys would get rousted out by federal troops, if they were lucky. Scalped, if they weren’t.

Still, he wasn’t the brothers’ keeper. The other five families in their small wagon party had already resupplied and struck out to find their fates in the territories. Jacob pocketed the last of his fee from the Aberdeens and headed for the livery where he’d left his horse, and where the last of the drovers, John Bosley, was waiting for his pay.

Bosley was a hard, rangy colored man, a few years older than Jacob and no less weathered. Jacob didn’t know him well—he’d hired him in St. Louis on the word of a mutual friend—but three months on the trail had proved him a worthy companion. He was good with horses, frugal with supplies, and didn’t pry into the business of others. He had once let slip that he’d served in the Tenth Cavalry, but that was about the only personal fact Jacob knew about him. And that was fine; Jacob didn’t much talk about his own past either.

Bosley was talking with the livery owner, an older Negro with a bad limp, when Jacob walked into the stable. They were leaning on a rail, relaxed and sociable, but the livery owner straightened and sobered at the approach of a white man. Bosley drew himself up, too, but he met Jacob’s eyes on a level. Given that Jacob was six foot two, that was saying something.

"Hey Boss," Bosley said easily, and then to the livery owner, "This is him. Mister Tracy. The big red quarter horse is his.”

There was something in this introduction that conveyed, He’s all right, for a cracker, and the liveryman’s face relaxed subtly. He shook the hand Jacob offered. "Redman Davis, at your service.”

"Pleasure,” Jacob said, and handed over a couple of gold eagles. "That’s for our two horses and tack. He tell you about that shoe?”

The livery owner nodded. "I’ll see to it, sir. Have it right for you in the morning.”

"No rush,” Jacob said. "We’ll probably be here a couple days. Where’s a good place for dinner?”

"You’ll want the Republican Hotel, sir. Best steak dinner around here.”

"What about you?” Jacob said to Bosley.

"There’s a saloon down the street that’ll suit me,” Bosley said, which Jacob took to mean the saloon was run by a Negro proprietor, or at least would serve black customers.

They had been eating together every night for weeks, of course—all the drovers and bullwhackers hunkered down around the same fire, spooning out hunks of cornbread from the same skillet, even sharing canteens, sometimes. There was no time for social distinctions on the trail, and Jacob made sure the men he hired knew it. But in town, particularly a frontier town, walking into the wrong establishment could get a nigger killed, if some good white citizen decided to get ornery about it.

But there was no law against a white man going into one of their places. And Bosley was too self-possessed to raise an eyebrow when Jacob said, "Mind if I join you?”


2


The steak dinner might not’ve been the best in town, but it was pretty damn good. And the clientele at Simpson’s saloon was mostly white but with a few black faces sprinkled in. There were few Negroes in the Territories, and plenty of Territory to go around, so they were mostly left alone. Not like the Indians, say, or the Chinese.

Jacob pushed the rest of Bosley’s pay across the table in a leather purse. "Count it if you want,” he said, but Bosley just nodded once and made the purse vanish. "And if you got a notion to make more, I’m thinkin I might scout for another job around here. Odds are we can pick up another party headed for Montana or Oregon.”

"Maybe worth it,” Bosley allowed. "You been to Oregon?”

"Not yet. But I been through the Pass a few times. Ran cattle for a rancher out in Wyoming, til a few years ago. And I’d be glad to have you along, if it works out. Fifty-fifty.”

Bosley gave him a long measuring look, weighing the proposal and the white man who made it. That was one thing Jacob liked about him—that boldness, that pragmatism that bordered on fatalism. "Get out to the coast by October… then what? Stay the winter there?”

"Ride down to Sacramento, get on the train to cross the Rockies. Be back in St. Louis by Christmas, dependin on the weather.”

Bosley sucked his teeth. "Or there’s security.”

"For the railroad?”

"For the prospectors.” He nodded across the room. "Or whatever those dudes are here for.”

Jacob followed his gaze. The dudes in question stood by the bar, dressed in practical dusters and slouch hats, but a little too neat and self-conscious to pass for seasoned locals. Jacob’s eye instinctively picked out the man in charge, fair-haired and poker-assed, with a neat Van Dyke beard.

Priest? Jacob thought first. No—scholar, though. He knew fanaticism when he saw it. The fellow’s tight-wound intensity was enough to intimidate the younger, taller man to whom he was speaking. The youngster was even more of a greenhorn, with the stooped shoulders and rabbity eyes of a chronic worrier.

"Heard ’em talkin out in the lobby,” Bosley said. "Seems they were out here last year, found some strike they’re eager to work, but they’re worried bout some other dudes beatin ’em to it, or stealin their find. The little banty-rooster there’s tryin to hire some local guns to guard their passage.”

"Passage to where?”

Bosley took a swallow of his beer. "Badlands. Hell Creek.”

“Off the Yellowstone?”

Bosley nodded once.

“That’s right through Sioux territory.”

Bosley nodded again.

"That don’t scare you?”

"Nothin scares me no more,” Bosley said, in a tone that suggested he’d already seen the worst.

And because Jacob felt the same, he got up and went over to the bar.

"—utterly unacceptable, Mr. Ryan,” the older man was saying, while the young beanpole squirmed. "I warned you these yokels would take advantage of us. You should have haggled him down.”

"I tried, professor, but he wouldn’t budge.” Ryan spoke with the whine of the perpetually put-upon. "Supplies are at a premium because of the prospecting rush and the traders are gouging everyone. We should have outfitted in Omaha, like I told you.”

"Coffee,” Jacob said to the bartender. "Sugar.”

"—taken us three times as long to get here,” the professor snapped, "as I made clear to you in Omaha. I shall have to deal with this Willoughby myself, since you seem incapable of completing the simple task I set to you.”

"You’re welcome to try,” Ryan muttered, "but this late in the season there’s not gonna be much available.”

"Excuses,” the older man said. There was no particular vitriol in his manner, just a sour triumph, as if he’d anticipated this outcome. "It’s always excuses with you, Ryan. More and more I doubt your sincerity in following this course of study—”

"He’s right, though,” Jacob interrupted, and the professor looked around, distracted from his recreational flaying, speechless for the moment. "Excuse my overhearin, but you gentlemen are gonna get hustled by the locals, unless you find a middleman who speaks their language. And I’d stay away from that Willoughby character, unless you want horses lame in all four feet and wind-broke besides. Davis is the man you want, over on third street. He’s a smaller operation but he takes better care of his stock.”

"And no doubt you get a tip from the referral,” the professor said.

"Not a cent. But I know horseflesh, and Davis is the only man I felt right about leavin my mount with. Thanks,” Jacob said to the bartender as his coffee arrived. He took a sip and asked, "You boys from Boston?”

"I am a professor of natural sciences at Yale,” that fellow said, pokering up further. He was no older than Jacob, mid-thirties at most, but determined to project authority. "Dare I hope you have heard of it?”

"I’ve heard of it,” Jacob said. ”Though I was educated near St. Louis myself, and the Benedictines weren’t too concerned with the natural sciences.” That got the professor’s attention, as Jacob had guessed it might, so he added, "Vires idoneos requires, certior fio.” —I hear you need a few worthy men.

Ryan frowned, but the professor’s smile was dry and appreciative. "And might you be such a ‘worthy man,’ sir?”

"I like to think so,” Jacob said.



Wednesday, February 24, 2016

Trace & Boz get optioned for TV

It gives me enormous personal satisfaction to announce that The Curse of Jacob Tracy has been optioned for television.
Holly Messinger's debut THE CURSE OF JACOB TRACY, a gothic Western about a Civil War veteran who sees ghosts, his levelheaded trail partner, and the mysterious English bluestocking pulling their strings, to ITV with Deborah Spera (CRIMINAL MINDS) and Maria Grasso of One Two Punch Productions attached to produce, by Brendan Deneen at Macmillan Entertainment on behalf of Amy Boggs at Donald Maass Literary Agency

ITV is the production company that gave us, among other things, Downton Abbey and Mr. Selfridge.

Now, this doesn't mean that the TV show is entering production. The producers are essentially leasing the rights to develop a script and try to get a network interested. Could be nothing will come of it. But this is nevertheless an exciting step, and I'm grateful to Amy and Brendan for their hard work on my behalf.



Sunday, January 31, 2016

getting around in 19th century St. Louis


A reader asked,

"I'm a St Louisan myself, so I know that Hyde Park is a good long distance from Carondelet. These days, it would take two hours to walk it, and I bet it would have been at least double that in those days. Did your characters ride, take the horse drawn omnibus or streetcar, or what?"

This is one of those things I like to think about, and one of the unexpectedly frustrating bits of research I had to do for the book—calculating travel times. How far was it between these places I was writing about, and how did people get there? Figuring this out actually affected the story-timeline in parts of CURSE.

I was able to find a good map of St. Louis published in 1879, but sadly for me it had no scale on it to indicate distance. Then I hit upon the bright idea of using Google Maps.

According to the Almighty Google, it's about 10 miles from Hyde Park to Carondelet Park in modern-day St. Louis. Those two points, by the way, were roughly the far northern and far southern points of the incorporated city in 1880. That's right, the whole of St. Louis was only about 10 miles top to bottom, and about 350,000 people, according to census records.




According to Google, in 2016 it would take a person about three hours to walk that distance. I'm not sure why my reader assumed it would take LONGER "in the old days" (on the assumption that everything moved more slowly back then?), but I figure a little over two hours for a tall, fit man like Trace to walk that distance, assuming he was carrying nothing, and figuring there were fewer obstacles—traffic, stoplights, construction detours, etc.— in 1880. (It takes me about 30 minutes to walk 2 miles to my favorite coffee shop, over flat ground, carrying a backpack, and I walk fast for a girl, but not near as fast as, say, a 6'2" army ranger or firefighter who runs every day.)

St. Louis about 1880 (source needed)

If Trace was in a hurry, he'd take his horse. In fact at the beginning of the second story, "Printer's Devil," he and Boz are riding their horses south to Carondelet to work for the day. Later, I mention several times about Trace riding Blackjack to Miss Fairweather's house, because it would be a good deal further north than the working-class neighborhoods and businesses where he'd spend most of his time, and he's usually in a hurry to visit her. I figure a horse and a modern bicycle could be calculated at the same average speed—between 10 and 25 miles per hour at a non-racing speed, depending on traffic and terrain. Google maps says it would take about an hour for a bicyclist to get from Hyde Park to Carondelet, so figure an hour, max, for Trace to ride to Miss Fairweather's house from anywhere in the city.

There were horse-drawn street cars, but much like modern bus lines, they probably were slower than horseback, because of meandering routes and frequent stops. Also, they cost money to ride, and a man whose livelihood depended on a working horse would want to get him out for daily exercise, to keep them both fit.

So there you go—a taste of what historical writers think about.

Here's the Google Maps link, if you want to play with the numbers yourself.