Tag Archives: Victorian era

Victorian Psycho by Virginia Feito

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Virginia Feito’s new gothic thriller, Victorian Psycho, has attracted the attention of readers and commentators for its originality, as well as for its in-your-face macabre violence. It’s graphic. It’s bloody. And in this book, the first-person narrator is the serial killer. She doesn’t murder at a discreet distance, either. No poison here. When toward the end of this short book (190 pages) she tells you she’s holding a cleaver, well, you know . . .

It’s also worth saying that much of it is highly comic, poking fun at the aristocracy and its Victorian-era pretensions. The heroine, Winifred Notty (which I invariably read as “naughty”) is posing as a governess and was hired to deal with the two children of the Pound family: Drusilla, an angsty teenager, and the young heir, William, insufferably puffed up with his future importance.

Their mother, a faded woman imprisoned by the constraints of her social situation, is unable to think beyond them. Though she senses something off about Miss Notty, she grabs hold of the wrong end of the stick when she believes the governess is trying to seduce her husband. Mr. Pound may actually be interested in being seduced—something you justknow won’t turn out well.

You gradually assemble a sort of understanding of Winifred’s background. She was illegitimate; her father refused to marry her mother. Her mother moved to another town and passed herself off as a widow, marrying a local Reverend who grew to think of his stepdaughter as the incarnation of evil. She was sent to a girls’ school, but after The Incident (which I’ll leave you to discover on your own), she was returned home.

The foods the Pound family is served are described in sometimes lascivious detail, as the governess perceives them. But then she has something of an oral fixation—prone to biting or licking or sucking on various objects and people.

I came to think of this story as akin to a gruesome fairy tale, in which all sorts of outlandish and grotesque occurrences are possible. You must decide for yourself how much is literally true and how much is in Miss Notty’s mind. It’s gory, but good. The book is being made into a feature film, scheduled for release next year, starring Maika Monroe, Thomasin McKenzie, and Jason Isaacs.

Crime Stories That Take the Heat

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Heavy-duty noir seems not quite right for sunny, summery August. So here are two recent books light and bright enough to compete with surf and sand: The Tumbling Girl by Bridget Walsh and the comic novel Clonk! by JP Rieger.

The new Victorian-era mystery The Tumbling Girl blends murderous deeds with a healthy dose of romance between an unlikely pair of investigators. It evokes the sights, smells, and sounds of 1870s London, while believably capturing the social class distinctions of the day.

Minnie Ward is a retired music hall performer who writes songs and skits, and day-to-day oversees the Variety Theatre’s mix of tumblers, tightrope walkers, singers, not-so-funny comedians, Shakespearean actors, plate-spinners, and more, including a troublesome monkey. With this crew, something is always going on—cast-member drama, audience eruptions, the monkey in the rafters peeing on the customers below. Author Walsh has created a world that is intriguing, full of story possibilities, and rife with unexpected developments.

Albert Easterbrook is a public school-educated private detective. His friends in the police force are tracking a serial killer who has targeted the city’s women for a decade. Footsteps in the dark and chance encounters can be more than a little anxiety-provoking for Minnie and her friends.

When one of the acrobats is found hanged below the pest-ridden Adelphi Arches, the police dismiss her death as a suicide. But Minnie and the girl’s mother don’t believe it; they want Albert to find out what really happened. Minnie volunteers to help him, despite his objections that it’s too dangerous, as it proves to be. You also have a chance to see a bit of Victorian high-life, as members of the most exclusive gentlemen’s club in London seem to be involved.

If I had to sum up this story in a single word, it might be “romp,” because it moves fast, there’s plenty of entertainment along the way, and, even if you’re pretty sure where Minnie and Albert’s relationship will end up, getting there is half the fun.

In Clonk! you follow eight guys, friends from high school, who’ve managed to stay in touch and call on each other’s help for all kinds of matters, great and small. You might term the book a police procedural, because the main character, Kev Dixit, is a Baltimore, Maryland, police officer, but his procedures are hardly textbook. He has a brilliant way of subverting the system and solving problems outside—sometimes far outside—any approved method. His way of outfoxing the detective exam is LOL.

Two of these longtime friends are not nearly as bright as they think they are and become embroiled in a fraudulent real estate scheme. Arson is involved. In their worst possible moment, their old pal Kev helps them out, along with Chris, an ever-optimistic actor and terrible singer who believes his big theatrical break is always just around the corner, and Brian (the Troll), an undertaker. Yes, a dead body is involved.

Three more alumni of their Catholic high school who play smaller, but plot-vital parts are a disgraced doctor, an agoraphobic FBI agent, and an over-the-top attorney called in to save the doctor’s bacon.

You’ll find some uniquely Baltomorean touches and topics here, yet you can get the sense that these guys are essentially well-meaning, occasional screw-ups whom you could find almost anywhere. Occasionally they reminisce about their high school days as (no surprise!) the weirdos no one else wanted to spend time with. These backward glances lay the groundwork for how they react in a crisis as adults. And the crises keep coming.

A lot happens in this book’s 217 pages, as the world of policing the Dixit way hurtles forward. The novel is a testament to the value of loyalty and friendship, with Dixit, as author Rieger says, “a fortress in the storm of life’s absurdities.” Loved it!

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