Writers Have All the Ideas

In May of 1903, a man by the name of William West, recently convicted of some crime or other, arrived at the Federal Correctional Institute in Leavenworth, Kansas for processing. As the records clerk took the new inmate’s precise measurements, he asked him about the man’s prior murder conviction, at point which a genuinely surprised West insisted he had committed no such heinous crime. The records clerk remained unconvinced, presenting West with a file of a convicted murderer named William West that included his precise measurements and a picture identical to himself.

That a convict might lie about his past crimes didn’t surprise the clerk, but what did surprise him was that the William West in the file was still serving his sentence, and so couldn’t be the William West standing in front of him.

It turned out that the two men, later presumed to be identical twins separated at birth, possessed identical characteristics when processed with the Bertillon measurement of physical characteristics in common use in the US prison system. Fortunately, the clerk was delighted to discover that the two men did have one distinguishing characteristic: their fingerprints.

And that is the excellent story of how fingerprinting became an important tool of forensic science in the United States. Of course as with most excellent stories in history, this bears the telltale too perfectly symmetrical marks of being not precisely true. It makes for good fiction.

In reality, there are oily smudges looping, arching, and whorling all over the smooth surfaces of history, dating back at least 4,000 years when Hammurabi sealed contracts with a fingertip. Not much more recently, the Chinese used inked prints as unique signatures on contracts, and as early as 200 BC may have been using hand prints left at crime scenes to help crack burglary cases.

It was in the 17th century that European scholars started describing the unique combinations of patterns on the ends of our fingers. Then in 1892, Sir Francis Galton, cousin to Charles Darwin, and originator of the unsavory study of eugenics, published a helpful classification of the patterns of fingerprints. That led to Sir Edward Henry’s development of a practical system of identification that could be used in law enforcement, which he presented to Scotland Yard.

Of course as impressive as this sounds, Mark Twain solved a crime using fingerprinting in his somewhat embellished memoir Life on the Mississippi in 1883, indicating, I think, that it would behoove scientists to pay closer attention to writers because they have all the ideas.

Scotland Yard adopted Henry’s system in 1901, brought it to the 1904 World’s Fair in St. Louis, and presented it to St. Louis police detectives and the general public, including both the fictional amateur sleuth in my novel set at the World’s Fair, as well as the historical M.W. McClaughry, records clerk at the penitentiary at Leavenworth, Kansas. In September of 1904, fresh from his trip to the fair McClaughry requested that a fingerprinting system be implemented at the prison. It was another one hundred and twenty years before my sleuth put the science to work in my book, Paradise on the Pike.

But even though the story of the two William Wests is somewhat fictional, too, there’s a ring of some truth to it. There were two William Wests at Leavenworth at the same time and they were identical, distinguishable only by their unique fingerprints. They did become a good illustration of the usefulness of the relatively newfangled science of fingerprinting. Still, in reality, the timeline of the story doesn’t quite work out.

When a second William West showed up to be processed, it doesn’t seem that it caused much of a stir at all. It was, however, convenient to have them both there when clerk M.W. McClaughry got excited about this newfangled science that had already been in use in some way for thousands of years. And it sure did make for a good story.

Meet Me at the Fair

On November 22, 1944 after schedule delays, numerous script rewrites, budget woes, and a leading lady still unhappy with her role, a new Christmas musical debuted on the big screen in St. Louis, the city at the film’s heart. 

The song “Meet Me in St. Louis,” well known today because of the musical, is actually from 1904 and was written specifically for the World’s Fair. Public Domain, via Wikimedia Commons

Despite the mess of getting to that moment, Meet Me in St. Louis enjoyed immediate success, becoming Metro-Goldwyn-Mayer’s second highest grossing film up to that point, coming in only behind Gone With the Wind. After the premiere, Judy Garland even decided she liked it after all and commented to the producer, “Remind me not to tell you what kinds of pictures to make.”

The screenplay is based on a series of semi-autobiographical short stories by St. Louis native Sally Benson who wrote of an upper middle-class family that lived at 5135 Kensington Avenue during the construction of the 1904 World’s Fair on the grounds of Forest Park in St. Louis.

I confess, I saw the movie for the first time later in life than I should have, having grown up within easy reach of St. Louis. My childhood summers included trips to downtown to watch the Cardinals play at Busch Stadium where the musical’s title song is still played by the organist at every game and the crowd sings along as the words scroll across the jumbotron. 

I’ve been many times to the wonderful outdoor Muny theater in Forest Park where the stage adaptation of Meet Me in St. Louis, originally produced in 1989, is performed every few years. I even got engaged in that park on the very grounds of the actual 1904 World’s Fair.

I was lucky enough to get a sneak peek at the new exhibit, open to the public on April 27th. It contains a scale model of the entire fairgrounds. And it’s spectacular.

Officially known as the Louisiana Purchase Exposition, the Fair is a big deal in St. Louis history. It transformed the city, launching it for about seven months into the center of the world’s attention. 

And it’s still a big deal, today. One-hundred and twenty years later the World’s Fair looms large in the community memory carried now by not a single living person who was there to see it, sparking excitement whenever it comes up in conversation, which is kind of weirdly a lot.

It’s especially on everyone’s minds right now because at the end of this month, just in time to celebrate the 120th anniversary of the opening of the Fair, the Missouri History Museum will reveal a newly re-imagined permanent World’s Fair exhibit. 

Equally exciting for everyone who either lives in my house or happens to be my mother, is the release of my new historical mystery set on the grounds of the 1904 World’s Fair in St. Louis. 

Paradise on the Pike is available for the first time today. The story takes place in the enchanting world of Hagenbeck’s Zoological Paradise and Trained Animal Circus on the Pike, which is the entertainment strip within the Fair. It’s not a light, sentimental sort of story like Sally Benson’s, but it does contain elephants and lions and a pair of cantankerous goats. It also allowed me, and will hopefully allow you, to spend some time strolling through the Fair, which was almost entirely constructed of temporary buildings meant to disappear.

Available today! Order from your favorite independent bookstore or slightly bigger bookstore or Amazon.

And maybe that’s why, one hundred and twenty years later, it still takes up space in our imaginations, because we’re a little like six-year-old Tootie at the end of Benson’s stories when the family marvels over the lights and fountains on the fairgrounds and her sister Agnes asks if it’ll ever be torn down.

Tootie emphatically replies, “They’ll never tear it down. It will be like this forever.”

Agnes, relieved, exclaims, “I can’t believe it. Right here where we live. Right here in St. Louis.”

Forest Park retains very few physical reminders of the enormous event that once filled its every corner and held the attention of the world, but in the hearts of the St. Louisans who stroll through the grounds and wish they could have seen those lights shining, it will never be torn down. It’ll be like this forever.

You can find more information about Paradise on the Pike at this link.

Shooting for the Moon with A Lot of Help

Even astronauts need a little help from 400,000 friends. NASA, Public domain, via Wikimedia Commons

On July 16 of 1969, at 9:32 AM approximately one million people gathered on Florida beaches to witness the launch of Apollo 11. Many of them had camped out for multiple days to claim a spot. I imagine their enthusiasm was palpable.

Millions more people watched on television. Excitement mounted in the first few days of the mission and by the time Neil Armstrong took that first small step, 650 million people tuned in to see it happen, making the event the most widely watched television broadcast in history.

And it couldn’t have happened if NASA’s first female launch controller JoAnn Morgan hadn’t been in the control room, or electrical engineer Tom Sanzone hadn’t designed and monitored the backpack life support systems worn by the moon-walkers, or if astronaut Frank Borman hadn’t used a personal connection to assure that the Luna 15 Soviet spacecraft wouldn’t interfere with the Apollo mission, or if diver Clancy Hatleb hadn’t been on scene to welcome the returning astronauts to earth by whisking them into quarantine in case of space germs.

A new historical mystery set against the backdrop of the 1904 World’s Fair in St. Louis, for fans of Water for Elephants and Devil in the White City.

In all, NASA estimates that approximately 400,000 people contributed to the success of the Apollo 11 moon landing, from thousands of engineers working throughout the world to the janitors and caterers that kept the facilities running smoothly. Every successful launch requires coordinated effort from a lot of people.

That statement is true when applied to Apollo 11, and it’s true when applied to a new book. My fourth historical novel, Paradise on the Pike, a mystery set against the backdrop of the 1904 World’s Fair in St. Louis, will officially launch on April 18 and it’s taken a lot of people to get it this far, from critique partners, beta readers, and cheerleaders to cover artist, formatter, and editor. It maybe hasn’t taken 400,000 people, but it’s been a lot.

And I still need help to get the book off the ground because no matter how enthusiastic I am about this book launch, I can’t make it successful by myself. I could really use an enthusiastic crowd to camp out on the beach and cheer loudly in hopes that even more people will become curious enough to tune in.

If you are interested in being part of that first, important crowd, I would love for you to join my launch team on Facebook. Participation is simple. You’ll receive an advance digital copy of the book to review (along with some helpful guidance if you’re not too sure how to do that) and some graphics to share on social media, There will also be some fun and chances to win prizes along the way. Sign up to be part of the group at this link:  https://forms.gle/psi7ctZ6fNK88dbB9

Or if Facebook isn’t your thing, but you happen to be a NetGalley reviewer, you can request a review copy of the book at this link: https://www.netgalley.com/catalog/book/354539

I probably won’t be able to pull together a million, or even 400,000, people to help me with this, though feel free to share the opportunity with anyone you think might be interested. Of course I also wouldn’t be terribly surprised if somewhat fewer than 650 million people eventually read my book. Still, it takes a lot of help to shoot for the moon.

Malapropos of Nothing

I admit to being a little bit of a language snob. Of course I recognize that language evolves and a misspoken word today may be perfectly acceptable tomorrow, at least for some, but know that if you use a malapropism, I’ll probably judge you.

In case you are unfamiliar with the word malapropism, in lame man’s terms, it’s the mistaken replacement of a word with another that sounds similar. The term, derived from the French mal à propos, meaning inappropriate, got picked up in the English language because of playwright Richard Brinsely Sheridan. In his 1775 play The Rivals, a character named Mrs. Malaprop is notorious for muddling up her words. 

One version of Mrs. Malaprop looking “as headstrong as an allegory on the banks of the Nile,” which is one of her delightful lines. University of Illinois Urbana-Champaign University Library, Public domain, via Wikimedia Commons

That’s not to say that Sheridan was the only, or even the first, writer to make use of such a character trait, but I suppose that’s a moo point. For all intensive purposes, that’s when the concept entered the English language where it’s been driving language snobs like me bonkers ever since.

I’ve been thinking about malapropisms a lot lately because the publication date of Paradise on the Pike, my new historical novel set in the 1904 World’s Fair in St. Louis, is drawing near and I have discovered that not everyone is familiar with the word “pike.” 

If you happen to live in one of the handful of US states that contain a turnpike, you might be able to puzzle out that “turnpike” is another word for toll road and that “pike” is another word for a road. You might even be familiar with the phrase “coming down the pike,” meaning something is going to happen in the future. For example, I have a new novel coming down the pike. 

If you don’t happen to live near a turnpike, then you might mistakenly believe the phrase is “coming down the pipe,” in which case, I’m probably judging you. 

But this particular malapropism does make some logical sense because there is another phrase “in the pipeline” that also refers to something that is going to happen soon. I could, for example, tell you that I have a new novel in the pipeline. Conflating the two seems like a fairly innocuous mistake.

And of course you can go ahead and say whatever you like. It’s a doggy dog world and I don’t always get my way even if I do think malapropisms ought to be nipped in the butt whenever possible. Really, I could care less. Except that the expression, “coming down the pike,” may actually have its roots in the 1904 World’s Fair in St. Louis in which a mile long stretch of road along the north side of the fairgrounds that formed the main entertainment section of the fair was referred to as “the Pike.”

A new historical mystery coming down the pike on April 18, 2024.

The Pike contained all manner of concessions including battle reenactments, rides, a wax museum, fashion demonstrations, mock-ups of exotic locales, dancers, musicians, and animal shows. It was also the site of daily parades, leading to much excitement as people crowded around to catch a glimpse of what wondrous things might be coming down the Pike.

And so, the cover of my newest novel in the pipeline that will be coming down the pike on the 18th of April, just in time to celebrate the 120th anniversary of the 1904 World’s Fair, features a picture looking down the historical Pike. I hope you’ll forgive me for stringing out the cover reveal and keeping you on tender hooks for a few weeks. I also hope you’ll really enjoy the book when it’s finally here. And in the meantime, language snobbery aside, I hope you’ll love the book by its cover.

Godspeed, Ben!

On April 30, 1904, the Louisiana Purchase Exposition opened to the world on the grounds of Forest Park in St. Louis. To walk through Forest Park today, nearly one hundred and nineteen years later, you almost wouldn’t know the fair had been there at all. The only structures that remain are the Art Museum building and a large, elliptical, walk-through birdcage that forms part of the St. Louis Zoo.

Pub. by Chas. M. Monroe Co. “Tichnor Quality Views,” Reg. U. S. Pat. Off. Made Only by Tichnor Bros., Inc., Boston, Mass., Public domain, via Wikimedia Commons

The aviary wasn’t originally intended to be a permanent structure. It had been erected by the Smithsonian Institute to house the birds it would display as part of the fair. When the fair was over, the city of St. Louis, which had long wanted a zoo, purchased the structure and by 1913 had erected a seventy-seven-acre zoological garden around it.

In 1916 the school children of the city donated enough pennies to acquire the zoo’s first elephant, Miss Jim, and the same year, St. Louis voters approved a special tax to support their new zoo, which today remains one of very few community-supported zoos in the world, offering free admission to visitors.

In 1921 came bear pits; in 1924, a primate house; and in 1927, a reptile house. The 1960s brought an aquatic house, a children’s area and railroad, and a significant renovation to the original aviary. Over the years the zoo in Forest Park has been improved a great deal, has expanded to cover ninety acres, and welcomed around three million visitors per year. It currently houses about eight hundred different species, including 9,200 animals.

Too cute to be contained. (not Ben). Alberto Apollaro Teleuko, Public domain, via Wikimedia Commons

But there’s about to be one less critter among them because on February 7, 2023, a four-year-old Andean bear named Ben escaped his enclosure. Fortunately, this happened in the morning before the zoo had opened to the public and Ben was tranquilized and secured without incident. Zoo staff added stainless steel cargo clips with 450 pounds of tensile strength to the steel mesh through which Ben had found his way to freedom. All was well.

Then about three weeks later Ben forced his way through the new cargo clips and escaped again. This time, the zoo was open. Visitors were ushered indoors while Ben was once again tranquilized and secured. With the exception of the cargo clips, no real harm was done.

Evidently, like so many St. Louis residents these days, with skyrocketing crime rates, a district attorney under fire who can’t even seem to keep the zoo animals behind bars, and yet more negative national media attention, Ben the Andean bear doesn’t want to be in the city. He’s moving to Texas.

And who can blame him, really? This delightful Houdini has been described by zoo staff as a fun and playful character. Soon he’ll get to trade his steel mesh in this currently struggling city for a moat at the Gladys Porter Zoo in Brownsville, Texas, right next to the Mexican border where thankfully there is little crime, a well-functioning system in place for keeping everyone well-organized and contained, and almost no media attention whatsoever.

Godspeed, Ben!

A Lot of Nerve

In March of 1903 the city of Buffalo, New York was intrigued by the recent murder of successful businessman Edwin L. Burdick. Rumors suggested that Burdick and his social circle were embroiled in activities of questionable morality that had led to several divorces, including Burdick’s own. The story included plenty of soap-opera worthy subplots and culminated in a bloody head bashing-in with a golf club by a never definitively identified angry woman with one heck of a follow-through. The public couldn’t get enough of the whole lurid circus and photographers ended up banned from the inquest.

But this wasn’t much of an obstacle to hobbyist-turned-professional photographer Jessie Tarbox Beals, who had been hired by both the Buffalo Inquirer and The Buffalo Courier, making her the world’s first female photojournalist. Disallowed from the room, Beals boldly shoved a bookcase into position so that she could climb up and snap a few photos through a transom window.

Jessie Tarbox Beals at the Louisiana Purchase Exhibition, 1904. Taking great photos. On a ladder. In a skirt. Bold. Public domain, via Wikimedia Commons

It was this kind of tenacity that brought her success at the 1904 Louisiana Purchase Exposition in St. Louis, where copious amounts of iced tea were consumed, ice cream cones were almost certainly not invented, and possibly history’s most disorganized marathon took place.

Beal arrived in St. Louis with her husband (who served as her assistant) in time to beg her way onto the pre-exposition grounds after initially being denied any press credentials by fair officials. Once there she absolutely wowed the skeptical officials with her incredible eye for candid images that captured the essence of the fair more than they could have imagined and unfolded a story that sparked imagination and drew people to the exposition.

Of course, she also drove them kind of crazy. She thought nothing of scurrying up a commandeered twenty-foot ladder in her heavy skirt or recruiting fairgrounds employees to hold it steady for her while she grabbed shots of parades and crowds of fairgoers. When her request to take aerial pictures from a hot air balloon was denied because she was far too delicate for such a risky activity, she did it anyway.

She also snapped many beautiful photographs of the subjects of ethnographic exhibits, displaying a universal humanity that didn’t entirely support the tale of racial superiority the fair’s organizers had expected to tell.

Jessie Tarbox Beals: A female photographer with a lot of nerve. Unknown author, Public domain, via Wikimedia Commons

And when President Theodore Roosevelt arrived at the fair and the male photographers respectfully hung back to await their chances, she didn’t hesitate to approach him to ask for a photo op. Then she pursued him relentlessly throughout the day to snap at least thirty more photographs of the president and his entourage. She was one bold lady.

I came across Jessie Tarbox Beals while doing some research for my newest novel project. She won’t be in the book, or really even tangential to it outside of sharing an era, but she leapt out at me anyway as someone I wouldn’t mind knowing more about.

Every new historical novel I write begins with a bit of trepidation. The task of immersing myself into a time and place different than my own is daunting, as is making those many tiny decisions about when to cling tightly to known historical facts and when to play a little fast and loose for the benefit of shaping a story. Then there’s the balance to consider between historically representative attitudes and remarkably different modern sensibilities. I often find myself questioning just what and how much I am really allowed to do.

And I think that’s why the story of Jessie Tarbox Beals appeals to me so much. This week, when we have just marked International Women’s Day and as I take those first careful steps onto the blank page, I am trying to take a lesson from the tenacious lady photojournalist who climbed a bookcase, hopped into a hot air balloon, and chased down a president.

She told great stories with her photos and when asked whether the male-dominated profession of photography was really a good place for a woman she answered that as long as that woman had “a good supply of nerve, good health, and the ability to pick out interesting subjects and handle them in an interesting manner” that she saw no reason why it shouldn’t be. She was one bold lady. With a lot of nerve.