Talking About Charles Lindbergh with Susan Elia MacNeal

“When something happens to a child, don’t we always suspect the parents?”

 Writing historical, it’s always exciting (terrifying) to find that another writer is covering the same subject. So when Susan Elia MacNeal said, “You’re doing Lindbergh? Wild—I’m doing him too!” I swallowed. Hard.

 Thankfully, we were covering the famous aviator in different years, 1932 and 1940. But they were arguably the two lowest points of his life: the kidnapping of his son and his vocal support for the America First movement, inspired in part by his admiration for the Nazi regime. In Susan’s brilliant standalone, Mother, Daughter, Traitor, Spy, Lindbergh is not an onscreen presence, but he looms over the narrative as the acceptable face for fascist sympathizers. In my book The Lindbergh Nanny, he is a young father in the maelstrom of an unspeakable tragedy.

 I knew I wasn’t going to have any problem with Susan’s depiction of Lindbergh. I worried she might have problems with mine. We swapped our works in progress. And we talked. Susan did just what I hoped she would do: she pushed me. Why did I think X? What led me to conclude Y? What evidence did I have of A, B, C, or D? Reading Mother, Daughter, Traitor, Spy reminded me that America First was not simply an anti-interventionist movement, but one that encompassed the most toxic elements of our culture: racism, antisemitism, rule of violence over the rule of law. Literally America Worst. It’s one thing to know something intellectually. It’s another to be reminded by riveting, meticulously researched narrative. (Which is exactly why we need these kinds of novels. But I digress.) “My” Lindbergh is years and a shattering life experience away from hers. Nonetheless, I needed to remember this was where he was headed.

 Finally, Susan posed the question I started with: “When something happens to a child, don’t we always suspect the parents?” As a reader of true crime who suspects everyone of everything, I took that question to heart. It inspired some changes and one whole new scene. For that, she got a spot in the acknowledgements and a cheese plate—which I think I still owe her.

 I am never not grateful for the mystery community, especially its historical wing. But I am even more grateful to Susan for these conversations, particularly the disagreements. Mother, Daughter, Traitor, Spy comes out September, 2022. It’s spectacular—and very important to read right now.

Introducing Betty Gow, the Lindbergh Nanny

I have been fascinated by the Lindbergh kidnapping since I saw the 1974 film of Murder on the Orient Express. The film opens with a silent scene of the kidnapping of little “Daisy Armstrong.” As the kidnapper makes his way through the darkened home, it is not the parents who encounter him, but the servants. Most notably, the nanny who is seen tied to a chair, struggling fiercely, unable to protect her charge.

In 1932, when Charles Lindbergh Jr. was taken from the Lindbergh house in Hopewell, New Jersey, the police strongly suspected it was an inside job. The Lindberghs only spent weekends at the Hopewell house. Their son was kidnapped on the first Tuesday they had ever stayed there—and it was a last minute decision to stay. The staff came under intense suspicion, especially Charlie’s nurse, Betty Gow. A young Scots woman who had worked for the family for a year, Betty Gow was intimately involved with the event at almost every point. She was the last person to see Charlie alive and it was she who discovered he was missing. Perhaps not surprisingly, she was a suspect, as was her boyfriend, Henrik “Red” Johnson, a Norwegian sailor she had not known for long and who moved to New Jersey to be near her.

The tragedy had an enormous impact not just on the child’s famous parents, but on the people who worked for them. Lives were destroyed. Was there an inside man or woman? If so, who was it? The Lindbergh Nanny is a novel. But this was a real loss suffered by a real family and those who loved their child. I have tried to stick closely to reported fact, handling the experiences and emotions of those involved with the respect they deserve. It was a challenging, at times harrowing, story to live with. But also deeply rewarding. If there is terrible loss, there is also great love. I hope I have done Betty Gow’s story justice.

Thinking About Death of a New American in the Time of Coronavirus

Death of a New American is out in paperback today. Usually when a book comes out, I head to the stores, snap pictures of it on the tables. (Make sure it is on the tables.) But today I can’t. Today I am in self-imposed quarantine. Many bookstores are closed. New York City is quiet. The markets have collapsed. People are losing their jobs and their savings. Promoting a book right now feels…myopic.

So I’ll just talk a little about Death of a New American. It was hard to write and I am proud of it. Of all the characters I’ve worked with, Jane Prescott is my favorite. I’ve written two more Jane Prescott novels since this book. But this one gave me days that were among the best in many years of writing.

The New American in question is a young Italian woman who is the nanny to the Tyler family. She is found murdered in the nursery, her throat cut. The window is wide open. Italian gangs are suspected; it’s a kidnapping gone wrong. The murder threatens to overshadow the wedding of Louise Benchley and William Tyler.

At the heart of the story are the issues of family and immigration. Who do we let into our worlds? Who do we try to keep out and why? What are the fears of the newcomer? Will they prosper in this new land, this new family? Or will the reception be hostile, even predatory? Does the danger come from outside or within?

Right now, I am enclosed with my family. I am doing what I love. My pantry is full. I feel safe from the disease that is out in the world.

But I miss the world horribly. My son misses his friends. My husband misses his colleagues. I am worried about people far from me. I miss the rough and tumble, bustling, bumping, agitated life of the city. I don’t feel friendly to everyone I encounter on a crowded street. (People who walk with phones, we have to talk.) But life in defensive seclusion is small. Ultimately, it weakens you. I miss sharing the space.

If you’re thinking of buying New American, please consider one of our wonderful small bookstores. They are hurting right now and they do take online orders!

Reviews for Death of an American Beauty

The months leading up to a book’s release are always hard on the nerves. Will Kirkus be kind? Will PW notice? Will they like the new one more than the previous books? Less?

Critics have been kind to Death of an American Beauty. A few snipes about too much history. But I’ll address that in a separate post. As always, I am grateful to these hard working gate keepers who keep series like mine in the public eye.


"Buoyed by Fredericks' deft plotting and lucid prose, Jane handles each crisis with aplomb. A welcome addition to the lady's-maid-cozy corner." - Kirkus

"Engrossing. Fredericks's portrait of the social disparities of early 20th century New York and of the appealing Jane make this a winner." - Publishers Weekly

"Charming . . . This is well worth recommending to patrons who liked the other books in the series as well as to those who are in the market for an Upstairs, Downstairs-tinged mystery." - Booklist

Cover Reveal! Death of an American Beauty

April 2020, Jane gets to go on vacation! Her first stop is the scandalous Armory Show of 1913. Then it’s off to her uncle’s refuge for its annual dance, known as the Southern Baptists Ladies Cotillion—or the Whores Ball. The refuge is under siege from disapproving neighbors and Jane worries that there will be conflict. But even she is shocked when one woman is murdered—and her uncle accused.

Jane’s attempts to find the killer and keep her uncle out of jail are complicated when Louise Tyler calls on her to help with a pageant celebrating the anniversary of the Emancipation, to be held at Rutherford’s, New York’s fanciest department store “where every American Beauty blooms!” And complicated further still when Leo Hirschfeld, the show’s piano player who vows to one day make all Broadway one big Hirschfeld production, asks her to go dancing…

I had so much fun writing this book. I can’t wait till it’s in stores!

Death of an American Beauty.jpg

Discussion Questions for Death of a New American

Death of a New American takes place in 1912, a time when marriage was still seen as a social and economic necessity for women. How do we think of marriage today? Is it now a purely romantic decision or do economics still matter?

 

As the bride to be, Louise Benchley’s view of marriage changes over the course of the book. Is she any wiser by the end? How do you feel her marriage to William Tyler will turn out?

 

Lady’s maid Jane Prescott does not seem particularly drawn to marrying herself, even though she strongly supports Louise Benchley’s marriage to William Tyler. What explains the difference in expectations? 

 

There are several women in the book who present different visions of their roles and futures. Who would you say is the most traditional? Who is the most revolutionary? How do their attitudes contribute to their happiness?

 

What do you feel has gotten better for women since the 1910s? What has gotten worse?

Now in Stores—Death of a New American

"Jane observes matters with a knowing eye, from the minutely personal to the tragically public. Ms. Fredericks sets Jane's investigation neatly within a larger social context of the suffrage movement, and the results are unexpectedly thrilling."―The Wall Street Journal

IMG_3265.jpg

Bookstore Appearances for Death of a New American

I am thrilled to announce that three New York bookstores are kindly hosting April events for Death of a New American. Please consider stopping by if you’re in the area. You’ll be supporting a great independent book seller. Thank you!!

April 9
Book Culture
26-09 Jackson Ave, Long Island City
6:30

April 10
Shakespeare and Company
939 Lexington Ave (btw. 68th and 69th) 
6:30

April 30
Astoria Bookshop
31-29 31st St, Astoria
7:00

Well, That Was Quite a Week

Tuesday morning, January 22nd, I got an email from an old friend from Book-of-the-Month Club. It was a forward of the MWA announcement on the Edgar nominees. His first word was CONGRATULATIONS!!!

I had a big stupid grin on my face before I had even fully processed that A Death of No Importance had been nominated for the Mary Higgins Clark Award. I don’t know how I will feel on the night, but to use the old chestnut, it really is an honor just to be nominated. It feels like your work has been accepted as a legit contribution to the genre. (Not in an exalted grand master way, just a “Hey, your book did not suck” way.) I was happy for Jane.

(Who exists by the way because of the MWA. They are responsible for my mystery career and some of the most joyous work of my life. But that’s a separate blog post.)

Then the next day, I got my first review for Death of a New American, the sequel to Death of No Importance. It was the worst review I’ve ever had in my life. I didn’t take the review personally. In some of the criticism, I recognized my book and thought, Yes, some readers might have that reaction. Other areas, less so. But it upped the anxiety you go through during the review time. What if other reviews were more tactful, but also unenthusiastic?

Then PW weighed in with one of the best reviews I’ve ever had in my life. And all was sunshine and roses.

And now I’m begging friends to help me shop for an outfit and looking forward to the Edgars and waiting to see more reviews—if there are any. And I’m back to work. Soon I’ll be revising the third book, Death As an Art Form. I’m piecing together the plot for the fourth book. And feeling happy to be back in the small, quiet, imaginary headspace where the only voices you hear belong to your characters.

Dear God, I'm on TV

So the exciting thing is, I was interviewed for CUNY TV's Arts in the City. The nervous breakdown inducing thing is, footage exists of me speaking for half an hour. But Carol Anne Riddell is a terrific interviewer. Funny, generous, and extremely well-prepared. She and her crew were great. So I urge you to check out her program here. (And if you watch the one with me in it, email and let me know how I did. I can't watch!) 

 

Great News

I didn't let myself buy this gorgeous book until I had a contract for future Jane Prescotts.

This just arrived in the mail.

Death of a New American will be out next April. Jane 3 out the following year. And yes, this book is part of my research for Jane 3. Armory Show!

IMG_2821.jpg

Reviewed in the New York Times

When the text came through—"You're going to be reviewed by the NYTBR!"—the acronym didn't make sense. National Youth Tribunal of Bored Raccoons? Notable Yams Toasted, Baked, Roasted?

Because it couldn't be the New York Times Book Review. That NYTBR could not be reviewing my book. That was absurd. I had been told Marilyn Stasio didn't like historical mysteries. Long ago, my parents had worked for the Times magazine—well before Ms. Stasio joined the paper. So long that I hadn't even considered beating the brittle bushes for contacts. 

Obviously she would hate it. Or no, she'd like it, but the review would get cut for space. Thomas Harris would shock the publishing world with a new Hannibal Lecter novel and boom, there would go my write up in the Times. 

But Thomas Harris stayed quiet and Marilyn Stasio did like the book, albeit with one caveat. I'd like to tell you it wasn't ridiculously affirming—but it was. I'm a New Yorker. The Times was and is holy writ in my house. We may parse, argue, defy and deny it at times. But it's still the New York Times. 

You can read the full review here.

 

Now in stores!

The week your book comes out is always crazy. This was without question the best book launch I've ever had. 

On the actual publication day, I signed copies at Barnes and Nobles.

IMG_2758.jpg

 

The day after, the book was officially launched with a talk at Shakespeare and Company Bookstore (where I used to work for the grand salary of $4.25 an hour).

 

IMG_1001.jpg

And the next day, I had a great talk at the Astoria Bookshop with Radha Vatsal, author of the Kitty Weeks mystery series which is also set in 1910s New York. Were my mother alive, she would tell me I'm slouching. 

DarCv4hXcAEip4u.jpg

Upcoming Appearances

  • May 6th, 4:00 PM
  • Panel Discussion with Nancy Bilyeau, Carol Goodman, Jennifer Kitses, Triss Stein, and Radha Vatsal
  • Oblong Books in Rhinebeck
  • 6422 Montgomery Street
    Rhinebeck, NY
  •  
  • May 20th, 11:00 AM
  • Reading, Chat, and Signing
  • Byrd's Books
  • 126 Greenwood Avenue
  • Bethel, CT
  •  
  • May 30th, 7:00 PM
  • Panel Discussion with Nancy Bilyeau, Jennifer Kitses, Laura Joh Rowland, Triss Stein, and Radha Vatsal
  • Book Culture
  • 26-09 Jackson Avenue
  • Long Island City, NY
  •  
  • June 5th, 7:00 PM
  • Reading and Chat
  • East Meadow Library
  • 1886 Front Street
  • East Meadow, NY
  •  
  • June 12th, 11:00 AM
  • Reading and Chat
  • Franklin Square Library
  • 19 Lincoln Road
  • Franklin Square, NY 
  •  
  • June 19th, 7:30 PM
  • Reading and Chat
  • Port Washington Library
  • 1 Library Drive
  • Port Washington, NY

 

 

Talking with Laura Joh Rowland About Sex, Death, and History

Confession time.

I did the Ripper tour. The one led by Donald Rumbelow where you end up in The Ten Bells pub. I am a Ripper junkie. I watch the movies (Time After Time! David Warner as Jack in horrendous 70s clothes!) I read the books. The Complete Jack the Ripper, The Women of Whitechapel, and of course, From Hell.

Last year, I dove into The Ripper's Shadow by Laura Joh Rowland. When some of her "boudoir portrait" clients are murdered, photographer Sarah Bain sets out to solve the Ripper slayings. The reveal was fresh and original, something this Ripper addict hadn't seen before. Independent outsider Sarah Bain is excellent company, so I was thrilled when Sarah and her fellow amateur detective, Lord Hugh, came back for another outing in A Mortal Likeness.

In their last outing, Sarah and Lord Hugh solved the Ripper case. That's a hard act to follow—for them and for you. How did you come up with the crime at the heart of this book?

I turned to my favorite source of inspiration: History. The kidnapping in A Mortal Likeness is based on the 1932 Lindbergh baby kidnapping. I borrowed some elements from that big case—the famous father, the media sensation. But since my book is fiction, I created my own set of suspects and motives. And unlike the Lindbergh case, the kidnapping in A Mortal Likeness is solved with all the loose ends tied up and no questions left unanswered.

I thought the resolution was particularly satisfying, one of those "Oh, man, it was them! That's so cool!" moments. How do you decide who dunnit?

I was surprised to realize that nobody has ever asked me that! It’s a good question. When I start planning a book, I don’t know who the killer is. At some point in the process, his identity emerges from the personalities and motives of the suspects. He has to be someone who’s interesting but can hide among the other suspects, which means they all need to be interesting. By the time I start writing page one, I know who he is.

You build worlds so well. Victorian England is not an overlooked era in fiction. How do you tackle the challenge of showing us something new?

I show everything from the perspective of Sarah Bain, my narrator. Everything the reader sees is filtered through and perhaps distorted by the lens of her personal experience and outlook. She’s a photographer, so she notices details that other people might miss. 

Can I say how happy I am that sexual desire is part of your stories? Maybe it's because I grew up in the age of Krantz and Collins, but I feel like fewer and fewer writers dare to talk about sex.

A lot of mystery authors turn down the heat and close the bedroom door on sex scenes or skip them altogether. Some authors have told me that they’re uncomfortable with writing sex scenes. Sometimes an explicit description of sex and the accompanying feelings would distract from the plot and be out of tune with the overall mood of the book. But I like to show everything important that happens to my characters, and I like to play the full range of human emotion and experience. Leaving out sex would mean leaving out a lot.

There's one character whose fate is left ambiguous at the end. Can I vote for them to come back?

Sure. I often bring back characters, and they join the continuing cast. My first mystery series started with Sano the samurai detective as a classic lone wolf. By book #18, the last in the series, he’d acquired a sidekick, a lord, an archenemy, a wife, two kids, and a grandchild on the way. Sarah Bain has already acquired some colleagues (Lord Hugh Staunton, Mick O’Reilly) since the beginning of The Ripper’s Shadow, the first book in her series. I expect the list to grow for as long as the series continues.

Discover the world of Sarah Bain in The Ripper's Shadow and A Mortal Likeness. (To find out more, click on the titles.)

FullSizeRender-3.jpg
FullSizeRender-2.jpg

News and Reviews

Readings! Signings! If you're one of those increasingly rare and lovely people who like attending readings, I will be launching A Death of No Importance at not one, but two amazing bookstores. (Come just to be in these stores, never mind me.)

 

  • April 11th, 6:30 PM
  • Reading, Chat, and Signing
  • Shakespeare & Co.
  • 69th Street and Lexington Avenue
  •  
  • April 12th, 7:00 PM
  • Reading, Chat, and Signing
  • Astoria Bookshop
  • 31-29 31st Street, Astoria, NY
  •  
  •  

Oh-and reviews. Reviews have started to come in. This is always a fun time, despite the fact that most book reviewers are generous book loving souls. But sending a book into the world is like sending your toddler off to school; you never know what those first critics are going to say. "Splendid! Doesn't bite!" Or, "Oh, dear, it's a mess."

Thankfully, the first two were very kind. They had stars and everything.

 

“A sparkling mystery . . . The novel's voice, plotting, pace, characterization, and historical background are all expertly crafted, while the resolution—which feels both surprising and convincing—will leave readers hungry for more.”—Publishers Weekly (starred review)


"A richly detailed historical that addresses the social issues and class inequities of the early 20th century. Jane is an appealing amateur sleuth, an orphan exposed to the excesses of the wealthy while remaining friends with union organizers and anarchists. VERDICT With its vivid depiction of contrasting worlds this series debut should appeal to readers of Alyssa Maxwell's "Gilded Age" historical mysteries."—Library Journal (starred review)