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If You Could Have Only One Book on Fall River’s Lizzie Borden – This Would Be It.

05 Jun

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Prepare yourself – – this book is justly warranted, as well as worthy, of such a lengthy review.

Exquisitely produced, brilliantly structured, thrilling and groundbreaking in its content, Parallel Lives – A Social History of Lizzie A. Borden and Her Fall River is a seven pound, 1,179 page, ten-years- in-the-making epic that had it been written as a historical novel it would be right up there with Roots, The Secret Magdelene, and Gone With The Wind. It is a book of transformation and revelation – transforming in the way it compels readers to alter their mental landscape when thinking of Lizzie Borden, and filled with stunning revelations that meticulously dissect rumors and legend long thought to be truth. It is so rich and full it would constitute several Master’s Thesis, multiple biographies, and even a few individually published books based on its title. Indeed, it is so spectacular in scope and content, all future authors who write of Lizzie Borden must incorporate information from Parallel Lives or find their work irrelevant.

The book is a treasure trove of new information about Lizzie taken from the journals, letters, cards, photographs, artifacts and remembrances of those that knew her personally, much of which was coveted by their owners who were resolved in their belief that Lizzie “could not have committed those crimes.” Their beliefs and tangible mementos were passed down to third and fourth generation descendents who continued to keep them sequestered and private until trusted relationships were established between them and the authors.

Masterfully woven within the new information are expanded stories of known individuals and events (some prominent, some little or previously unknown) that had an impact on Fall River’s history and society.  The authors have beautifully crafted the world in which Lizzie Borden lived (from her birth in 1860 to her death in 1927). And while the crimes of August 4, 1892 are presented, allusions to or fresh insights on whether or not Lizzie was guilty are not presented. In fact, the murders and who did them become almost inconsequential to the broader tapestry presented throughout the chapters with its more than 500 photographs and other images, including 5 new images of Lizzie never seen before. Who committed the crimes or the case itself, are overshadowed by the depth and breadth of all that which deals with the people and stories within.

The book progresses almost chronologically in terms of events of each decade. People are often introduced in chapters with no mention of Lizzie but later re-introduced in the decade in which they factored into her life. The chapters are so beautifully written and the photographs so beautifully reproduced within the book that we can almost feel the silk and lace as we read their wonderfully detailed descriptions. We can rub our finger across the image of a pocket watch and feel the grooved indentations, or one of Lizzie’s traveling suitcases and feel the contrast of the brass to the leather. We can smell and see the wedding flowers and the sparkle of jewelry at the Assemblies and grand parties. The meticulous effort in the use of adjectives is remarkable. It is fairly obvious the authors wanted to be as accurate and precise as possible when applying descriptors to people, places and things.

The “reveals” of new information and closure of legends are bountiful and thoroughly engaging. We learn so much of Mary Ella Sheen (Mrs. George S. Brigham) and her sister, Anne Eliza Sheen (Mrs. William Lindsey, Jr.), two sisters whose lives took very different trajectories. Mary was Lizzie’s friend since girlhood and the future mother-in-law of Florence Cook Brigham, but Anne had been her friend as well for most of their lives. Anne was a “Grand Dame” and lived the kind of life that Lizzie most probably would have wanted for herself. We also learn that not only was Grace Hartley Howe such a close and devoted second cousin to Lizzie, we discover that Helen’s mother had a friendship that also was life lasting with Lizzie.The reveal of the true identity of “Todd Lunday” would have been anticlimactic had it not been for the intriguing story associated with it, or the story of Officer Phillip Harrington and police reporter Edwin Porter who penned the Fall River Tragedy and why Porter may have left Fall River so soon after its publication. Nor have we read anywhere the connection of reporter McHenry and City Marshall Hilliard. (I suspect that many “reveals” were derived from the so called “Hilliard Papers” which have been in the Society’s hands for 22 years).

We learn certain elitist members of the seven “first” families did a fine job in two-facing Lizzie after the Trial; they “cut” her quite severely and most obviously spoke of her “guilt”- handing down their opinions to their children who maintained those opinions and passed them down to their children. On the other hand, those that kept friendships and believed Lizzie was not and “could not” be guilty passed that info down to their children. The difference was that many of those who believed in her guilt spoke out, influenced by a biased press and the embryonic beginnings of misinformation that would grow with a sinister sustainability. Between those that “cut” (socially banished) her and the relentless and continuous newspaper coverage, the damage had been done. She endured that damage throughout her post-Trial life, and it subsequently served to give us a Lizzie Borden that is so grossly mis-characterized in contemporary pop culture.

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Mr. Martins and Mr. Binette have stated it was only when they explained the kind of book they were writing and, more importantly, after a solid basis of trust was established, that the possessions and remembrances were revealed. I strongly suspect much of what may have been was done so with soft-spoken caveats or perhaps some asserted caveats along the lines of:“Well, you may use these journals (or photos, or letters, or cards, or remembrances) but I trust you will present Auntie Borden (or Lizzie) in a good light because she never could have done those murders.”And/or:”I would consider it a great injustice to finally make this information known if it were used to give a poor impression of this wonderful woman or lend any credibility to the horrible reputation she endured during and after her life.”For decades, the curators of the FRHS have been meticulous in documenting the “drop in” visits or phone calls from people – many descendents of the principals – as to what they had to say and when. These “notes to file”, so to speak, have been preserved in their respective file folders and filed with the relative topics. These contain more of the “reveals”, some as surprising as finding out JR getting shot was only a dream, or Scarlett realizing she loved Rhett all along, or Edward glistening out of the cloud bank. As stated, the revelations are thrilling and and transforming.

The authors were literary craftsmen in the way they told these stories, presenting the information from the journals or letters, and in detailing information about the people involved without trumpeting a new path but sufficient to give you pause. The book is peppered with phrases such as: “Is it possible that…”, or “Although we can never know for certain, could it be that…”, or “Would it seem likely that…” and we pause on the page and hearing ourselves utter “hmmmm” and suddenly realize we are thinking things differently.

The End Notes are extraordinary and I found them thrilling to read. When reading, one says: “Where did they get that from?” and we go to the End Notes which are flush with information. Our eyes don’t just stay on the sight bite but naturally scroll downward until we know where most all the information for that chapter came from. The End Notes tell us more about relationships and just who had what information and for how long. The End Notes help us identify what came from FRHS “notes to file” as opposed to who held on to what for decades and allows us to identify from where the bulk of new information came.

Lizzie Borden has long been encapsulated in pop culture based on an inaccurate quatrain characterizing her as a one dimensional psychopath wielding a bloody axe. Parallel Lives has irrevocably transformed and revealed Lizzie Borden to be a three dimensional flesh and blood human being with heart, spirit and soul. Indisputably, this is the new “go to” book which researches and scholars studying the history of Fall River during its rise and decline, as well as the woman herself, will discover impossible to find anything more definitive or comprehensive, more exciting or enlightening.

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Parallel Lives is a monumental achievement and a body of work to make the entire Fall River Historical Society proud. It is representative of that level of excellence consistent in all endeavors of Messrs. Martins and Binette. It is truly a remarkable and unique work – the likes of which we shall not see again.

 
 

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