Mystery Women, Volume One (Revised): An Encyclopedia of Leading Women Characters in Mystery Fiction: 1860-1979

Mystery Women

Mystery Women

An Encyclopedia of Leading Women Characters in Mystery Fiction

Vol. 1 (1860-1979)

Revised

Colleen Barnett

Poisoned Pen Press

Copyright ©1997 by Colleen Barnett

Revised Edition 2007

Library of Congress Catalog Card Number: 2001086357

ISBN: 9781615950089 ePub

All rights reserved. No part of this publication may be reproduced, stored in, or introduced into a retrieval system, or transmitted in any form, or by any means (electronic, mechanical, photocopying, recording, or otherwise) without the prior written permission of both the copyright owner and the publisher of this book.

Poisoned Pen Press

6962 E. First Ave. Ste 103

Scottsdale, AZ 85251

www.poisonedpenpress.com

[email protected]

Dedication

To those who sustained me during the lengthy gestation period of this book by their affection, encouragement and active support:

John (1922-2004)

Patricia, my sister and dearest friend

Jerry and Susan

Andrew and Laura

Cathie and Steve

James

Maggie

Tom and Vonne

Ted and Cathy

The Collins girls

and

The grandchildren

Contents

Dedication

List of Entries

Introduction

Women Sleuths of the Victorian Era—1860-1899

Seeds of Discontent—Women Sleuths of 1900-1919

Years of Plenty, Years of Famine—Women Sleuths of 1920-1939

Women at War; Then, A Return to Domesticity—Women Sleuths of 1940-1959

Out of Turbulence, Equality—Women Sleuths of 1960-1979

Author/Character Index

Book Titles Index

Mystery Women—Chronology

Resources and Readings for Volumes I and II

More from this Author

Contact Us

List of Entries

1860-1899

1900-1919

1920-1939

1940-1959

1960-1979

Women Sleuths of the Victorian Era—1860-1899

Loveday Brooke

Amelia Butterworth

Lois Cayley

Dorcas Dene

Mrs. G.

Madame Katherine Koluchy

Caroline Cad Mettie

Mrs. Paschal

Madeline Payne

Hagar Stanley

Valeria Woodville

Seeds of Discontent—Women Sleuths of 1900-1919

Frances Baird

Mary J. Polly Burton

Letitia Tish Carberry

Constance Dunlap

Ruth Fielding

Judith Lee

Madelyn Mack

Molly Morganthau

Dora Myrl

Millicent Newberry

Mercedes Quero

Lady Molly Robertson-Kirk

Madame Sara

Violet Strange

Evelyn Temple

Henrietta Van Raffles

Olga von Kopf

Hilda Wade

Prudence Whitby

Madame X

Years of Plenty, Years of Famine—Women Sleuths of 1920-1939

Adelaide Adams

Hilda Adams

Janet Janie Allen

Agatha Troy Alleyn a.k.a. Troy Alleyn

Hilea Bailey

Janet Janie Allen Barron

Prudence Tuppence Beresford

Theolinda Dol Bonner

Dame Adela Beatrice Lestrange Bradley

Helene Brand

Angela Bredon

Carey Brent

Eileen Bundle Brent

Rosie Bright

Avis Bryden

Amanda Fitton Campion

Mary Carner

Georgia Cavendish

Nora Charles

Clarice Claremont

Lizzie Collins

Bertha Cool

Patricia Pat Preston Cordry

Kay Cornish

Susan Dare

Anne Davvie Davenport

Fidelity Dove

Nancy Drew

Iris Pattison Duluth

Valerie Dundas

Jane Amanda Edwards

Fah Lo Suee

Peggy Fairfield

Amanda Fitton

Solange Fontaine

Four Square Jane

Meg Garret

Ellen Gilchrist

Coco Hastings

Anne Holt

Juliet Jackson

Helene Brand Justus

Sarah Keate

Gwynn Leith Keats

Olga Knaresbrook

Sophie Lang

Grace Latham

Anne Layton

Gwynn Leith

Baroness Clara Linz

Lynn MacDonald

Sue MacVeigh

Jane Marple

Emma Marsh

Kate Marsh

Dr. Joan Marvin

Leslie Maughan

Gail McGurk

Anne Davvie Davenport McLean

Anne Holt McNeill

Penny Mercer

Daisy Jane Mott

Lucy Mott

Rachel and Jennifer Murdock

Ariadne Oliver

Jane Ollerby

Iris Pattison

Alice Penny

Matilda Perks

Polack Annie

Patricia Pat Preston

Palmyra Pym

Blue Jean Billy Race

Anne Seymour

Sylvia Shale

Miss Maud Silver

Ellen Gilchrist Soames

Madame Rosika Storey

Georgia Cavendish Strangeways

Della Street

Ethel Thomas

Matilda Townsend

Angeline Tredennick

Carole Trevor

Agatha Troy

Tamara Valeshoff

Harriet Vane

Mrs. Elizabeth Warrender

Anne Seymour Webb

Mrs. Caywood Julia Weston

Lace White

Mary Carner Whittaker

Harriet Vane Wimsey

Miss Hildegarde Withers

Louisa Woolfe

Daphne Wrayne

Susan Yates

Women at War; Then, A Return to Domesticity—Women Sleuths of 1940-1959

Ethel Abbott

Jean Holly Abbott

Kit Marsden Acton

Christine Andersen

Souer Angele

Nell Bartlett

Amanda and Lutie Beagle

Petunia Best

Miriam Birdseye

Maria Black

Nora Hughes Blaine

Margot Blair

Arabella Arab Blake

Louise Liz Boykin

Amy Brewster

Jane Hamish Brown

Emily Murdoch Bryce

Eileen Burke

Eleanora Burke

Janice Cameron

Jane Carberry

Hortense Clinton

Liane Lee Craufurd

Sally Dean

Marka de Lancey

Sarah De Long

Elizabeth Liz Doane

Lorna Donahue

Elizabeth

Bernarda Bunty Felse

Dr. Mary Finney

Katherine Forrester

Arabella Frant

Vicky Gaines

Gale Gallagher

Eve Gill

Jenny Gillette

Jane Hamish

Shirley Leighton Harper

Abbie Harris

Lady Lupin Hastings

Sally Merton Heldar

Miss Flora Hogg

Jean Holly

Nora Hughes

Elsie Mae Hunt

Marion Kerrison

Gypsy Rose Lee

Norma Nicky Lee

Shirley Leighton

Jenny Gillette Lewis

Eve MacWilliams

Madame Maigret

Kit Marsden

Suzanne Suzy Willett Marshall

Ann McIntosh a.k.a. Mrs. Mac

Georgine Wyeth McKinnon

Kitty McLeod

Sally Merton

Emily Murdoch

Natasha Nevkorina

Toni Ney

Mrs. Annie Norris

Pamela Pam North

Sarah De Long O’Brien

Miss Mabie Otis

Louise Liz Boykin Parrott

Mother Paul

Bessie Petty and Beula Pond

Katherine Peter Piper

Grace Pomeroy

Beulah Pond

Julia Probyn

Lucy Pym

Andrea Reid Ramsay

Andrea Reid

Clare Liddicotte Ringwood

Haila Rogers

Laura Scudamore

Mavis Seidlitz

The Sinister Widow

Maggie Slone

Daye Smith

Kate Starte

Sally Strang

Sumuru

Martha Ma Tellford

Terry Terence

Ginger Tintagel

Doris Dodo Trent

Marla Trent

Hilda Trenton

Haila Rogers Troy

Julia Tyler

Sister Ursula

Hannah Van Doren

Sarah Vanessa

Tessie Venable

Katherine Forrester Vigneras

Agatha Welch

Honey West

Kitty McLeod Whitney

Nell Witter

Lily Wu

Georgine Wyeth

Out of Turbulence, Equality—Women Sleuths of 1960-1979

Catherine Alexander

Telzey Amberdon

Marilyn Ambers

Pepper Anderson

Mici Anhalt

Clare Reynolds Atwell

Madame Dominique Aubry

Jannine Austin

Julie Barnes

Kay Barth

Tory Baxter

June Beattie

Lucy Beck

Margaret Binton

The Bionic Woman

Adrienne Bishop

Shauna Bishop

Modesty Blaise

Jana Blake

Dulcie Bligh

Vicky Bliss

Sibyl Sue Blue

Helen Blye

Jane Boardman

Hilary Brand

Janna Brill

Angel Brown

Forsythia Brown

Helen Bullock

Sue Carstairs

Vera Castang

Darby Castle

Edwina Charles

Charlie’s Angels

Lisa Clark

Constance Cobble

Cody

Maggie Courtney

Mrs. Elma Craggs

Thea Crawford

Tessa Crichton

Lee Crosley

Amanda Curzon

April Dancer

Maxine Dangerfield

Charmian Daniels

Kiss Darling

Arlette Van Der Valk Davidson

Felicia Dawlish

Cherry Delight

Donna Bella

Catherine Alexander Douglas

Eve Drum

Charlotte Eliot

Charlotte Ellison

Amelia Peabody Emerson

Rosa Epton

Kate Fansler

Ann Fielding

Margo Franklin

Dominique Frayne

Virginia Freer

Carol Gates

The Girl from U.N.C.L.E.

Cynthia Godwin

Alison B. Gordon

Kate Graham

June Beattie Grant

Laurie Grant

Cordelia Gray

Emma Greaves

Ann Fielding Hales

Angela Harpe

Kate Harris

Julie Hayes

Millicent Hetherege

Julia Homberg

Helen Blye Horowitz

Betty Crighton Jones

Cleopatra Jones

Anna Jugedinski

Sarah Kelling

Mary Morgan Kelly

Helen Keremos

Jacqueline Kirby

Valerie Lambert

Dr. Hannah Land

Ann Lang

Tracy Larrimore

Pauline Lyons

Sue Carstairs Maddox

Helen Marsh

Megan Marshall

Octavia Tavy Martin

Freya Matthews

Sharon McCone

Selena Mead

Gail Rogers Mitchell

Mary Morgan

Hon. Constance Morrison-Burke

Ms. Squad

Norah Mulcahaney

Amanda Nightingale

Jennifer Norrington

Norah North

Natasha O’Brien

Deirdre O’Connor

Stevie O’Dowda

Christie Opara

Molly Owens

Hildy Pace

Emma Peel

Lexey Jane Pelazoni

Anna Peters

Miss Melinda Pink

Charlotte Ellison Pitt

Sylvia Plotkin

Mrs. Emily Pollifax

Hilary Quayle

Lucy Ramsdale

Regina

Clare Reynolds

Maxine Reynolds

Delia Riordan

Sheila Roath

Gail Rogers

Helga Rolfe

Maggie Rome

Rebecca Rosenthal

Charity Ross

Sarah Saber

Claudine St. Cyr

Baroness Penelope St. John Orsini

Minnie Santangelo

Myra Savage

Effie Schlupe

Miss Emily Seeton

Dr. Grace Severance

Helen Marsh Shandy

Jemima Shore

Susan Silverman

Paola Smith

Jaime Sommers

Margo Franklin Spence

Penelope Spring

Terry Spring

Morgan Studevant

Julia Sullivan

Lucilla Edith Cavell Teatime

Kitty Telefair

Kate Theobald

Emmy Tibbett

Katy Touchfeather

Charity Tucker

Paola Smith Watson

Kate Weatherly

Bea Wentworth

Nell Willard

Persis Willum

Anna Zordan

Introduction

Growing up in the 1930s and 1940s in a household where books were important, I moved quickly beyond the Nancy Drews and Judy Boltons to search for more mature female characters, most frequently in the mystery novel. The rare specimens available included Harriet Vane (too sophisticated for my tastes then) Jane Marple (too old, then); but I delighted in Agatha Christie’s minor heroines: Tuppence Beresford and Eileen Bundle Brent.

My interest in mystery stories was a resource to me as I moved through college, marriage, and parenthood; it was an antidote for cabin fever. Through mystery stories I toured distant lands when personal travel was impossible. Mystery stories created tensions, but provided solutions, and involved exciting characters. I particularly enjoyed female series investigators who showed enterprise and independence.

My decision to collect novels containing female series investigators was triggered by Maggie, my younger daughter, who requested a book with a strong heroine. She had read Elizabeth Peters’ first Amanda Peabody and enjoyed it. My interest in the evolution of the female series sleuth came even earlier, combining my own early values with my professional awareness of the need for positive role models so young women could see themselves as capable. I had at various times worked in a social services agency, a family practice attorney, and a mediator in custody battles.

Since this project began in 1975, I have read thousands of mysteries. I am indebted to Michelle Slung’s Crime on Her Mind and Patricia Craig and Mary Cadogan’s The Lady Investigates for initial coverage. Allen J. Hubin’s Crime Fiction, 1749-1980 and subsequent editions provided a plethora of names, supplemented by the first three editions of Twentieth Century Crime and Mystery Writers and the magazine, The Armchair Detective. More recently I have benefitted from new names and titles found in Willetta L. Heising’s editions of Detecting Men and Detecting Women.

Wisconsin’s excellent inter-library system provided books not locally available. The librarians at the Boscobel Library and Southwestern Wisconsin Library System filled long lists of needed items. Until recently the University of Wisconsin—Madison’s Inter-Library Loan Department helped me obtain rare books from the Library of Congress. Used book dealers and staff at mystery bookstores were unfailingly helpful. Mary Helen Becker of Booked for Murder in Madison, Wisconsin shared her knowledge and enthusiasm. Jeff Hatfield of Uncle Edgar’s in Minneapolis provided insights and encouragement.

Not everything came easy. Some of the books were unpleasant or difficult reading. Justifiably some books could not be removed from their library settings. I traveled to academic and public libraries across the United States, Canada, and England for access to rare books.

My children, their spouses, and my nieces utilized card catalogs and computers in the communities in which they lived to direct me to obscure mysteries. Members of my family waited patiently as I dawdled in libraries and used bookstores. My son Andrew, a public librarian and computer guru, not only initiated me into the wonders of the library’s reference section, but supplemented my basic knowledge of the computer to turn out a presentable manuscript.

Probably the most generous support came from my husband John who subsidized thousands of dollars spent each year on book purchases. He has endured countless overcooked meals while I read just a few more pages.

I am grateful to Peg Eagan and Larry Names of Ravenstone/E.B. Houchin Publishing for their initial support. They had faith in my work at a time when I wondered if my research would ever get into print. When Ravenstone went out of business, I was deeply discouraged as to prospects for the future. Fortunately while attending the 1999 Bouchercon at Milwaukee, I picked up a pamphlet Imprints which listed specialized publishers. Poisoned Pen Press was identified for its dedication to the genre and interest in preserving the historical aspects of the mystery novel. My subsequent contacts with Robert Rosenwald verified the commitment of Poisoned Pen Press. They realized as I did that the publication of Mystery Women was not a financial venture, but a reference work which would be useful to librarians, add to awareness of how women have fared in the mystery genre over the years, and direct mystery lovers to works they might enjoy. My current editor, Joe Liddy, has proved to be a great help, and I hope will continue to work with me over the next two volumes.

As I have spent over twenty-five years on the research, I wanted to pass it on to others who enjoy mysteries as I do, and as an expression of gratitude to the genre itself for the pleasure it has provided me. I am particularly grateful to authors who widened my horizons, challenged my assumptions, and explored issues of concern to women.

Each book utilized in this research was reviewed in a written format. From the accumulated books on a character, a biography was prepared. Some books were boring; others, personally distasteful and therefore merely skimmed for basic information.

My criteria for inclusion included: the number of significant appearances; emphasis on the novel and occasionally a collection of short stories; the exclusion of books of interest primarily to juveniles or young adults, but the inclusion of negative characters, women who were anti-heroes. The most difficult factor to evaluate was whether the character (sometimes a spouse, lover or assistant) played a significant role. My decisions were inevitably subjective. Defining the mystery itself was a personal task as there were crossovers with science fiction, romance, westerns, and horror series. Other far more noteworthy researchers have defined mystery series differently than I did. For the errors, omissions and failure to properly evaluate an author’s material, I accept full responsibility. I will welcome corrections and additions, hopefully of a kindly nature.

In order to make the work meaningful, I increased my knowledge of the social, legal, political and economic status of women over the past 140 years. That lent itself to a chronological approach that had both defects and advantages. It made it possible to document observable trends, but more difficult to locate sleuth biographies in the appropriate era.

This volume covers the female sleuths from 1860-1979. It will be followed by Volume II, 1980-1989; and hopefully, by Volume III, 1990-1999.

There are, of course, omissions. Allen J. Hubin’s latest bibliography Crime Fiction III set me on the trail of new authors and sleuths unknown when Volume I was printed in 1997. Even with due diligence, there were at least two which I could not locate in time for this publication. Sometime in the future, perhaps in the British Library, I hope to become acquainted with Lady Lapin Hastings (author: Joan Coggin) and Judy Ashbane (author: Mairi O’Nair). If any reader has access to their books, please let me know where they can be found.

Section 1

Women Sleuths of the Victorian Era—1860-1899

Not only do…women suffer…ever-recurring indignities in daily life, but the literature of the world proclaims their inferiority and divinely decreed subjection in all history, sacred and profane, in science, philosophy, poetry and song.

Elizabeth Cady Stanton, Susan B. Anthony, and M.J. Cage, eds. History of Women Suffrage II 1882 from Feminist Quotations, Voices of Rebels, Reformers, and Visionaries, compiled by Carol McPhee, Anne Fitzgerald, Thomas Y. Crowell, 1979

During the period when American women were achieving the right to hold property, make valid wills and contracts, retain the wages they earned outside of the home, and gain custody of their children at divorce, it is not surprising that few sought employment as investigators or used their leisure time to detect. Predictably there would be few fictional women sleuths. Male authors had strong markets for heroic adventures, where women were victims or villains, but they rarely played a significant role in determining outcomes. Female authors who wrote in the mystery genre often hid their gender under androgynous initials. They lacked Virginia Woolf’s room of their own which would enable them to experiment, develop, and produce narratives to meet the needs of women readers.

Changes came slowly in the literary world, reflecting the social, political and economic shifts in society. When a woman was featured as an investigator during this period, she was likely to be single, widowed, or supporting a family. Female investigators were less likely to appear in a series (defined as at least two). The happy solution for a heroine was to achieve marriage and a family, which could be accomplished in a single book. Once married, she was expected to conform to the role of wife and mother, eschewing work outside of her home.

Upper and middle class women were not encouraged to appear in public without an escort, certainly not in the evening. Single women lived under the protection of male relatives; wives, under the control of their husbands. Only with increased leisure and educational opportunities for women in the privileged classes did a readership develop for intrepid and adventurous females.

It is generally conceded that Edgar Allan Poe’s short stories published in the 1840’s initiated the mystery genre. Amelia Butterworth, the first woman to appear in a mystery series, was developed by an American in 1897. Amelia’s predecessors had been a mixed lot, often depending upon intuition, special psychic gifts, or such skills as lip reading to solve problems.

Amelia was a wealthy spinster, allied with a New York City police inspector. She narrated the books in which she appeared and had a significant role in solving the mysteries.

Loveday Brooke

Author: C. L. (Catherine Louisa) Pirkis

Loveday Brooke, an austere woman of thirty who worked as a private detective for the Lynch Court Detective Agency in London, appeared in seven short stories, collected as The Experiences of Loveday Brooke, Lady Detective (Hutchinson, 1894, reprinted in 1986 by Dover).

She set an excellent example, often solving cases when the authorities failed, unafraid of physical risks and painstaking in her work. Except for dressing in black and a habit of squinting when she concentrated, she appeared average in all aspects. This made it possible for her to go undercover to investigate instances of robbery, disappearance, and murder. Loveday indicated that she became a detective because of financial reverses, finding it one of the few jobs for which she had a talent. She preferred to work alone, calling on her employer only when it was time to call in the police. Even on vacation, she found herself intrigued by rumors of ghosts in homes, connecting them with disappearing checks.

Pirkis presumably used the initials to hide her gender, because few women wrote novels, much less mysteries, under their own names in this period.

Amelia Butterworth

Author: Anna Katharine Green a.k.a. A. K. Green

Amelia (christened Araminta) Butterworth, a member of upper class New York society, fit the acceptable pattern of a female sleuth at the turn of the century. Although a stately spinster, Amelia was one by choice, having rejected two suitors as possible fortune hunters. Even though she appeared as a secondary character in three Ebenezer Gryce books, she narrated and played significant roles in each. She was acerbic but compassionate; staid, but displayed a sense of humor.

In That Affair Next Door (Putnam, 1897), when Amelia noticed a young man bringing a woman to a supposedly empty house, she contacted the police. After the young woman was found dead, Amelia offered shelter to the two daughters of the house who had just returned from Europe, and were understandably reluctant to stay in their own home. Gryce, assigned to the case, recognized Amelia’s value as an observer, but allowed her to expand beyond that role, which she did by locating a valuable witness.

By Lost Man’s Lane (Putnam, 1898), Gryce, now a close friend, consulted Amelia when four men disappeared from a small New York village. Amelia made an extended visit to personal friends in the area, noting the behavior of younger members of the family. Her information led first to the discovery of a corpse, then to the killer.

During The Circular Study (McClure, 1900, reprint by Garland in 1976), Gryce found a parasol belonging to Amelia at a crime scene. She had entered the house after she noticed suspicious behavior, and was again a witness to potential suspects. After identifying the young woman involved, Amelia learned that she was the victim of a family quarrel dating back to the Civil War. Although Gryce and Amelia discovered the killer, they agreed that she would never come to trial.

Lois Cayley

Author: Grant Allen

Lois Cayley, at 21, had crisp black hair, large dark eyes, and a swarthy complexion. A graduate of Girton, Cambridge, she behaved scandalously for a young woman of her class and time: serving as a maid for an elderly woman; riding an American-designed bicycle in a contest in which all other entrants were men; rescuing a suitor when he fell over a cliff.

During Miss Cayley’s Adventures (Putnam, 1899), she traveled through Europe, into Egypt where she rode a camel and rescued a young Englishwoman from Arabs; and to India, where she hunted tigers from the back of an elephant. On her return to England, she and her fiancé Harold were accused of tampering with a will under which Harold inherited. They married in Scotland, with Harold returning to surrender to the authorities while Lois proved their innocence.

The novel was typical for the times, in that a fictional young woman was allowed considerable freedom before her marriage, particularly if her underlying purpose was noble.

Dorcas Dene

Author: George R. Sims

Dorcas Dene entered private investigation only when she was sure that it would not involve any sacrifice of her womanly instincts. In her late twenties, she was described as having soft brown wavy hair and a light complexion. Her motives were financial. Her artist husband Paul had lost his sight, so she supported the London household, which included her mother, and bulldog Toddleking. She had been an actress, which served her in good stead when she entered households undercover to gain information. Her next door neighbor, a retired policeman, hired Dorcas to help in his investigations. When he retired, she took over the agency, working conscientiously to verify her conclusions by researching official records.

Dorcas Dene, Detective (White, 1897) was narrated by dramatist Mr. Saxon, who had known Dorcas when she was on stage, and admired her ability to use disguise and drama in her investigations. A second collection, Dorcas Dene, Detective, Second Series (White, 1898) followed.

Mrs. G.

Author: Andrew W. Forrester, Jr.

Such formidable genre theorists as Ellery Queen and E. F. Bleiler identified Mrs. G. as the first fictional female investigator in The Female Detective (Ward, 1864). Her author, Andrew W. Forrester, Jr. gave few insights into her character or motives, but she presumably worked for the money. In The Lady Investigates by Patricia Craig and Mary Cadogan, it was reported that Mrs. G. did not disclose her work to her friends, but led them to believe she was a dressmaker. Nor did Forrester ever make it clear whether Mrs. G. was widowed or married, did or did not have children. As a matter of fact, since the title Mrs. during that period was given to older women indiscriminately, she might have been single. Michelle Slung in her preface to Crime on Her Mind, referred to Mrs. G. as likely to be single and working to support herself. In her first person narrative, Mrs. G. commented that she believed that women criminals were worse than men.

In 1978, Dover Publications included The Unknown Weapon by Forrester in Three Victorian Detective Novels, edited by E. F. Bleiler. In the narrative, Mrs. G. investigated the death of young Graham Petleigh at his father’s country estate. Although she determined how, why and by whom the murder had been committed, she lacked proof for a conviction. She interviewed witnesses, had a woman assistant who went undercover at the estate, and searched the premises. She described her approach as believing every man, a rogue till…we can only discover that he is an honest man.

Madame Katherine Koluchy

Author: L. T. (Lillie Thomas) Meade (Smith) and Robert Eustace

Madame Katherine Koluchy was the Italian leader of The Brotherhood, who used her London business as a beauty specialist as a front for robbery, blackmail, kidnapping, and murder. She was described as having dark hair and eyes, erect posture, and considerable intelligence.

In The Brotherhood of the Seven Kings (Ward, 1899), narrator Norman Head challenged Madame Koluchy in a series of adventures, determined to bring her and her associates to justice. She had been accepted into society, praised for her high skills as a musician and composer, but finally destroyed herself by a trap she set for others.

Caroline Cad Mettie

Author: Harlan Halsey, writing as "The Old Sleuth"

Cad Mettie (birth name Caroline), an impulsive young woman, detected not for economic reasons but because she enjoyed the excitement.

In Dudie Dunne or the Exquisite Detective (Ogilvie, 1895), Dudie met young Cad but was suspicious of her until she saved him from a trap. He realized that she was still not to be trusted so left her in charge of a former prison matron until he captured the crooks.

By Cad Mettie, the Female Detective Strategist (an Old Sleuth Dime Novel by Ogilvie, 1895) she was a girl of the streets usually working with Dudie, who was tougher than he looked. Cad, whom Dudie loved, was beautiful, could sing and dance, fence or wrestle like a man, and could even disguise herself as a male. She planned to become a famous female detective. As a pair, Cad and Dudie were so successful that the government hired them to investigate Italian gangs who were robbing banks and counterfeiting money.

Ogilvie published other dime novels featuring such colorful women sleuths, but they were few compared to hundreds of dime novels with youthful or adult male heroes.

Mrs. Paschal

Author: Anonyma

Little is known of the widowed Mrs. Paschal who worked with the Metropolitan Police in London in the 1860’s. She had few, if any, real life counterparts. Lower class women acted as matrons in prisons, but not, as author Anonyma proposed, as a member of a special unit composed of female detectives according to Amnon Kabatchnik (The Armchair Detective, Vol. 7-2, p. 131).

Kabatchnik related that in The Revelations of a Lady Detective (George Vickers, 1864), Mrs. Paschal was described as just short of forty, vigorous and subtle. Revelations included ten short stories featuring Mrs. Paschal’s exploits.

Kabatchnik believed that The Experiences of a Lady Detective (Charles H. Clarke), published in 1861, was a separate book, and therefore that Mrs. Paschal was the first female sleuth. E.F. Bleiler refuted this contention in a subsequent article in The Armchair Detective, Vol. 8-3, p. 202. Bleiler examined the tables of contents of the two books, found them to be the same, and identified William Stephens Hayward as the probable author. If so, then The Female Detective by Andrew J. Forrester, Jr. was the first female sleuth.

Madeline Payne

Author: Lawrence L. Lynch pseudonym for Emma Van Deventer

Madeline Payne’s mother died leaving her with a cruel and lecherous stepfather. Her father, whom she never knew, had been a detective. An attractive young woman with golden hair and brown eyes, she had been educated in a convent school.

In Madeline Payne, the Detective’s Daughter (Loyd, 1884), Madeline, desperate to be free of her stepfather, left town with a charming but faithless young man. After Lucian Davlin betrayed her, she assumed another identity until she could claim her inheritance.

Needing to support herself, Madeline became a detective in Moina, A Detective Story (Ward, 1891). While a guest at the home of a wealthy industrialist, Madeline learned that her host had been threatened. After his injury from a bomb, she involved herself with Russian imperialists, Socialist conspirators, and the historic Haymarket riot. After she found romance with friend Dr. Vaughn, she withdrew from her career.

Author Van Deventer, like others in the period, felt she would be more successful under a male pseudonym.

Hagar Stanley

Author: Fergus Hume

Hagar Stanley was a young gypsy who left her tribe to avoid an unwanted marriage. Described as having dark hair and dark eyes in Hagar of the Pawn Shop (Buckles, 1898), she worked for pawnbroker Jacob Dix who bequeathed the shop to her. In the course of her work, Hagar cleared a falsely accused black woman of murdering her employer. Most cases arose from items pawned in the shop. Although she enjoyed her work, Hagar longed for the open road. Eventually, she and the man she loved set up a bookseller’s caravan, and returned to the highway.

Valeria Woodville

Author: Wilkie Collins

Valeria Woodville, a tall slender woman with black hair and dark blue eyes, searched for proof that her husband Eustace did not kill his first wife in The Law and the Lady (Harper, 1875).

While living with her aunt and uncle, Valeria had married a young man of whom she knew little. Concerned by her mother-in-law’s opposition to the marriage, she learned that Eustace had a prior wife under the name Macallan. Furthermore, he had been tried and received a Scottish verdict when accused of Sara’s death. Finding herself pregnant, she was more determined than ever to clear the name of her child’s father. The narrative included fifty pages of trial transcript, which Valeria read.

Collins, a prominent Victorian, had several other interesting women characters in his books.

Section 2

Seeds of Discontent—Women Sleuths of 1900-1919

It is still felt that woman’s life, in its civil, economic, and social bearing, is essentially and normally a vicarious life, the merit or demerit of which is, in the nature of things, to be imputed to some other individual who stands in some relation of ownership or tutelage to the woman.

Thorstein Veblen’s Theory of the Leisure Class (1899) quoted in Up from the Pedestal, by Aileen Kraditor (1965).

Women, although still held closely to hearth and home, were offered more freedom in their social life after the turn of the century. Their clothing became less cumbersome and restrictive. American girls were more likely than their brothers to graduate from high school. New occupations—usually extensions of female nurturing skills—were opened to them in nursing, teaching, and libraries. The typewriter made secretarial work a low paying job, no longer appealing to men. As more goods were mass-produced and sold in stores, female factory workers and clerks were needed. Such occupations were considered acceptable for those who could not or did not choose to marry, or as temporary bridges between school and marriage. Private investigators and police officers continued to be males, capable of handling violent criminals.

Women had improved their property and legal rights, but were still denied the vote, although both American and British suffragettes campaigned for recognition. Individual American states had already granted their female residents the right to vote when Congress finally passed the Nineteenth Amendment, which was then ratified by the required number of states. Congress had been influenced by women’s contributions during World War I in the service and in civilian life.

More women were writing novels, including mysteries. The mystery format was changing from short stories to novels. Surprisingly, while mystery heroes might be philosophic (Father Brown) or scientific (Dr. Thorndyke), mystery series heroines such as Dora Myrl, Mercedes Quero, and Millicent Newberry were professional investigators. These fictional heroines were unrealistic and not reflective of the positions occupied by women of the period. In contrast, several women featured in mystery novels or collections of short stories of the period, were villainesses.

Frances Baird

Author: Reginald Kauffman

Frances Baird, a small woman with brown eyes and black hair, lived in a Philadelphia apartment with her maid Betty. In Miss Frances Baird, Detective (Page, 1906), she and fellow investigator Ambrose Kemp guarded jewels displayed prior to a wedding. Frances suffered personal heartbreak and loss of her job, but persisted to find a thief and a killer, and reunite young lovers.

She had her own agency and an international clientele by My Heart and Stephanie (Page, 1910), narrated by reporter Sam Burton. Frances and Sam journeyed across the ocean and through Europe to find an espionage agent, and save the reputation of a lovely young countess. Of historical interest only.

Mary J. Polly Burton

Author: Baroness Emmuska Orczy

Although she did little detecting of her own, Polly Burton, a young reporter, had a vicarious investigative career through her contacts with the Old Man in the Corner an elderly string-twisting savant with whom she exchanged ideas in London teashops. The pair appeared in three collections of short stories: The Case of Miss Elliott (Unwin, 1905), Old Man in the Corner (Greening, 1909, Dodd Mead, 1909, reprinted in 1977 as part of the Classic Short Stories series), and Unraveled Knots (Hutchinson, 1925, Doran, 1926).

The Old Man was the prototype for such armchair detectives as Nero Wolf, but he viewed the cases as intellectual challenges unrelated to the justice system.

Letitia Tish Carberry

Author: Mary Roberts Rinehart

Tish Carberry, a lighthearted and lightheaded spinster, careened around the countryside with two girlfriends, involving themselves in other people’s business, which occasionally included crimes. During World War I, Tish modified her behavior to drive a Red Cross ambulance across France and, on her return, concerned herself with possible communists in the United States.

See The Amazing Adventures of Letitia Carberry (Bobbs, 1911), Tish (Houghton, 1916), More Tish (Doran, 1921), Tish Plays the Game (Doran, 1926), The Book of Tish (Farrar, 1926), and Tish Marches On (Farrar, 1937). These are collections of short stories, which appeared first in popular magazines of the period.

Constance Dunlap

Author: Arthur R. Reeve

Constance Dunlap was a complacent housewife whose life changed when she schemed to prove her husband innocent of embezzlement in Constance Dunlap, Woman Detective (Harper, 1913). After he killed himself, she became an adventuress. She was an attractive young woman, with big brown eyes and dark hair, who relished excitement and wealth. Her talents included not only art, but also forgery; not only bookkeeping, but also embezzlement; not only eavesdropping, but also gunrunning. Tiring of her life of crime, she became a detective, defending the weak and helpless.

Ruth Fielding

Author: Alice B. Emerson, through the Stratemeyer Syndicate

Ruth Fielding was an innovation to girl readers used to passive, well-behaved heroines when introduced in 1913. She appeared in thirty books over the next 21 years. Ruth was an orphan, unrestricted by parental protection. She attended a boarding school (Ruth Fielding at Briarwood Hall) and worked as a nurse with the Red Cross in World War I. She became an actress, a writer (Ruth Fielding in Moving Pictures) and director (Ruth Fielding at Cameron Hall), then settled down, married and had children (Ruth Fielding and Baby June).

According to Carol Billman (The Secret of the Stratemeyer Syndicate, Ungar, 1986 from which the above information was garnered) her publishers learned from the decreased market never to allow their heroines to mature, to marry and have children. This was evidenced in the lack of maturation in later publications, like the Nancy Drew series.

Judith Lee

Author: Richard Marsh

Judith Lee, a teacher of the deaf, used her lip reading skills to solve mysteries by overhearing conversations. Miss Lee was bilingual in lip reading as she spoke and understood French. She had studied jujitsu, an unusual skill for the time. Judith had dark skin, hair and eyes, and a gypsy-like appearance. Deafness was a significant factor in Judith’s family. Her mother had been deaf, and both her father and grandfather had taught the deaf.

Judith was dedicated to her work, which included the development of training for deaf children in foreign countries. Although she received at least one proposal, she rejected the idea of marriage, preferring her career.

Judith Lee (Methuen, 1912), and The Adventures of Judith Lee (Methuen, 1916) were collections of short stories. As her reputation increased, she had to use her skills to protect herself from personal attack and efforts to damage her reputation.

Madelyn Mack

Author: Hugh C. Weir

Madelyn Mack modeled herself on Sherlock Holmes, although she chewed cola berries instead of injecting cocaine, and played the piano, not the violin. Although she had no acknowledged medical training while at college, she observed the dissection of corpses. Like Holmes, she asked seemingly irrelevant questions that solved her cases.

Madelyn was described as a slight woman with dull gold hair and gray-blue eyes, always attired in either all white or all black. She shared her Hudson River chalet with housekeeper Susan Bolton and a long-haired dog, Peter the Great. Her agency was located on Fifth Avenue, but work as a consultant involved considerable travel. She had originally planned to be a store detective but was refused work so she set up her own business.

Madelyn’s exploits were narrated in short stories by female reporter Nora Noraker in Miss Madelyn Mack, Detective (Page, 1914). Although Nora found romance, Madelyn showed no interest in marriage.

Molly Morganthau

Author: Geraldine Bonner

Molly Morganthau was the first blue-collar worker who, while not a paid investigator, was a female detective. A slim dark young high school graduate, she worked first in a department store, then became a telephone operator. She listened to the conversations of persons in whom she had an interest.

Molly encountered murder in The Girl at Central (Appleton, 1915), when believing that an innocent man was suspected of murder, she and reporter Soapy Babbitts cleared his name. By The Black Eagle Mystery (Appleton, 1916) Molly had married Soapy, and no longer worked out of the home. When a financier jumped, or was pushed, from the 18th floor of the Black Eagle Building, Molly took a job at the switchboard to monitor calls, risking Soapy’s wrath when she over-involved herself in the case. There were several unpleasant racial epithets in the book.

Although Molly did not appear early in Miss Maitland, Private Secretary (Appleton, 1919), her intervention came in time to save a young woman from a false accusation of theft, and to assist the family in recovering a kidnapped child. Mission accomplished, Molly was happy to return home to Soapy.

Dora Myrl

Author: M. McDonnell Bodkin

Dora Myrl was a slim, athletic young woman with brown hair and blue eyes, who claimed a degree from Cambridge, where her father had been a don. Her mother had died when she was born; her father died when she was 18. After working first as a telephone girl, then a journalist, Dora became a private investigator, carrying a gun for protection.

She appeared first in a collection of short stories Dora Myrl, the Lady Detective (Chatto, 1900) during which she contended with gamblers, robbers, bank theft, blackmail, and murder, while playing cupid among her clients. Dora found romance for herself when she competed with detective Paul Beck in The Capture of Paul Beck (Unwin, 1909). The two began as rivals with Dora seeking to help a friend whose sweetheart was accused of a crime. Beck initially worked for an older suitor of the young woman, but was convinced to cooperate with Dora. Dora and Paul appeared in a parental role in Young Beck (Unwin, 1911), another collection of short stories, featuring their son, also Paul. When he and his sweetheart visited his parents in Kent, Dora was about fifty years old. She and her husband had retired, now competing only at golf. The older couple helped young Paul solve a murder.

Millicent Newberry

Author: Jennette Lee

Millicent Newberry was different—and different not just for the period from 1917 to 1925, when the series was written. Millicent would be different today because of the conditions under which she undertook her cases. She was a tiny woman, appearing in monotone, with gray hair and eyes, gray dresses with accents of green. Originally a seamstress, she knit while talking to a prospective client, stitching coded memos into her handiwork in lieu of taking notes.

Millicent became a detective after she contacted Tom Corbin’s agency with a clue that led to the solution of a crime. She accepted a job with Corbin but eventually established her own agency. Before Millicent accepted an assignment, she insisted on making the decision whether or not to involve the police, even if a crime had been committed. She reserved to herself the right to give the perpetrator a second chance. She lived simply with her invalid mother and a former female probationer who cared for Mrs. Newberry.

In The Green Jacket (Scribner, 1917), Millicent’s former employer and suitor brought her an unsolvable case, involving the theft of emeralds. Millicent went undercover as a seamstress, detected the thief and cleared up serious misunderstandings within the family.

In The Mysterious Office (Scribner, 1922), a businessman whose office had been robbed consulted Millicent when other agencies failed to solve the thefts. When Millicent joined his business as an efficiency expert, she uncovered a hidden romance, then explained how the money disappeared. In Dead Right (Scribner, 1925), Millicent sought a missing will under peculiar circumstances. If she failed, she agreed she would marry Tom Corbin, her former employer.

The books had charm, but lacked narrative tension. Millicent did not appear in Simeon Tetlow’s Shadow.

Mercedes Quero

Author: G. E. (Gladys Edson) Locke

Mercedes Quero was an early London private investigator, who worked primarily in rural areas. She was a tall, slim woman with brown hair and eyes, capable of assuming identities at different social levels. She was physically adept and carried a revolver when necessary, but relied upon logic and the process of deduction to find a culprit.

In That Affair at Portstead Manor (Sherman, 1914), when a valuable necklace belonging to a guest at the Manor was stolen, the Earl was unaware that Mercedes was already on the scene as Mary Grey, a lady’s companion. She not only restored stolen items, but also identified the Earl’s murderer.

Mercedes made a late appearance in The Red Cavalier (Page, 1922). Murder and a jewel theft at Twin Turrets appeared to be one of a series of local robberies by a masked cavalier. The family hired Mercedes who came, but in disguise. Although working with Inspector Burton on the case, Mercedes allowed the killer to emigrate to Australia.

In The Scarlet Macaw (Page, 1923), Burton and Mercedes worked together again in a locked room murder. Mercedes was already on scene as a parlor maid in The House on the Downs (Page, 1925), when novelist Mark Brandon discovered a corpse on the premises. The victim was the husband of Lady Eve Rotherdene, his hostess. When Lady Eve was murdered Mercedes—who had been hired to protect her—set a trap for the killer.

The Locke books were lengthy for this period, running 250 to 300 plus pages.

Lady Molly Robertson-Kirk

Author: Baroness Emmuska Orczy

Lady Molly Robertson-Kirk accepted employment at Scotland Yard only until she could achieve a personal goal, but she began at the top as head of a mythical Female Department in Lady Molly of Scotland Yard (Cassell, 1910). During the narration by Mary Granard, her doting assistant, the reason for Molly’s interest in crime was disclosed gradually as she solved a series of cases. Molly had married Captain Hubert de Mazareen, just before he was accused and convicted of having killed his grandfather’s attorney. Molly never lost faith in his innocence, eventually cleared his name, and retired.

Madame Sara

Authors: L. T. (Lillie Thomas) Meade (Smith) and Robert Eustace

Madame Sara was an Italian-Indian blonde murderess of considerable intelligence. Her adventures were described in The Sorceress of the Strand (Ward, 1903) by Dixon Druce, the manager of an inquiry agency. Dixon saved several young women who were preyed upon, blackmailed, or framed by the devious Madame Sara, who was never brought to justice, but met her death when attacked by a Siberian wolf.

Violet Strange

Author: Anna Katharine Green

Violet Strange has been considered by some (including Michelle Slung in Twentieth Century Crime and Mystery Writers) to be the prototype for Nancy Drew. However, she was an older, more mature woman and only appeared in a single book of short stories, The Golden Slipper and Other Problems for Violet Strange (Putnam, 1915).

Violet, a member of upper class society, concealed her activities from her father who would have been horrified to discover her occupation. She needed money so that her disinherited sister Theresa could take singing lessons.

Violet dealt primarily in society cases, in the course of which, she met young widower Roger Upjohn, a former gambler and wastrel, suspected of his wife’s murder. After Violet cleared Roger, they fell in love.

Evelyn Temple

Author: Ronald Gorell Barnes a.k.a. Lord Gorell

Evelyn Temple appeared first as a woman in her early twenties in In the Night (Longmans, 1917). She was a guest at the home of Sir Roger Penterton, whose male secretary was her sweetheart. Sir Roger was murdered while a Scotland Yard inspector was nearby. However, neither he nor Evelyn would have solved the case had the guilty party not confessed to the accident that caused Sir Roger’s death.

Then in her mid-thirties, Evelyn returned in Red Lilac (Murray, 1935), a guest at the home of her cousin Caroline who was bullied by husband, Theophilus. When he was murdered, no cooperation could be expected from the local police official who had his own reasons for not actively seeking the killer.

Evelyn did not appear in D.E.Q. (Murray, 1922).

Henrietta Van Raffles

Author: John Kendrick Bangs

Not all villainesses were morbid, sinister women. Henrietta Van Raffles was a figure of fun, a parody of the Raffles series by E.W. Hornung. Bunny, Raffle’s best friend and chronicler, teamed with his widow Henrietta in Mrs. Raffles (Harper, 1905). They had met again after Raffles’ death, both broke. Together they defrauded wealthy Americans until they had amassed a fortune. Bunny, who had posed as Henrietta’s butler during their criminal period, married her and gave up crime to become a minister.

Olga von Kopf

Author: Henri de Halsalle

At the height of World War I, female spies were big news. Mata Hari, a German spy, and Nurse Edith Cavell, sentenced as a British spy were well known. de Halsalle’s narratives of Olga von Kopf, the daughter of an English mother and a German father, were topical.

A Secret Service Woman (Laurie, 1917) first described the author’s personal contact with Olga, who described herself as an innocent journalist, but later sent