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The Lodger by Marie Belloc Lowndes, by Elyssa Warkentin
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Out of the London fog, a mysterious stranger arrives on the Buntings' doorstep seeking lodgings and a kindly ear - but a horrifying secret lurks behind his gentlemanly facade. Can Mrs Bunting uncover the true nature of his strange obsessions and avert looming disaster for her family? Marie Belloc Lowndes's psychological thriller The Lodger (1913) was the first novelization of the infamous and still-unsolved 'Jack the Ripper' murders of 1888. The novel transformed a sordid story of the London streets into a taut domestic tale of conflicted motivations, uncertain loyalty, and slow-burning terror. Lowndes, a contemporary - and rival - of Agatha Christie, adopted and subverted the detective fiction genre in order to explore women's roles within the family and within larger society in ways that still resonate strongly today. This scholarly edition revives a pivotal text by an undervalued late-Victorian and early twentieth-century author, and adds to our understanding of that transformational literary period. This edition brings together, for the first time, Lowndes' 1913 novel and the 1911 short story upon which it was based, providing new transcriptions of the texts alongside facsimiles of Henry Raleigh's original illustrations. A critical introduction offers historical, thematic, and biographical context drawn from new archival research, as well as an exhaustive bibliography of Lowndes's published work.
- Sales Rank: #7167709 in Books
- Published on: 2015-09-01
- Format: Unabridged
- Original language: English
- Binding: Hardcover
- 270 pages
Review
'This new edition of Marie Belloc Lowndes's The Lodger revives an important work in the history of women's literature and detective fiction. Featuring an amateur female detective and a character inspired by Jack the Ripper, this early twentieth-century classic is sure to be of keen interest to both scholars and general readers. In her illuminating critical introduction, editor Elyssa Warkentin situates the novel within compelling literary and cultural contexts, highlighting its engagement with issues of gender, crime, and social class. She also provides welcome attention to Lowndes herself - a prolific author of bestsellers whose work deserves recognition and appreciation in our own time.' --Alexis Easley, Professor of English, University of St. Thomas
'Marie Belloc Lowndes' 1913 novel The Lodger has been too long out of print. Among the first fictions to be based on the Whitechapel murders, The Lodger is an important document in the history of cultural responses and in particular women's responses to the figure of Jack the Ripper. Dr Elyssa Warkentin's new edition brings this compelling work back into circulation and the figure of Lowndes to new critical attention.' --Professor Cecily Devereux, University of Alberta
About the Author
Elyssa Warkentin holds a PhD from the University of Alberta. She studies late-Victorian crime fiction, particularly stories by and about women. She has lived and taught in England, Turkey, and Qatar, and is currently a Research Facilitator at the University of Manitoba, Canada.
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The Lodger
In 1888 there was a series of brutal murders in the East End of London. In 1913 Marie Belloc Lowndes wrote a fictionalized version of these "Jack the Rippers" murders. Marie began as a journalist and wrote sixty books, forty of them novels. This novel is her only book to remain in print. It was first a short story, then a novel, and later made into a play, several movies, and an opera. Her novels were based on True Crimes and often used courtroom scenes. The `Introduction' by Laura Marcus quotes a young Ernest Hemingway's praise for this book. This provides a background to that era, and the event that inspired Marie Belloc Lowndes' greatest work. There is a `Bibliography' for this 1996 version, it does not list the 2002 book by Patricia Cornwell. Jean Overton Fuller's 1990 book claimed Walter Sickert was Jack the Ripper.
The beginning introduces us to Robert and Ellen Bunting, who have fallen on hard times after being servants of the wealthy. Then a double knock on the door of their house announced a lodger. He will pay well for the rooms. Mr. Sleuth stays indoors during the day and only goes out at night. Another murder of an unfortunate woman is in the newspapers. The police are baffled. Detective Joe Chandler takes the Buntings and Daisy to visit the Black Museum at Scotland Yard (Chapter IX). "Money is the main thing that matters in this world" says Ellen. Ellen knew that most murders were for gold (Chapter VIII). She has a growing suspicion about their lodger. There is a description of a Coroner's Inquest (Chapter XIX). Time passes, there is another murder. Robert becomes suspicious too. Bunting fears the publicity could ruin their lives and make it impossible for them to get a good situation (Chapter XXIV). The Buntings, Daisy, and the lodger visit Madame Tussaud's waxworks. They learn the police have a clue to the identity of the murderer, a madman who escaped from an asylum near Liverpool. Their lodger suddenly leaves them and never returns. The murders in London now stop.
There is a flaw in this story: if the murderer was known to the police as a committed lunatic there would be no mystery. This story gives an idea of what life was like for people in that era. It's a good story as long as you don't analyze it. Having the lodger go away prevents a complex ending. The message of this story warns against owning your own business instead of staying in service. Was this meant to address the servant problem? The story shows how people can put up with an evil when they benefit from it. Was this a comment of the pre-war society and economics? Note how no papers or identity cards were required in those days. While it isn't mentioned, there was also the right of people to keep and bear arms.
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