Nadine-Muller-Dead-Husbands-and-Deviant-Women-Clues-Vol.30-No.1-Spring-2012-pp.99-109

Nadine Muller

Recently completed her PhD at the University of Hull
Research specialties:
- Contemporary feminist theory and practice
- Neo–Victorianism
- Twenty-first century women’s fiction
- Victorian literature and culture
Authored and coedited several publications
Currently working on a monograph about the widow in British literature and culture (1850-2010)

Title: "Dead Husbands and Deviant Women: Investigating the Detective Widow in Neo-Victorian Crime Fiction"
Journal: CLUES
Volume: 30, Number 1 (Spring 2012)
The detective widow has emerged as a prominent character in neo–Victorian crime fiction over the past decade.

Defined as a contemporary interest in reimagining the nineteenth century in literature, art, and culture.
Marie-Luise Kohlke describes the phenomenon as a fascination reflected in the increase of neo–Victorian novels.
Major authors like A. S. Byatt and Sarah Waters contribute to a developing neo-Victorian canon since the early 2000s.

Key subject: The figure of the detective widow in neo–Victorian crime fiction, specifically in Tasha Alexander’s Lady Emily series.
Significance:
- This character challenges traditional gender norms.
- Engages in intellectual, investigative pursuits while navigating societal expectations of mourning and etiquette.

Protagonist of Tasha Alexander's series (2005-present).
Background:
- Young, aristocratic widow of Viscount Philip Ashton.
- Escaped societal matchmaking by marrying for convenience.
- Investigates various crimes in England and abroad.
- Notable crime themes include art forgery and political intrigue.

And Only to Deceive (2005)
- Centers around Philip's death and his involvement in art forgery.
- Emily's investigation leads to her first case, uncovering the truth behind her widowhood.
A Poisoned Season (2007)
- Involves a Frenchman threatening French government.
A Fatal Waltz (2008)
- Involves political crises in 1890s Vienna.
Tears of Pearl (2009)
- Set in the harem of a sultan in Constantinople.
Dangerous to Know (2010)
- Murder investigation linked to notorious killing reminiscent of Jack the Ripper.

Victorian widows were seen as both respectable and potentially dangerous due to their experiences and societal status.
Widowhood brings complexities that allow for an exploration of independence and agency.
- More property rights than spinsters, less restriction than wives.

Emily’s non-traditional reactions to mourning customs highlight societal expectations.
She grapples with required mourning attire and social isolation despite her personal feelings of relief following Philip’s death.
Notable quotes from characters highlight societal hypocrisy surrounding mourning practices.

Emily revealing her lack of romantic feelings for Philip shows the disparity between societal roles and personal realities.
Cécile’s comment on mourning customs reinforces the gendered expectations that society places on widows.

Emily’s dual identity as a widow and detective allows her to navigate and redefine gender roles.
The narrative of her investigations raises questions about morality, respectability, and female agency.

The essay positions neo–Victorian fiction as engaging in discussions around gender, power, and societal norms.
Reflects on how these reinterpretations allow modern readers to inquire into both historical and contemporary issues regarding women.

The detective widow character serves as a catalyst for examining the historical roles of women and the fluidity of gender norms in neo–Victorian contexts.
Emily's journey symbolizes a negotiation between societal expectations and personal freedom, challenging readers to reconsider the construction of history and identity.