“Miller’s Court,” a Short Animated Film by Alan M. Clark

I created the animated film “Miller’s Court” from illustrations I’ve done for my Jack the Ripper Victims Series of novels about the lives of the women JTR murdered.

Here are some of the illustrations I put into motion:

“Miller’s Court” copyright © 2016 Alan M. Clark. Colored pencil, digitally colorized.

 

Study for “Of Thimble and Threat” copyright © 2012 Alan M. Clark. Colored pencil.

“The Double Event” copyright © 2015 Alan M. Clark. Colored pencil, digitally colorized.

Detail from “In the Dark, In the Night” copyright © 2013 Alan M. Clark. Acrylic on board.



At present, there are four novels in the Jack the Ripper Victims Series”

A Brutal Chill in AugustWord Horde.

Apologies to the Cat’s Meat Man — IFD Publishing

Say Anything but Your Prayers — IFD Publishing

Of Thimble and Threat — IFD Publishing

The fifth and final novel in the series will be released in 2018.

—Alan M. Clark

Eugene, Oregon

Breathing Life into the JTR Victims

Writing the Jack the Ripper Victims Series, I’ve tried to give readers some sense of what the murderer took from the world. As part of that effort, I’ve manipulated mortuary photos to breathe a little life back into the women he killed.
Fascination over who committed the heinous deeds of the Autumn of Terror will always overshadow any interest in the lives of his victims, rather ordinary as they were in their time. Yet without them, I suggest that the murderer has little of value to offer us, perhaps even less than what the women had to offer. They suffered privation and degradation, especially late in their lives, but in their time, they no doubt also experienced love and good cheer with family and friends, not much different from what human beings have always known.

—Alan M. Clark

Eugene, Oregon

Link to the Jack the Ripper Victims Series on Amazon.com

 

Chapter 6—Cat’s Meat

(Excerpt from the Jack the Ripper Victims Series novel, Apologies to the Cat’s Meat Man, by Alan M. Clark)

“The Cat’s Meat Man” copyright©2017 Alan M. Clark

Around age twelve, Annie cut her right hand while helping her mother slice bread for an evening meal. Over the ensuing muggy summer days, the wound became red and hot. The hand swelled and the wound began to suppurate.

Early evening of one of those days, when their room above the cobbler shop had grown unbearably stuffy, she lay miserable and wet from sweat in bed, trying to ignore the throbbing pain in her right hand, and an increasing need to get up and use the chamber pot.

“You must get better so we can play Old Maid,” Emily seemed to say to the doll cradled in her lap, though clearly she meant the words for Annie. The two sisters didn’t get along most of the time, possibly because Emily knew Dadda looked upon Annie as his favorite. Still, she sat in a chair beside the bed and held Annie’s left hand. “I’m no good alone, and Mum’s too busy to play.”

Their father came clomping up the stairs. Annie heard him hop over the two rotten treads beneath the roof leak and the room shook a bit. She ceased to moan and writhe for fear of disappointing him. Mum, preparing supper, greeted Dadda, then he moved to the bed to have a look at Annie. Over top the odors of old leather and shoe black, he smelled most strongly of drink.

“If it worsens,” he said, turning toward Mum, “she’ll lose the hand.”

“No, Dadda!” Annie cried as he turned back to her.

Emily made a face and climbed down from the chair. She dropped the doll as she backed away toward Mum.

Hot tears poured from Annie’s eyes. She shifted uncomfortably in the bed and the rough straw inside the mattress bit into her painfully. Her bladder let go and she urinated there in the bed. He would discover the urine later, but she could not worry about that yet.

“Should they take your hand,” Dadda said, “they’ll give it to the cat’s meat man. You don’t want that, do you?”

Emily buried her face in her mother’s skirts.

“He’s teasing you,” Mum said. “Don’t believe your father.”

Busy, her defense of her daughter was weak and did not prevent the girl’s imagination from providing further torment. Annie saw the cat’s meat man, Mr Stewart, in his broad, brightly colored neckerchief, selling her severed fingers, dyed green and stabbed onto wooden skewers, to Mrs. Salter, who lived in the building next door. The woman kept a dog and a cat, and bought meat regularly from Mr. Stewart to feed her animals.

Thinking that one hand might satisfy the takers as well as the other, Annie frantically tried to pull herself together enough to say, “Tell them to take the other one, Dadda. It doesn’t work as well.” Sobs came out instead, drowning in the salty fluids of her mouth and nose.

“Cease your blubbering, girl,” Dadda said. “I’m trying to make you fight for that hand. We would not give it to the cat’s meat man.” Then he smiled with mischief. “Yet if you don’t fight to keep it, he may come in the night for it all the same. I’ll leave the padlock off the door to make it easier.”

“You are a drunken lout, George Smith,” Mum said, “terrorizing your own young the way you do.” She threw a wooden spoon. The implement smacked into Dadda’s head with a loud knock and bounced off. Unfazed, his mischievous smile remained.

Too late, Mum moved to settle Annie’s fears and calm her.

Although the wound healed and she kept her hand, afterward she knew she wasn’t up to the hardships life would throw at her. As she grew, Annie found her squeamish and fearful response to the world an increasing source of distress. She would have to become someone else if she wanted to survive.

The cat’s meat man seemed to follow her around and pop up in her imagination when Annie felt vulnerable.

(Apologies to the Cat’s Meat Man, written by Alan M. Clark, is part of the Jack the Ripper Victims Series.)

Cover for the Jack the Ripper Victims Series novel, APOLOGIES TO THE CAT’S MEAT MAN

Author’s Note from APOLOGIES TO THE CAT’S MEAT MAN

(This is the author’s note from the Jack the Ripper Victims Series novel, Apologies to the Cat’s Meat Man a novel of Annie Chapman, the second Victim of Jack the Ripper.)

Cover for the Jack the Ripper Victims Series novel, APOLOGIES TO THE CAT’S MEAT MAN

Author’s Note—Historical Terror: Horror that Happened

In September1888, after the brutal murders of Martha Tabram and Mary Ann “Polly” Nichols in August, how did Annie Chapman reasonably persuade herself to walk the streets of London’s East End looking for a stranger to pay her for sex? Seeking an answer to that question was in part my purpose in writing Apologies to the Cat’s Meat Man.

The novel is a work of fiction inspired by the life of Annie Chapman, a woman believed to be the second victim of Jack the Ripper. I made an effort to stick to what is known about her, yet for purposes of storytelling, I did not adhere strictly to her history, in part because much of her life is obscured by the relative anonymity she had in her time. I have assigned to my main character emotional characteristics and reactions that seem possible and consistent with her life and circumstances.

To be clear, the novel is not about Jack the Ripper. The Jack the Ripper Victims series, of which Apologies to the Cat’s Meat Man is the fourth book, is not about the killer. Instead, each of its novels explores the life of a different victim. The books in the series can be read in any order, as each is a stand-alone account, their timelines overlapping.

“Ghost of Whitechapel” copyright©2017 Alan M. Clark. Interior illustration from APOLOGIES TO THE CAT’S MEAT MAN

For me, history is stories, perhaps more fact-based than fiction, but stories nevertheless. Good tales are driven by emotion. Following the emotional motivations of characters is compelling for me, as I think is true for most people. When the motivations are a mystery, such as those surrounding a horrible crime, I want to make sense of them. I want order in my world, and with horrible crimes, the acts by disturbed individuals and sometimes their victims hang out there in time, niggling for answers. Part of the puzzle that wants answering is context. How could that person do such a thing? What made their actions seem reasonable to them? Answers lie within the person’s time and circumstances, the world as he or she knew it and how that individual in particular responded to the comforts and stresses within interpersonal relationships and environment.

History, sufficiently remote, but somewhat familiar, like the Victorian era, makes for interesting story context for me because I know something of that world. Remnants of that time still exist today, and I have communicated with family members who grew up close enough in time to the period that they knew something of the constraints and opportunities of life then. That era seems slightly alien and a little exotic. I also find I have a borrowed nostalgia for simpler times in which the people seemed to have had a naive innocence. Of course, that is a product of my complacency.

We’re basically the same creatures we’ve been for thousands of years, with all the same emotions. What stimulates those emotions varies for all of us, yet we’re good at interpreting and understanding others’ moods within the context of their experiences.

When stories of times past hold situations sufficiently developed that the complexity of human emotion is revealed, that supposed innocence of a “simpler time” vanishes. Suddenly, understanding the historical and emotional context, the characters are no longer quaint and simple. I am right there with them, having some understanding of their motivations.

Through the research and writing of historical fiction novels, I must use my imagination to project myself into another place and time. In the midst of the effort, I feel like I’m engaged in time-travel. My wife often asks about that far off look in my eyes when I’m in the middle of a several-months-long project involving historical fiction. We might be at the grocery store or the post office at the time. Little does she know that I’m not actually standing next to her in those moments.

—Alan M. Clark

Eugene, Oregon

Apologies to the Cat’s Meat Man is the 4th novel in the Jack the Ripper Victims Series by Alan M. Clark.  Each novel in the series is a standalone story.

Historical Terror: Horror That Happened—London’s Murder Weapon

Detail from “In the Dark, In the Night” copyright © 2013 Alan M. Clark. Cover art for EAST END GIRLS by Rena Mason

Was Jack the Ripper a monster, larger than life, beyond our comprehension?  From all that has been dramatized about the killer, one might think so. But no doubt the killer was merely a man, with the fears and frailties of an average human being.

If I could go through his pockets, I’ll bet I’d find that he carried common, everyday items that helped him maintain his physical and mental wellbeing in the world of Victorian London.  If that’s true, it would tell me that although he was an extreme danger to society, he was subject to the physical and emotional trials we all go through in life.

allthatshedneed_small_sepia

“All that She’d Need” copyright © 2014 Alan M. Clark. Interior illustration for JACK THE RIPPER VICTIMS SERIES: THE DOUBLE EVENT by Alan M. Clark

The clothes we wear and the items we carry on our person say something about us.  I wear shirts that button up the front.  I never wear t-shirts.  If asked why, I might say that I don’t think t-shirts are flattering to my middle-aged abdomen.  I carry numerous keys because I want access to areas and items I lock up.  One can easily deduce therefore that I’m doing more than most would to secure my stuff against theft, and that might say something about how many times I’ve been robbed.  I slip my keys into a flexible glasses case before putting them in my pants because they chew holes in my pockets.  I got tired of paying for new jeans just because the pockets were ruined, so it’s reasonable to assume I have been concerned about money during my life and learned to be frugal.  I carry lip balm because I have the nervous habit of chewing my lips and making them chapped.  What have I to be nervous about?  That’s a good question.  I carry a cloth handkerchief to wipe my nose instead of using paper tissues which might have something to do with my desire to preserve the natural world.  For reasons I won’t reveal here, I carry a pocket knife and have no cell phone.

All these things say something about what I think and feel in my daily life, most of it of no consequence to anyone, but if I were a suspect or victim in a crime and the truth about me was important to discern, useful conclusions about who I am might come from considering these things.

Beyond the savagery of the Jack the Ripper killings, the murderer is perhaps most defined by his choice of victims; common, poor women who would have been forgotten in time if not for the compelling manner of their deaths.

With the idea that to know something of the women is to know something about the Ripper, I became interested in the possessions of the victims.  The possessions of the murdered women, found at the crime scenes, provide a glimpse of their lives and speak volumes about the time in which the White Chapel Murderer lived.  The people of 1888 London didn’t have the mp3 players and electronic tablets we have today. They didn’t have car keys, water enhancers, thumb drives, and anti-anxiety medications, but they did carry items useful to them in their time and circumstances.

Here are lists of the belongings of the first four victims of the Ripper as found at the crime scenes:

Mary Ann Nichols (Polly Nichols)nichols_beforeandafter_small

 Clothing:
A black Straw bonnet trimmed with black velvet
A reddish brown ulster with large brass buttons.
A brown linsey frock
A white flannel chest cloth
A pair of black ribbed wool stockings
A wool petticoat stenciled with “Lambeth Workhouse”
A flannel petticoat stenciled with “Lambeth Workhouse”
Brown stays
Flannel drawers
A pair of men’s boots with the uppers cut and steel tips on the heels
Possessions:
A comb
A white pocket handkerchief
A broken piece of mirror (This would have been a valuable item for one living in the work house or common lodging)

Annie Chapmanannie_chapman_small

Clothing:
A long black, knee-length figured coat.
A black skirt
A Brown bodice
An Additional bodice
Two petticoats
A pair of lace up boots
A pair of red and white striped wool stockings
A neckerchief, with white with red border (folded into a triangle and tied about her neck)
Possessions:
A large empty pocket tied about the waist, worn under the skirt.
A scrap of muslin
A small tooth comb
A comb in a paper case
A scrap of envelope containing two pills.

Elizabeth Stridestride_beforeandafter_smallest

Clothing:
A Long black cloth jacket, trimmed with fur at the bottom
A red rose and white maiden hair fern pinned to the coat.
A black skirt
A black crepe bonnet
A checked neck scarf knotted on left side
A dark brown velveteen bodice
Two light serge petticoats
A white chemise
A pair of white stockings
A pair of spring sided boots
Possesions:
Two handkerchiefs
A thimble
A piece of wool wound around a card
A key for a padlock
A small piece of lead pencil
Six large and one small button
A comb
A broken piece of comb
A metal spoon
A hook (as from a dress)
A piece of muslin
One or two small pieces of paper
A packet of Cachous. (a pill used by smokers to sweeten breath)

Catherine Eddoweseddowes_beforeandafter_smallest

Clothing:
A black straw bonnet trimmed in green and black velvet with black beads
A black cloth jacket with trimmed around the collar and cuffs with imitation fur and around the pockets in black silk braid and fur.
A dark green chintz skirt with 3 flounces and brown button on waistband.
A man’s white vest.
A brown linsey bodice with a black velvet collar and brown buttons down front
A grey stuff petticoat
A very old green alpaca skirt
A very old ragged blue skirt with red flounces and a light twill lining
A white calico chemise
A pair of men’s lace up boots. (The right boot was repaired with red thread)
A piece of red gauze silk worn around the neck
A large white pocket handkerchief
A large white cotton handkerchief with red and white bird’s eye border
Two unbleached calico pockets with strings
A blue stripe bed ticking pocket
A pair of brown ribbed knee stockings, darned at the feet with white cotton
Possessions:
Two small blue bags made of bed ticking
Two short black clay pipes
A tin box containing tea
A tin box containing sugar
A tin matchbox, empty
Twelve pieces white rag, some slightly bloodstained
A piece coarse linen, white
A piece of blue and white shirting
A piece red flannel with pins and needles
Six pieces soap
A small tooth comb
A white handled table knife
A metal teaspoon
A red leather cigarette case with white metal fittings
A ball hemp
A piece of old white apron
Several buttons and a thimble
Mustard tin containing two pawn tickets
A Printed handbill
A printed card calling card
A Portion of a pair of spectacles
A single red mitten

I have not included the possessions of the Ripper’s fifth victim, Mary Jane Kelly, because she was killed in her own bed, in her abode, and her possessions were not provided by the police reports in the same way.

These lists speak to me of women who had little of material worth in the world.  Not one of them had any money.  During the period in which they lived, unemployment and severe poverty were widespread in London.  Regardless of whether the Ripper’s victims had few opportunities to live better lives or were responsible in large part for their predicaments, their legacy is pitiful and poignant.  Items such as the brown stays, the comb, and the packet of Cachous suggest vanity or at least the need to maintain appearances.  The tin of sugar, the one of tea, and the black clay pipes speak of a desire for creature comforts.  The bloodstained rags, the pieces of soap, tooth combs (toothbrushes) were aids to bodily functions.  Those things that are part of a incomplete set, such as the single mitten, and the broken items, like the partial pair of spectacles and the piece of a comb, suggest that nothing could be wasted; that everything, even if seriously flawed or deficient was irreplaceable.

With little imagination, the lists speak of skills, preparedness, resourcefulness and even aspirations on the part of these women.  The list of Catherine Eddowe’s garments and possessions conjures for me the image of a Victorian-era bag lady, wearing many layers of clothing and carrying too many items in her bags (the many pockets, most of which were probably hidden under her top skirt).  The only thing missing is the shopping cart.  We have limited information about Eddowes’s life, and most of it leaves out the emotional aspects of her existence.  We can assume she didn’t set out to become a bag lady, to be homeless and poor.

swiftpassage_small_sepiaWhat events in her life led to her demise on the streets of London?  How much of the way she lived was a result of the choices she made?  What was beyond her control?  Was she chosen randomly by her killer?

I became fascinated enough with the questions that I explored her life and presented possible answers in my historical fiction novel, Of Thimble and Threat, published by Lazy Fascist Press.  Catherine Eddowes had led a hard life and was very ill at the relatively young age of forty-seven when she died.  My impression is that her choices had something to do with securing her wellbeing and placing her at risk, but that much of her existence was beyond her control.  A life of poverty in London was slowly killing her, and the final blow, London’s murder weapon so to speak, was Jack the Ripper.

Still fascinated with the environment of late Victorian London, I explored the life of Elizabeth Stride, the Ripper’s third victim, in fiction in Say Anything But Your Prayers, also released by Lazy Fascist Press.  Having thus started a string of novels, I titled it Jack the Ripper Victims Series, and went on to write about his first victim, Mary Ann “Polly” Nichols in A Brutal Chill in August, which was released by Word Horde in August 2016.

ABrutalChillInAugust_coverI refer to the Ripper as male because of the name Jack, but of course we don’t know the gender of the killer.  Although we can’t know much about the Whitechapel murderer, we have information that tells us something about him and offers a glimpse of the world in which he and his victims lived.  We can surmise that he was in most ways as vulnerable as his victims in a dangerous, often merciless world, that he was no doubt as aware as they were of the need to maintain appearances and to achieve the highest social position possible in order to ensure survival in a swiftly changing environment, and that he probably understood that eventually disease and death would claim him without ceremony and that he would die, just like everyone else.  Perhaps, as he considered these things, he was filled with a pitiable fear like that experienced by his victims.

Most of us spend much of life feeling confidently alive, solid and incorruptible, not thinking about our demise, our eventual loss of facility and faculty, our loss of awareness and identity and finally the decay of our flesh.  Those of us who have not seen war or violent crime and disaster turn to face our demise slowly over many years as it dawns on us that we are just like those who have gone before us, that we all suffer and die.  But to face that terror precipitously, to have the process demonstrated within moments, to be the playwright and director of that drama—that is what the Ripper experienced.

maryjanekelly_small

Crime scene photo of Mary Jane Kelly.

Could he identify with the women he’d murdered and feel their suffering?  Having revealed to himself by his own cruel acts the heights of fear and pain and the terrifying frailty and ephemeral nature of flesh and awareness, was his dread of a particularly intense nature?

If his freedom or his life were never taken from him in answer to his crimes, did he at least suffer from the revelations of his own mortality? I would like to think that he did.

—Alan M. Clark
Eugene, Oregon

Historical Terror: Horror that Happened—Another Murderer in Victorian London

This post is about the historical basis for the murderer in my novel,
The Surgeon’s Mate: A Dismemoir.

Cover_TheSurgeonsMate_ADismemoir_smallest

Someone took apart women in the most gruesome fashion in London in the late 1880s. Following that statement, many would say, “Yes, Jack the Ripper terrorized London in 1888,” yet I do not refer to the Ripper.

Between the years 1887 and 1889, headless, limbless torsos appeared in odd places in London. One turned up in a chamber within the excavation for the future home of Scotland Yard in the heart of Westminster, the seat of the British Government. Another was found under a railway viaduct. Several homeless people sleeping nearby were unaware of the horrid presence. Another washed up along the banks of the River Thames downstream from London. Body parts were found in the city or likewise washed up along the waterway. Few of the women were identified. One, possibly identified as Elizabeth Jackson, turned up along the Thames in at least ten pieces, often wrapped in cloth, tied with string.

Of course, as many of us would do today, the media of the time presumed that the killer known as Jack the Ripper had committed the crimes, but since insufficient similarities existed between the manner of dismemberment in the torso murders and the mutilations performed by the Whitechapel murderer, the police authorities in London of the 1880s did not believe the crimes were committed by the same person. They also did not believe that the remains were somehow the mislaid remnants of legitimate medical dissection of cadavers.

While the torso murders didn’t get the kind of press the Ripper killings got, they are to my mind just as  horrific, the mutilations similarly revolting, if different. The Ripper’s victims were left in plain sight on the streets, an affront to the sensibilities of any society. Identified and their names and histories given out through the media, they were made somewhat whole again, that personhood making the outrageous insult to their flesh, and the theft of their lives all the more horrible.

The unidentified random body parts of the torso killings were just that—parts, objects.  One can imagine that’s all they were to the perpetrator of the crimes. Life was cheap in Victorian London. A prostitute could be had for 4 cents, the same as the cost of a pint of ale or a glass of gin.

AnIllusionOfSafeSex_Blog

“An Illusion of Safe Sex” copyright © 2003 Alan M. Clark

In an economic environment in which jobs were disappearing, many taken from human hands and backs and given to machines, countless people became unemployed. Employers had the upper hand. With a threat of termination, they could push any employee hard. In the unregulated, laissez-faire capitalist system that existed in London at the time, workers were frequently exposed to working conditions that destroyed their health through exposure to dangerous chemicals, mechanical equipment, toxic work environments, or sheer exhaustion from severe hardship. If an employee failed, or worse, fell dead from exhaustion, he or she could easily be replaced, perhaps more like business equipment or raw materials than human beings.

The Ripper’s victims were all unemployed middle-aged women, worn out drunkards who survived on odd jobs, begging, and casual prostitution. Likely, so were the victims in the torso murders.

Yes, life in Victorian London was cheap, and at least two murderous bastards took advantage of the over-abundant commodity wandering the streets.

—Alan M. Clark
Eugene, Oregon

Historical Terror: Horror that Happened—Relating to Psyches Long Dead

“All that She’d Need” copyright © 2014 Alan M. Clark. Interior Illustration for JACK THE RIPPER VICTIMS SERIES: THE DOUBLE EVENT

This post is based on a presentation about writing historical fiction I did for the WordCrafters in Eugene writers’ conference under the title “Relating to Psyches Long Dead: Developing Characters in Historical Fiction”

Here are some questions concerning setting that I consider when developing a piece of historical fiction:
*What were the differences, both opportunities and limitations, in the roles of females and males, both as adults and children?
*Was there a class system in place and how did it work?
*What were the prevalent religious and social beliefs of the time?
*What moral strictures were in place concerning religious faith, sexual activity, social conduct, and social mobility?
*How did people find happiness?
*What were the common ways in which life and happiness were endangered?

The key to helping audience relate to characters in a story, whatever the setting, is the emotional aspects of the tale. How we respond to the world has a lot to do with personality, but our time and circumstances have some influence on who we are as well. In developing characters within a historical setting, its important to know something of how people within the chosen environment were affected by events of their time. Also important is considering how characters’ knowledge of their environment’s history prior to their respective births might effect their thinking. That seems like a lot, and perhaps it is. The good news is that we’re basically the same creatures we’ve been for thousands of years, with all the same emotions. What stimulates those emotions varies for all of us, and we’re used to interpreting others moods within the context of their experiences. Dealing with emotion in historical fiction is no different. We just have to know the context.

Research gets me only so far within a reasonable amount of time and effort. Therefore, it’s good to have an overarching sense of history, to knowing something of when and how technological advances occurred and how they effected the lives of human beings. Something as simple as the electric drill, has an elaborate history. The tool is descended from various hole-making devices made of wood, sometimes tipped with stone, turned by hand power alone at first, later turned with the help of bows. With time, helical metal tips or bits were developed. These were turned by hand cranks. Later added leverage was provided by hand-driven cogged mechanisms. Eventually drill bits were powered with steam, electricity and compressed air. An electric drill could not exist in a tale about ancient Egypt without serious justification for its existence being provided. Perhaps the device is the invention of a genius of the period, and the advancement was later lost to history. Perhaps it arrived in ancient Egypt with a time traveler. The latter justification takes the story into the realm of science fiction or fantasy. Reasonable explanations are possible, but whatever is used, it must be important to pushing the story forward.

Those descriptions and events that help build a sense of time and place within a story should not be added arbitrarily. I shouldn’t have the hanging of a witch occur as backdrop for a town square scene in my 15th century tale about Salem, Massachusetts unless it has some bearing on what the story is about. The descriptions of objects within an environment, the actions and words characteristic of a time period, and the use of vernacular within dialogue are helpful for setting the scene, but should only be added to give atmosphere if they also help move the story forward. I must find ways to make the introduction of such things incidental to the action and dialogue to lighten the load of describing them in summary narrative.

Dear reader, what are the historical flaws and possible solutions to the scenarios below? Each scenario has at least two flaws, and some have numerous. If you’d like, use the comment feature to list them. Number three has one flaw in particular that is very subtle. See if you can figure it out.

1) In the year 1500, renaissance painter, Antonio da Roma, loses his job decorating the ceiling of a church because he’s become too obese to climb the extension ladder used in the job. He’s dissected enough cadavers to know about plaque buildup in blood vessels. Fearing a stroke, he decides to lay off all high cholesterol, fatty foods. His family can’t get along on his wife’s income, and they are about to enter the poorhouse when an opportunity arises. An insurance adjuster who knows of Antonio’s dissections, hires him to perform an autopsy. The adjuster wants to know if his client committed suicide or died of natural causes.

2) In 1820, Melody, the unwed sixteen-years-old daughter of a plantation owner outside of Atlanta, Georgia, wants to have a sleepover party with three girlfriends on an evening when the servants have the night off. Her parents agree. The night of the sleepover, Melody’s aunt Alice, her father’s sister, comes to the house to call the parents away. “Mother is very ill,” Aunt Alice says. “The Doctors says she will surely die tonight. Please hurry. We have 50 miles to travel to get to her.” While Melody’s parents are gone, four young men the girls don’t know crash the sleepover party. They spend the night, and, on a lark,  Melody has sex for the first time.

3) In 1854, during the Crimean War, the medical facilities near the front lines are overburdened with the wounded as well as with those having unseen wounds. Dr. Martin Roberts says to his superior, Dr. Susan Lee, “If they have no apparent wound, they are simply malingerers, and have no excuse not to return to battle.”
“Perhaps their wounds are of a subconscious nature.” she responds.
Doctor Roberts nods thoughtfully. “I hadn’t considered that.”

Here are links to some of the historical fiction novels I’ve written:

A Parliament of Crows

ebook

paperback

The Door That Faced West

ebook

paperback

Novels in my Jack the Ripper Victims Series:

Of Thimble and Threat

paperback

Say Anything But Your Prayers

paperback

Click the link below for both of the Jack the Ripper Victims Series novels in one ebook.

Jack the Ripper Victim Series: The Double Event.

 

—Alan M. Clark
Eugene, Oregon