Murder in A Mill Town Sex Faith and The Crime That Captivated A Nation 1St Edition Bruce Dorsey Full Chapter PDF
Murder in A Mill Town Sex Faith and The Crime That Captivated A Nation 1St Edition Bruce Dorsey Full Chapter PDF
Murder in A Mill Town Sex Faith and The Crime That Captivated A Nation 1St Edition Bruce Dorsey Full Chapter PDF
https://ebookmass.com/product/murder-in-the-mill-race-e-c-r-
lorac/
https://ebookmass.com/product/murder-in-the-mill-race-e-c-r-
lorac-2/
https://ebookmass.com/product/a-murder-in-hollywood-the-untold-
story-of-tinseltowns-most-shocking-crime-casey-sherman/
https://ebookmass.com/product/paint-me-a-murder-a-steamy-small-
town-murder-mystery-mystery-she-wrote-book-3-delta-james/
John Stuart Mill - Sobre o Progresso e a Educação 1st
Edition John Stuart Mill
https://ebookmass.com/product/john-stuart-mill-sobre-o-progresso-
e-a-educacao-1st-edition-john-stuart-mill/
https://ebookmass.com/product/secrets-lies-and-consequences-a-
great-scholars-hidden-past-and-his-proteges-unsolved-murder-
bruce-lincoln/
https://ebookmass.com/product/children-young-people-and-the-
press-in-a-transitioning-society-1st-ed-edition-faith-gordon/
https://ebookmass.com/product/the-crime-scene-a-visual-guide-1st-
edition-massey/
https://ebookmass.com/product/the-detectives-companion-in-crime-
fiction-a-study-in-sidekicks-1st-edition-lucy-andrew-editor/
Murder in a Mill Town
Murder in a Mill Town
Bruce Dorsey
Oxford University Press is a department of the University of Oxford. It furthers the
University’s objective of excellence in research, scholarship, and education by publishing
worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and
certain other countries.
All rights reserved. No part of this publication may be reproduced, stored in a retrieval
system, or transmitted, in any form or by any means, without the prior permission in
writing of Oxford University Press, or as expressly permitted by law, by license, or under
terms agreed with the appropriate reproduction rights organization. Inquiries concerning
reproduction outside the scope of the above should be sent to the Rights Department,
Oxford University Press, at the address above.
You must not circulate this work in any other form and you must impose this same
condition on any acquirer.
ISBN 978–0–19–763309–0
eISBN 978–0–19–763311–3
DOI: 10.1093/oso/9780197633090.001.0001
For Martha, forever
What think you of Ephraim K. Avery? Is he guilty, or not guilty? Read, try, judge
and determine for yourselves.
Act I: Murder
1. The Haystack
2. A Troubled Marriage
3. Native Sons
4. Useful in This World
5. Factory Girl
6. A Methodist Family
7. Moving Planet
8. Circuit Rider
9. Moral Police
10. Fornication and Lying
11. “If I Am Missing”
12. Manhunt
Acknowledgments
Notes
Index
Murder in a Mill Town
New England towns where Sarah Maria Cornell and Ephraim Avery lived and
worked.
Disputed routes taken by Ephraim Avery on December 20, 1832.
Prologue
Before the Curtain Rises
LONG BEFORE THE DOORS OPENED, a crowd gathered outside the theater.
Noisily, they bustled in, country folk and urban dandies alike, to find
themselves good seats. The old mansion’s walls reverberated with
their footsteps on the hardwood floors, spirited greetings, idle
gossip, and talk of politics.
The playhouse had once been the country home of Aaron Burr,
who nearly thirty years earlier returned across the Hudson River to
his Richmond Hill estate from the New Jersey palisades after his
notorious duel with Alexander Hamilton. As Burr’s fortunes waned
and the growing city encroached from the south and east, John
Jacob Astor purchased the mansion, lifted it and rolled it a few
blocks closer to the center of Manhattan, and converted it into the
Richmond Hill Theatre.
Earlier the same summer a teen-aged Walt Whitman had
described feeling mesmerized by the dark green curtain of a New
York theater. Transfixed when it lifted, with “quick and graceful
leaps, like the hopping of a rabbit,” Whitman knew that behind the
drapery lay a “world of heroes and heroines, and loves, and
murders, and plots, and hopes.” As the Richmond Hill’s curtain rose
this September night, a cotton factory at sunrise came into view.
Young women conversed as they commenced their work, beginning
the night’s feature, Sarah Maria Cornell: or, The Fall River Murder.1
Surely the audience erupted as Matilda Flynn entered as the title
character. Playing opposite drama’s biggest male stars the previous
autumn in New York, the twenty-something actress found herself
now headlining a company full of amateurs and unknowns.2 As
Sarah Maria Cornell, she breaks into the factory-floor gossip of her
co-workers:
“Good morning sisters. I have been a lazy girl; you have got a-head of me.”
“What detained you Sarah? You are not usually behind us at work.”
“I have had such a dreadful dream . . .”
As Cornell relays her premonition that she will die a violent death
at the hands of another, the girls gather around, occasionally
interrupting her to remind the audience that, no matter her fate,
Cornell is a “good, virtuous, and industrious” woman.3
And so an onstage whirlwind began, carrying the audience from a
cotton mill with its “factory girls” to a farmhouse of guileless Yankees
—familiar stock characters—to an isolated, wooded glade where a
camp meeting and a Methodist minister evoked chaos, sex, violence,
ambition, and greed, before drawing to a close at a haystack with
the killing foretold in the play’s title.
None of this surprised the Richmond Hill audience. Entering the
theater, they passed enormous posters depicting in graphic detail the
scene of a man strangling a woman. They had seen similar images
in handbills plastered on street corners, with smaller versions
adorning their playbills.
They knew the characters and the story before the curtain rose
because it mirrored a real-life drama that played out in newspapers
for months in 1833. By summer’s end, the factory girl and the
preacher had become cultural celebrities, immortalized in at least
two plays and in songs about the affair that were performed in
Broadway revues for months on end.
Young America had little experience yet with a phenomenon that
would one day be a defining feature of popular culture in the United
States: sensational criminal cases that garnered the label “crime of
the century”—no matter how frequently such crimes occurred. Here
was the nation’s first spectacular trial, and Americans couldn’t get
enough of it. Theatergoers had come that evening—and would
return night after night—to experience a scandal performed in
accelerated time.4
When theatergoers purchased a ticket in the 1830s, they expected
a smorgasbord of entertainment—Shakespeare plays, farces, a
medley of popular songs, circus stunts, equestrian troupes—
sometimes all on the same night. Or they might be hoping for a
melodrama, a play depicting a morally polarized universe of good
and evil, of innocent virtue and depraved villainy. Audiences sought
out melodramas because, as Herman Melville observed, they wanted
performances that offered “more reality than real life itself can
show.” Yet in Cornell’s story, real life itself resounded with the
unmistakable qualities of melodrama. Passion, virtue, seduction, a
vulnerable young woman, a hypocritical villain, dark plotting, and
irrepressible urges to speak incessantly in order to leave nothing
unsaid, all were on full view in this scandalous murder case.5
Still, Sarah Maria Cornell at the Richmond Hill was not a typical
melodrama. It borrowed from comedies and Gothic horror, and most
important, its virtuous heroine neither triumphed over nor escaped
from her villainous, seducing foe. Instead, this protagonist met her
demise through rape and murder.
The real-life demise of Sarah Maria Cornell and all that followed
illuminate the very essence of a transformative moment in history,
unveiling what anthropologists call a social drama. Such a drama
begins when normal and peaceful means of redressing a crime fail to
satisfy longings for more complete explanations. Social dramas
prompt two questions: Why did this happen? and What does it tell
us about who we are? An ensuing scandal reveals deep cleavages
emanating from the struggle to come to grips with a world seeming
to change before one’s very eyes. Public fascination with the crime
exceeds the bounds of normal curiosity surrounding everyday gossip
and news. In search for answers people look to cherished beliefs
about politics, religion, and family. They turn to familiar stories and
plots to make sense of human actions and their repercussions.
Collectively, they participate in an enveloping drama that, in turn,
transforms the world they sought to comprehend.6
Audiences flocked to the theater or purchased popular reading
about the factory girl and the preacher so they could take part in a
scandal rich in personal meaning. In the stories of the saga’s key
characters they saw the experiences of their neighbors and families,
sensing keenly that issues that mattered in their own changing lives
were being played out in a legal thriller. They understood that
women in a new workplace called the factory had uncharted
opportunities to live independent lives, but they could also be
exposed to sexual threats and to rumors and gossip, threatening
their livelihoods and reputations. They knew too the disparity of
power brandished in sexual violence and its double standard of
culpability. Long before organized movements to confront sexual
harassment and sexual violence, Americans understood and
explained these real dramas with their own ideas about vulnerability
and coercion.
Those who were captivated by this story sensed too what was at
stake when evangelical religion began to take center stage in their
culture and politics. At a dizzying pace, religious beliefs and personal
identities were becoming intertwined with the economic marketplace
and partisan politics of a young democracy. Even if they couldn’t
foresee the long history of a politics that construed personal choices
and a changing society as contests over moral values, Americans
knew the cultural battles exposed by such a scandalous case. They
sensed especially that fast-changing new forms of communication—
an explosion of new print media—mirrored the incessant movement
of individuals into new communities and new professions.
If this shocking tale of a preacher and a factory girl constitutes a
social drama, it is a drama with a multitude of narrators, scripts, and
performers—a contest over stories and storytelling. Stories reveal
what mattered most to people in the past; how they lived their lives;
how they explained their own actions and the behavior of friends,
neighbors, and strangers; and how they communicated their most
deeply prized values. Stories expose as well how little people
understood the historical transformations that shaped their personal
lives, their society, and their culture.
As the curtain rises on the pages that follow, a real rather than an
imagined drama of the preacher and the factory girl begins. It is a
tale in which violence and storytelling expose the personal histories
of two complicated people whose lives intersected amid an ever-
changing world that each of them tried to embrace but could not
control. Although they lived in an exceptional time, they were not
themselves exceptional human beings. Their personal histories
survive as narratives of ordinary people whose experiences
embodied the spirit of a new world taking shape right before their
own—and our—eyes.
ACT I
Murder
1
The Haystack
STEPPING OUT OF HIS FARMHOUSE,John Durfee noticed a chill had set in.
The earth crackled under each step of his boots. It was the first day
of winter: December 21, 1832, a Friday. The previous day had been
a seasonably pleasant autumn afternoon, with clear skies and a full
moon rising early in the evening. Overnight the temperature had
dropped to near twenty degrees, and a steady wind blew from the
west.
Durfee’s farm lay along the main road in the sleepy village of
Tiverton, Rhode Island, where Durfee and his neighbors made the
most of farming small plots of coastal land. They toiled for
generations, supplementing their modest income by fishing and by
exchanging paid labor with one another. Tiverton sat a quarter mile
south of the Massachusetts state line. Across that line stood the
bustling textile manufacturing town of Fall River.1
Durfee walked to the barn, hitched up his team of horses, and set
off downhill toward the Taunton River. It was nine o’clock in the
morning.
He got no farther than a few hundred yards when he saw a
woman’s body hanging from a fence post inside his haystack yard.
Approaching the figure, uncertain if she were dead or alive, he
parted the hair that had fallen in front of her face. One look must
have sent a shiver through the farmer’s already cold body. A rope
stretched six inches above the woman’s neck, securing her rigid form
to the stake. No longer was it a typical winter morning. Glimpsing
two men within view, he shouted out to them.2
While the farmer waited, he observed that the woman wore a
calash (a bonnet in the shape of a pleated hood), and that her cloak
was fully fastened down the length of her torso, except for one hook
open at her breast. Her arms rested awkwardly underneath. Her
shoes had been removed and set aside to her right. Her body hung
with her knees bent at a right angle, her toes resting on the ground.
Within moments Durfee’s two neighbors arrived, along with his
elderly father, Richard, who heard his son’s cry from the farmhouse
door. The four men gazed at the woman for a moment, examining
just how she was hanging. Then John Durfee climbed over the fence
into the stack yard and tried to hoist her body so that he could slip
the rope off the top of the pole. Unable to lift the body with one arm
and slip off the rope with the other, he heard his father’s impatient
holler: “Cut her down.” Handed a knife, Durfee cut the rope near the
top of the stake and laid the body on the ground. Then he ran to get
the coroner.3
Durfee farm and haystack, Tiverton, Rhode Island, where a farmer found Maria
Cornell’s body hanging. From Catherine R. Williams, Fall River, An Authentic
Narrative (Boston, 1833). Courtesy of the Huntington Library, San Marino,
California.
Those few spare words suggested a tale that might easily have
been buried along with Cornell’s body. Over the next year and
beyond, though, that note would incite endless stories from
countless storytellers, rippling outward from Fall River and New
England to enter the national consciousness. From the moment a
farmer discovered Maria Cornell’s lifeless body, people turned to an
assortment of labels to describe her. She was a Methodist, a
prostitute, a crazy woman, a pious female, a wayward daughter. But
most of all she was a “factory girl,” which carried its own array of
preconceptions.
As tragic as the end of Maria’s life would be, her life began amid a
fateful family drama.
2
A Troubled Marriage
Native Sons