This book was award the Samuel Johnson Prize for Non-fiction book of the year. It gives a clear account of the most famous court case of its time. It began the interest in reading and writing murder mysteries, and is contempory to many well known authors such as Charles Dickens and Wilkie Collins. We also see some of the social aspects of the case and the effects on the family both while the case was under investigation and after the case was closed.
The amount of research that has clearly gone into the making of this book is staggering and the worthy of recognition. ( )

So many have raved about this book here. I'm not quite sure what all the fuss was about. It was very readable and I like how she placed the event in the context of what was going on in terms of the crime and police worlds and society in general - and this case's impact on detective fiction.
But overall, there really was no 'gripping' element. It's quite clear from early on that the detective's suspicions about whodunnit were correct. ( )

(#65 in the 2008 Book Challenge)

Oh, this was really neat. True crime, Victorian-style, about the sensational murder of a small child, which I realize is a little depressing. The neat thing is the author's premise that the extraordinary coverage this crime received in the press, as well as the reporting about Mr. Whicher, one of the newly-established Scotland Yard detectives investigating the crime, created the foundation for the way murders and other crimes are presented in golden age British mystery novels.

Grade: A
Recommended: To true crime readers, also fans of the history of the detective novel, especially the classic "murder in the manor" genre.

If you have read Wilkie Collins' The Moonstone, you have encountered, in the person of Sergeant Cuff, Detective-Inspector Jonathan Whicher of Scotland Yard. In other fiction of the period, you may well have found echoes of the murder case about which Ms. Summerscale writes.

In the early hours of June 29, 1860, in the country house of Road Hill, near Trowbridge, England, a three-year-old boy named Saville Kent was spirited from his crib and murdered, his body found the next day at the bottom of the privy. When, after two weeks, the local police were, as Sherlock Holmes would have said, "baffled", they called in Scotland Yard, which sent DI Whicher. All signs suggested that the murderer must have been someone resident in the house. Then, on July 20, Whicher convinced the local magistrates to issue a warrant for the arrest of Constance Kent, the child's half-sister. But after a hearing to determine whether there was sufficient evidence to charge her, Constance was released. On October 1, at the behest of a solicitor who headed a commission investigating the murder, the nursemaid, Elizabeth Gough, was arrested, but the upshot was the same.

The public was fascinated by the case, and everyone fancied himself Whicher's rival in detection. Fingers pointed at the nursemaid, at the child's half-siblings, even at the child's father. Theories suggested adultery and madness. Newspapers alternately and variously supported Inspector Whicher's actions and attacked them. And it would not be until years later, with a confession, that the murder would be solved (though, even then, questions arose as to the reliability or complete truthfulness of that confession).

Why did this case arouse so much interest, so much public passion and debate and involvement? There were many reasons. The crime itself struck at the most private, protected place of an Englishman: his home. The investigation necessitated prying into a family's intimate secrets, and, worse, that prying was done into an upper-middle-class family by a man of the working class. Detectives were something new in England, and the English weren't quite sure they liked the idea.

Summerscale's great strength here is the way she interweaves the story of the murder with threads about English society in 1860. It's a fascinating story in itself, but is made far more nuanced by the way in which Summerscale relates it to the developments in England at large. I will say that I have seen at least one review of this book that complains that has "too much detail", and doesn't read sufficiently like a story. Hello? It's non-fiction, people! Frankly, I was rather impressed at how Summerscale was able to incorporate what was, in effect, a study of societal mores into the discussion of the murder case, and still make the book flow like a good novel without jettisoning scholarship.

(A note on notes: this book was extensively researched and, while endnotes are given for each chapter, Summerscale has also indicated "main sources" for groups of chapters. My one criticism of these notes is that, rather than having numbered endnotes, there are simply page references with the beginning of a sentence quoted. What's wrong with a superscript number and a corresponding endnote ((though a footnote would be preferable))? I do not understand why editors expect readers to be constantly flipping to the back of a book to see if there's a note or notes. I don't know if this is generally a choice of the author or of the editors, but I wish it would stop.)

In the early morning hours of June 30, 1860 three year old Saville Kent was abducted from his bed and murdered, his tiny body discovered the next day concealed in the privy, his throat cut ear to ear. The case cast everyone living in the household under suspicion. Samuel Kent (Saville’s father), the nursemaid Elizabeth Gough, Constance Kent (Saville’s 16 year old half sister), and William Kent (Saville’s 14 year old half brother) were to become the focus of the investigation, along with an odd villager named William Nutt who was the man to locate the child’s body. Within a short period of time Scotland Yard dispatched Detective-Inspector Jonathan (Jack) Whicher to the scene. Whicher, known for his cunning and skill, and embodying all the traits of the ideal Victorian sleuth would later be demonized for his probing investigation.

The Road Hill Case, as the murder came to be known, not only inflamed the public’s imagination, but it also changed the way detectives were viewed and ushered in a new era of fiction called ’sensation fiction.’

Kate Summerscale’s book is at once a compelling and fascinating look at Victorian England through the lens of a horrific crime. Summerscale examines nineteenth century societal mores, the evolving view of women, sexual awareness, and the role of the news media and literature in shaping views of morality, guilt and innocence.

Victorian women were seen as pure and innocent creatures, prone to hysteria and fits of insanity.

Women were thought to be prone to insanity, whether as a result of suppressed menstruation, a surplus of sexual energy, or the upheavals of puberty. - from The Suspicions of Mr. Whicher, page 244 -

In addition, middle class English families had historically found shelter within the walls of their homes. Privacy was rarely interfered with - even when it came to investigating crimes.

Privacy had become the essential attribute of the middle-class Victorian family, and the bourgeoisie acquired an expertise in secrecy (the word ’secretive’ was first recorded in 1853). - from The Suspicions of Mr. Whicher, page 109 -

When Whicher concluded that the murder of Saville had been commited by his sixteen year old half sister, and attempted to shore up that conclusion by probing deep within a middle-class family, the public (and press) were reluctant to accept his theory. Whicher was accused of exploiting the privacy of the family and the innocence of a young girl. In accusing a Constance Kent of the brutal crime, Whicher also seemed to be challenging Victorian beliefs.

‘The steps you have taken will be such as to ruin her for life - every hope is gone with regard to this young girl…And where is the evidence? The one fact - and I am ashamed in this land of liberty and justice to refer to it - is the suspicion of Mr. Whicher [...] - from The Suspicions of Mr. Whicher, page 154 -

It was almost inconceivable that a respectable girl could be possessed of enough fury and emotion to kill, and enough cool to cover it. The public preferred to believe in the detective’s villainy, to attribute the moral pollution to him. - from The Suspicions of Mr. Whicher, page 154 -

I found it interesting to read about the view of the press during the nineteenth century. Not only were they demonized, but later novels based on the Road Hill case and articles which referenced it were thought to be a corrupting influence on those who read them. I am reminded of present day arguments which suggest reading questionable material can damage young minds.

The dizzying expansion of the press in the 1850s prompted worries that readers might be corrupted, infected, inspired by the sex and violence in newspaper articles. The new journalists shared much with the detectives: they were seen alternately as crusaders for truth and as sleazy voyeurs. - from The Suspicions of Mr. Whicher, page 106 -

In the early 1860s the emotions aroused by the Road Hill murder went underground, leaving the pages of the press to reappear, disguised and intensified, in the pages of fiction. On 6 July 1861, almost exactly a year after the murder, the first installment of Mary Elizabeth Braddon’s Lady Audley’s Secret appeared in Robin Goodfellow magazine. - from The Suspicions of Mr. Whicher, page 217 -

Many feared that sensation novels were a ‘virus’ that might create the corruption they described, forming a circle of excitement - sexual and violent - that coursed through every stratum of society. - from The Suspicions of Mr. Whicher, page 219 -

Summerscale’s writing is clear and probing. Her book does not just look at a sensational crime, but explores the evolution of today’s crime scene investigation, the role of the press in criminal cases, the changing societal mores during the Victorian era, and how real life influenced literature. Wilkie Collins’ classic novel The Moonstone is based in large part on the Road Hill murder case. Although certain facts were altered (ie: the crime was not a murder, but a theft; and splashes of paint replaced splashes of blood), the salient features remained intact (a missing nightdress, a renowned detective, a middle class household whose privacy is invaded, and the focus on a young girl within the home).

The Suspicions of Mr. Whicher is a fascinating read for anyone interested in crime solving or mysteries. It will also appeal to those readers who are drawn to Victorian era literature or interested in reading more about the psychology and sociology of the nineteenth century. Summerscales’ detailed text made me eager to read some of the fictional literature she referenced.

Highly recommended. ( )