D.B. Borton

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D.B. Borton

Bicycle Bess, the Boulevard Detective

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Cover illustrations for the Bessie Blake mysteries.

I’ve had a lifelong love affair with bicycles. My current heartthrob is a retro Electra girl’s bike with coaster brakes and baskets on the back. The baskets are collapsible and it’s black instead of pink, but otherwise it’s very similar to the bike I had as a kid and teenager. You can probably tell from this description that I don’t use it for 20-mile cross-country treks, but just now, in early February, I’m dreaming of leisurely summer jaunts on the bike trail. As a kid, I loved the sense of mobility my bike gave me — a freedom of movement that today’s kids can’t even imagine. And when I lived in a small town as an adult, I could do many of my errands on my bike. Now that I live in suburbia, my options are more limited, but I still appreciate the altered perspective on my neighborhood offered by moving through it on two wheels instead of four.

So here I’m paying homage to Bicycle Bess, the Boulevard Detective, who made three appearances in the pages of Beadle’s Half Dime Library in the fall of 1896. Her creator, Jesse C. Cowdrick, was a prolific writer of dime novels for both Beadle’s and Street and Smith, and is perhaps best known for continuing the Deadwood Dick series after the death of Edward L. Wheeler, whom you may remember as the creator of New York Nell and Santa Fe Sal. Bicycle Bess is hardly the most prominent or flashiest girl detective to appear in this blog, but I like to think that her intelligence, professionalism, and mobility were inspirational.

Bessie Blake, a sometime partner of Scorcher Sam (presumably named for his speed on a bicycle), makes her brief debut as an undercover agent in Scorcher Sam the Detective on Wheels; or, The Sensation at Washington Heights. By the second Scorcher Sam adventure, she has been promoted into the subtitle: Scorcher Sam’s Sweep-Stakes; or, Bicycle Bess, the Boulevard Belle Detective. In the third novella, what today we would call a “spin-off” (no pun intended, honest), the roles are reversed: The Girl-Cyclist’s Winning Hand; or, Scorcher Sam’s Death-Hole Drop.

I’ve introduced Bessie as a “bicycle detective,” although that representation of her seems only to have occurred to Cowdrick after the first novella. Her main assignment as a police detective seems to involve riding her bicycle up and down the boulevard to attract mashers and then have them arrested. In the second novella, she appears on the scene when she passes Scorcher Sam on her bicycle: “It was a young woman, jauntily attired and mounted on a fine wheel, coming toward him” (Sweep-Stakes 7). When she passes him with a covert sign, the narrator tells us:

She it was, the dauntless little boulevard detective, Scorcher Sam’s ally. As she came nearer, she looked irresistably [sic] bewitching. (Sweep-Stakes 7)

Sam follows to observe her at her work. She’s stringing along a notorious boulevard masher, nicknamed “Don Quixote” or “Donkey,” who takes advantage of the opportunity she gives him to collide with her and then pretend to examine her bike for damage. When he moves in to steal a kiss, Bessie is ready for him: “she brought him a couple of stinging slaps with her gauntleted hands, first on one side of the face and then on the other” (Sweep-Stakes 8). She screams as a signal to Sam, who chases down the fleeing Donkey on his bike and arrests him, despite this acknowledgment: “Sam would have been willing to bet that Bessie herself could overtake and arrest him single-handed, had the occasion required” (Sweep-Stakes 8). Bessie vows to press charges “not on my own account, for I think I rather got the best of him, but on account of the many others he has assaulted” (Sweep-Stakes 8). In fact, the Bicycle Bess stories all focus on female victims.

Bessie’s dual nature is typical of portrayals of early girl detectives. We are often reminded of her beauty, and even more often reminded, usually by Sam himself, of her small stature. In the above scene, she “shook her dainty fists at the masher” (Sweep-Stakes 8) and Sam calls her “my little lieutenant” (Sweep-Stakes 8).  In the third novella, Sam calls her “little one” (Girl-Cyclist 3) and “my brave little ally” (Girl-Cyclist 14), just as the narrator has called her “the dauntless little boulevard detective.” But like other girl detectives, Bessie has more than her dainty fists to use against bigger, stronger opponents. In Sweep-Stakes, she holds a masher at gunpoint. In Girl-Cyclist, she uses a gun, first against a bully, and then during a police raid, when she captures a second pistol and shoots the chief criminal. The sight of a beautiful young woman brandishing two pistols seems to be particularly alluring: “with flushed face and flashing eyes she made a pretty but terrible picture” (13) (one that I wish they had chosen to paint in the cover illustration, but more of that later).

Bessie’s intelligence is commented on from the start, when she’s introduced as “one of the cleverest female detectives in New York City” (Scorcher Sam 13). In the context, this appears to refer to her facility with disguise, and her undercover assignments seem to occupy her time when she’s not cruising the boulevard to attract mashers. In the first novella, Sam has used her as a spy in a household where he suspects criminal activity. In Girl-Cyclist, she takes the place of a young woman threatened with a forced marriage. When the criminals get the drop on Sam and her, she assumes the role of a weak woman:

Bess covered her face with her hands and her form shook as if with sobbing, and she did not act much like the girl who had so spunkily handled a revolver so short a time before. (12)

Yet we have already been reassured that “Bicycle Bess was clever, and was seldom at a loss” (10).

Like others in this sisterhood, she does manifest some traits considered to be feminine at the time. She is said to be “something of a tease” (Sweep-Stakes 9) and shows some pity for the masher she entraps in Sweep-Stakes. And in a curious footnote, she chides Sam for his use of slang at one point; slang is often presented as a problem in early detective fiction, perhaps because it’s considered a sign of class in a society that is anything but classless, and the Angels in the House were often entrusted with the purity of the English language.

But I’ll end where I began, with Bessie as “the queen of wheelwomen” (Sweep-Stakes 15). This reputation is confirmed when Bess identifies her partner to the intended woman victim in Girl-Cyclist, and the latter responds, “Then you must be Bicycle Bess” (6). This victim, also an accomplished wheelwoman, has apparently heard of the detective who patrols the boulevard to make it safer for women on bicycles. In fact, all three of these characters take their wheels with them when they travel on the train. So closely identified with her bicycle is Bess that Sam infers her movements from the presence or absence of her bicycle in her room at one point.

I regret, therefore, that I cannot show you a picture of Bessie with her wheel. The women who appear in the cover illustrations are all victims of crime. Sam, on the other hand, appears in all three illustrations, accompanied by his bicycle in two of them. And yes, Reader, she married him.

The novellas are available here: Scorcher Sam, the Detective on Wheels; Scorcher Sam’s Sweep-Stakes, The Girl-Cyclist’s Winning Hand.

Thanks to Beth McGowan of the Northern Illinois University Libraries for furnishing information on Jesse C. Cowdrick.

J.C. Cowdrick
J. C. Cowdrick

NINE LIVES

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The stairs I was standing on fell away beneath my feet, and I dropped. I grabbed for anything that could break my fall. My hands clutched at a baluster and found purchase. I was yanked to a stop and hung suspended, coughing, smoke swirling around me, the fire roaring and crackling in my ears. Under my jacket, tiny bodies shifted and tiny needles pricked my skin through my sweatshirt. A feathery tail emerged from above the zipper and tickled my chin. I couldn’t look up. Ash and debris rained down on my head and shoulders. Any second now, a live ember would get caught in the hood of my sweatshirt and we’d be swallowed up by the inferno. One of my passengers was trying to crawl inside my bra, and if tiny teeth found something they mistook for a milk fountain, we were goners.

A voice shouted at me from below. “Cat, you got to let go!” it said. “I got a couch under you to break your fall.”

I tried looking down. It wasn’t that I didn’t trust my partner, but I knew he was capable of stretching the truth if he thought it was for my own good.

But my eyes were bleary with tears and a cloud of smoke obscured everything. I coughed and clung.

Then the cloud parted and I could make out shapes — a piece of furniture, the dark figure of a man, and something small and four-footed, pacing. The mama cat, ears swiveling in my direction as if she could hear something under the roar of the fire.

Then she leapt for the enormous tapestry that hung on the wall in the stairwell, reaching from the second floor down to the first, and began climbing toward us. It was already smoldering. Now or never.

I kicked my feet out and launched myself at the wall, scrabbling at the heavy fabric. The impact sent shockwaves through my cargo and I felt them as a writhing mass just above my waistband. As I clutched at the tapestry, I felt it slowly give way. The panic-stricken mama cat, trapped between my chest and the wall, pressed against her babies but separated from them by layers of fabric, flailed and cut a scimitar slash down my cheek and neck. I coughed and clutched.

Then we slid down the wall and landed in a heap of fur and fabric. Strong arms lifted me to my feet and pulled me, my head still shrouded, trailing tapestry like a coronation train. I stumbled over something that might have been a doorsill and felt a change in the air and then the softer ground beneath my feet. Out here, there were shouts and mechanical sounds, and the rushing of water added to the cacophony of fire noises.

The fabric was pulled back and my head popped out. I felt the heat of the flames against one cheek and the cool night air against the other.

Moses tapped my shoulder, “I’m going for a paramedic.”

I nodded and sank to my knees, coughing. I fumbled for my zipper, unzipped, and released a shower of kittens. Then I collapsed fully and lay on my back, trying to fill my lungs with air. A blurry shape in my peripheral vision resembled a mama cat who was taking inventory and licking her brood with the angry intensity of a mother who’s almost lost them.

Then a new shape materialized, skinny, tailless, and human. It squatted next to me.

“You okay, M-m-miz Cat?” it said.

I nodded.

It continued to study me. “Wh-what that?” it said, and extended an arm.

I tried to speak and failed. I tried again. “Cat scratch,” I croaked.

“No,” it said, “n-not that. Wh-what that?”

I turned my head to follow the direction of the pointing finger, blinked to clear my vision, and looked into the blackened eye sockets of a skull.

If You Want Something Done Right . . .

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Nita, the Female Ferret

Cover Image: NITA, THE FEMALE FERRET

What do you do if you report a robbery to the police and they don’t believe you? You resign yourself to becoming a detective and solving the crime yourself. That’s how 18-year-old Juanita Henriques becomes the “female ferret” in Police Captain Howard’s 1885 dime novel, Nita, the Female Ferret.

When a plainly dressed young woman presents herself at the police station to report that she has been robbed of several pieces of diamond-studded jewelry, the superintendent and one of his detectives don’t believe her, even though she makes a strong impression on them. She tells the superintendent that if she knew who the thief was, she would not have come to him; instead, she says simply, “I would have received back my property, or else killed the robber” (2). The superintendent concludes that “she is a singular young woman . . . and has the sharpest eye I ever saw in a woman’s head” (3), and sends a Detective Mason to investigate. At the house where Miss Henriques boards, the landlady tells Mason, “She impressed me as a young lady of extraordinary strength of mind and will power. She is well educated, and as deep as the ocean” (3). In fact, Nita’s past is shrouded in mystery; the residents of the house find her quiet, well bred, and rather withdrawn. Mason is the first to admit to her, “Miss, had you been born one of my sex you would have made a first-class detective” (4). The landlady chides Miss H for not confiding her suspicions to him, but she says, “It’s a detective’s business to find a clew [sic]. If I had a clew I could follow it up myself, and would do so to save the expense of employing a detective” (4); after he’s left, she declares, “My suspicions are not a clew” (4). The next day she returns to the superintendent with a set of diamond earrings and brooch that were not taken in the robbery, and when she is told that the police detective “could see nothing to show that any robbery was committed there,” she responds, “Which shows that he was not much of a detective” (5). Enter Nita, the female ferret (“ferret” was one of many slang terms for a detective).

Her first act is to don a disguise: she tells the landlady that she will be away for a while and will send a friend, Nita Endicott, to occupy her room in her absence. Nita is very like Juanita in stature, but blond rather than dark-haired, and most importantly, lively and outgoing. In no time, Nita is captivating the household with her piano playing, singing, beautiful new dresses, dazzling diamonds, and especial kindness to the maid, Margaret. This is the first of two disguises Nita uses to gather evidence. Quite early, her suspicions fall on Margaret’s lover, Tom Nelson, and she adds a second disguise as a boy so that she can tail Nelson unrecognized and follow him into saloons. As the lovely and enchanting Nita, she dazzles Nelson, goes on carriage rides with him, and permits him to make love to her. As Randy Holland, she follows Nelson and even gets the better of him in a bar confrontation.

Mastery of disguise and role-playing was an essential trait to a dime-novel detective at a time when deceit was regarded as a serious moral failing in a well-bred young lady. Yet unlike some other female detectives who regret the necessity for masquerade, Nita quite enjoys her new persona. She tells herself, “This is the best thing I ever did” (10) and even muses,

“Oh, I wish I was not afraid of betraying my sex in a fine suit of clothes. I’d go to the theaters and operas and mash the girls just for the fun. But this detective business is fun enough just now, and it grows more interesting every hour, and I like it more and more every day.” (17)

But as if concerned that this kind of declaration might risk the reader’s disapproval of Nita, Howard follows immediately with an encounter that underscores Nita’s true sex: she comes to the aid of a weeping young woman because, we’re told, “Nita had a true woman’s heart, and this unmistakable sign of distress touched her deeply” (17). The young woman, Sadie, turns out to be one of many that Tom Nelson has “married” and abandoned; “Randy” reveals her true sex to Sadie and rents some rooms for her in his new role as Sadie’s husband. In fact, however, she plays Tom Nelson’s role of “masher” the next day when a young woman flirts with him, playfully doubting his strength, and he tells her, “I can take a much heavier girl than you are and hold her on my knee, and talk to her all the evening” (20). After a night (alone) in a hotel room, she reminds herself, “Oh, I came near forgetting that I have a wife down in Twenty-second street” (20). She wasn’t the first girl detective to discover the liberating power of cross-dressing. It permits her entry into some spaces that are generally off-limits to respectable middle-class women.

Once Nita has caught the culprit and explained all to her landlady and landlord, the landlord tells her of two “mistakes”: “First, that you were not born a man, that you might have been the greatest detective in the world” and “Second, that being born a woman, you did not go on the stage and become known as the greatest actress that ever lived” (27). The second compliment is sincere, but perhaps unintentionally backhanded, since actresses were considered of dubious moral standing at the time. Indeed, the liberties she permits Tom Nelson — embraces, kisses — are justified, but perhaps not justifiable, by the role she’s playing, and after reminding readers what’s at stake, the narrator observes: “The reader can readily understand then, the extraordinary will-power of our heroine, which enabled her to smile when Nelson kissed her in the carriage” (10). Indeed, Nita’s “will power,” mentioned here and in the previous quotation, set her apart from the feminine ideal, as does her willingness to spend time in cheap dives among disreputable company, where:

   The men and women talked with a freedom of expression that made our heroine wish herself a   thousand miles away.

   But she stood it for the sake of her mission. (15)

As you might guess by now if you have been following this blog, Nita doesn’t rely solely on her acting skills and men’s clothing to keep her safe in dangerous places and situations. Her small pearl-handled revolver makes its first appearance in a wonderfully comic scene in a restaurant, where Tom Nelson picks a fight with Randy Holland for — wait for it — wearing his hat at the table. Insisting on his status as a gentleman, Tom menaces the offending Holland until s/he calmly draws “a tiny revolver” and aims it at him. Confident of his own shrewdness, Tom offers her ten dollars to relinquish the gun to a waiter, and when she takes him up on it and collects her cash, he springs at her again, only to be repulsed this time by “a long bright bladed dagger” (11). Slow on the uptake, Tom offers another ten dollars if she’ll relinquish the dagger, and when she does, the inevitable ensues: Tom lunges for her, only to be brought up short by “a tiny pearl-handled revolver” (12). Clearly, Nita is armed to the teeth. Later, Randy tells a gang of would-be assailants, “The man who comes up to pick a fight with me will get both steel and lead” (16), and she proves it by shooting their leader. Like other girl detectives, however, Nita also demonstrates that she has the physical prowess for the job when she pursues the escaping Tom across roof-tops, at one point leaping ten feet down from one rooftop to the next.

Nita’s “masculine” traits and abilities contrast sharply with the those of the other women characters in the story. Tom’s two female victims, Margaret and Sadie, are characterized by their tears, whereas we never see Nita cry. Both women are blinded by their love for Tom. Margaret refuses to heed Nita’s warnings about him up to the point when Nita reveals the other wife she has met. Then Margaret becomes a picture of female vengeance: “True, she thought of Tom, but only how she might avenge herself” (21). In the cheap dive mentioned above, two gin-soaked women engage in a catfight motivated by jealousy over Randy Holland. When Nita pursues Tom across rooftops later, he enters a house through a window and terrifies the women inside, who, after “raising a terrible racket,” demonstrate their panicked incompetence by running “screaming from room to room in the house, locking the doors to protect themselves, but in reality preventing him from getting out” (25). It’s difficult to see how Nita developed her strong will, her sangfroid, her intelligence, and her adventurous spirit if these were the kinds of female role models available to her. We know little about her background, except that she, like so many other girl detectives, is an orphan.

The ending of the novel is something of a disappointment, if perhaps an inevitability. Nita’s celebrity in the press makes her the talk of the town, especially after she testifies in court to the incompetence of the police, and she’s confronted by an importunate millionaire banker who wants her to investigate bank thefts and won’t take no for an answer. She cracks the case in very short order because she visualizes the theft in a dream! Delighted, the banker gives her a blank check in payment for her services, and when she threatens to take the whole bank, he insists that the banker himself would have to be included. Later, when she next shows him the check, she has filled in the amount to read “the banker himself” (29), thus strengthening our impression of Nita as a young woman who knows what she wants and goes after it. They are married immediately and live happily ever after, especially when the papers she has recovered along with her stolen jewels prove her claim to an English fortune that doubles her husband’s. So her unconventional story ends in a conventional way, and we are left to consider that it is, perhaps, just as well, since a professional detective could hardly rely on visionary dreams to solve the average case.

 

I’ve been unable to locate an online version of this text. According to The Dime Novel Bibliography published by the Edward T. LeBlanc Memorial Library, “Police Captain Howard” was a “pseudonym used by multiple people.”

Mercedes Quero: Elusive Yet Ubiquitous

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A queer fish indeed is Mercedes Quero, who shows up when she’s least expected and most wanted. She appeared in four novels by Gladys Edson Locke, who wrote as G. E. Locke: That Affair at Portstead Manor (1914), The Red Cavalier, or, The Twin Turrets Mystery (1922), The Scarlet Macaw (1923), and The House on the Downs (1925). Though Locke lived all her life in the Boston area, these novels are all British country house mysteries. They usually feature an unmarried male focal character, whom Bob Schneider of SpeedyMysteries.com compares to Captain Hastings of the Hercule Poirot mysteries.

Quero is a detective of considerable reputation, in spite of her gender. When a diamond necklace is stolen in Portstead Manor, a character says, “I should send for that woman detective, Mercedes Quero. All London is talking about her since the Dexter case,” to which Lord Portstead responds, “Women are not at all suited to detective work. They are illogical and carried away by sentiment.” In Red Cavalier, a character notes that she is “highly successful in her profession.” In The Scarlet Macaw, she’s described as “the celebrated woman detective whose fame was known throughout England and even on the Continent.” Of course, her nemesis Detective Burton has a different view of her, and calls her “the most devilish, provoking and meddlesome skirt that ever was wished on a man.”

We’re never told Quero’s age, only that she is young. But her background is typical for professional women detectives; in Portstead Manor, the male character who befriends her learns something of her history: “Born and bred a gentlewoman, a sudden turn of fortune had thrown her upon her own resources.” She is often described as attractive, as from the point of view of another male character in Red Cavalier: “This slim, girlishly pretty young woman with mirthful brown eyes, skin fair as a child’s and soft brown hair simply coiled in her neck was not at all his idea of the detective who had already won an enviable name in her chosen profession.” In fact, Quero’s eyes are frequently characterized as “mirthful” or “mischievous” or “mocking,” and they appear to express most particularly her opinion of the men who surround her. She is capable of gentleness toward vulnerable women, and her mirthful eyes turn “misty” with sentimentality as she watches one man’s gentleness with a crippled little girl. But these are rare moments. She does not suffer fools gladly, especially men, or challenges to her authority, telling one man, “Don’t be stupid!” and admonishing Detective Burton at one point, “You will be good enough to remember that I am conducting this inquiry.”

As for the qualities that ensure her success as a detective, she is called “devilish smart.” And when one male character, who has commented on “the paradox of a pretty woman and a logical combined,” calls her “jolly clever,” she responds, “It is my business to be ‘jolly clever.’” A woman character made rather uncomfortable by Quero’s “very unusual pursuit” calls her “quick and intuitive,” as if to reclaim her for the female gender by privileging intuition over logic. And there is something to this claim, since she has a habit of showing up on the scene under an assumed name, and sometimes, as in Red Cavalier, even before she has been sent for. In this case, like Sherlock Holmes, she has read about the case and taken an interest. In all of these cases, Quero first appears in the guise of a secretary or maid, so that the experienced reader begins to look for her in the background long before she takes center stage. These impersonations permit her to spy on the principals in the case, a most unladylike thing to do.

While she is not the most athletic of girl detectives, she is perfectly capable of subduing an angry woman wielding a knife (Scarlet Macaw) and carries a small revolver that she uses to shoot a fleeing suspect (Red Cavalier).

Only in the first book, Portstead Manor, are we given a glimpse of the drawbacks of Quero’s career. When one character tells her, “I cannot understand you,” she replies, “No one does. I am a very much misunderstood person.” At the end of the book, the narrator mentions her lonely life, and speculates on the value of her continued friendship with the focal male character, for which she was “probably grateful.”

Locke herself seems to have been an interesting figure, with multiple degrees from Boston University and Simmons College, as reported by Douglas A. Anderson in his blog on Lesser-Known Writers. She was sufficiently proficient in Latin, French, and Italian to tutor in these languages and taught high school Latin and English. She was a member of the Boston Society for Psychical Research and never married.

The books have garnered mixed reviews. Anderson cites a review by the New York Times of Mr. Locke’s The Scarlet Macaw that damns it with faint praise, calling it an “interesting mystery” delivered in “extremely mediocre prose.” The plots are intricate and convoluted, and in the last book, The House on the Downs, almost every character is using an assumed name (the names themselves are worth mentioning: Sir Quenton Rotherdene, Theophilus Elphic, Bannard Darrel, Wallington Melrose, Paul Wardle). Should you decide to go looking for the Quero books, be warned: they have recently been reprinted in dreadful editions by the Hard Press of Miami. These appear to have been scanned and published uncorrected, with Quero’s name spelled in a variety of ways, most frequently as “Queer.”

Cad Metti: The Female Detective Strategist

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Book Covers, Cad Metti editions

Here’s a girl detective that has outlasted Nancy Drew, even if she’s never had Nancy’s star power. I counted nine editions on AbeBooks alone (not including the edition I own) and you can read about her exploits online for free. The original edition, as far as I can tell, is Cad Metti, The Female Detective Strategist; or, Dudie Dunne Again in the Field, published in 1895 in the dime novel series Old Sleuth’s Own (no. 37). The author is identified as Old Sleuth, “Author of all the Famous ‘Old Sleuth’ Stories.” “Old Sleuth” was a pen name adopted by Harlan Page Halsey. But “Old Sleuth” was, like the “Carolyn Keene” of the Nancy Drew books, a pen name used by other authors within the Old Sleuth dime novel empire, as well as the name of the fictional protagonist of many of the stories. (In his 1982 book, The Dime Novel Detective, Gary Hoppenstand identifies this character as “the first serialized detective character” and the prototype for what he calls the “Avenger Detective.”) There are several female detectives attributed to Old Sleuth; in fact, Roberts, Hoppenstand, and Browne have published a collection entitled Old Sleuth’s Freaky Female Detectives (1990). That this collection does not include Cad Metti suggests how many examples they had to choose from.

Oscar “Dudie” Dunne had been introduced in a previous novel (no. 29 in the series) as an ace detective with a remarkable facility for disguise. In Cad Metti, he has acquired a female trainee, “one of the brightest women that ever entered the profession: she is a born detective.” We are not told Cad’s age, only that Dudie is young and in the opening scene, they are described as “a young lady and gentleman,” though they are in disguise. Dudie describes himself as “her instructor.”

Gender-bending, as we’d term it now, is clearly part of the sensational appeal of the story. Dudie himself is “a young man of singularly effeminate appearance, with muscles like whipcord and powers of endurance that were seemingly tireless. He was not only a great athlete but a wonderful boxer, and it was a favorite role with him to assume the character of a dude.” As for Cad, according to Dudie,

She could make her living on the stage as a marvel. She is a great musical genius. She can sing or dance, she can fence or wrestle like a man. Her strength is extraordinary, and as a pistol shot she is the champion woman of the world; and when it comes to quickness, nerve, cunning, and courage she cannot be excelled.

Indeed, the impersonation they’re enacting in the opening scene is intended to draw the attention of ruffians and provoke an attack — a common strategy for the two detectives. As Cad says, “it is a great thing to meet an antagonist who really underrates you.” Once the two are accosted by the criminals they are trawling for, a rare editorial comment assures the reader that the two are playing a dangerous game: “We desire to call our readers’ attention to the courage and nerve of both the detectives in daring for one moment to think of meeting those three great burly men.” When the attack comes, the two detectives draw their concealed billy clubs and counterattack: “Cad meantime played a single-note tattoo on the head of number two.” When the dust settles, one of the ruffians laments, “It was the gal gave me my rap and she came down on me with the force of a Goliah.” Yet Cad has a softer side, for we’re told that she’s a mother, since she has “rescued and adopted two Italian children from the street.” She joins the ranks of female detectives with adopted children apparently intended to reassure readers of their femininity; we never hear about the children again.

As the senior detective (and the one presumed to have established fans among the Old Sleuth readership), Dudie Dunne is the star of the narrative and the story follows his actions and thoughts. But this strategy heightens the mystery of his female partner, who often turns up unexpectedly, especially when Dudie is in trouble. And Dudie is often in trouble as the two track a large gang of counterfeiters, since several government detectives on the gang’s trail have already disappeared or been assassinated. It is Cad whose spying saves Dudie when he is taken in by a beautiful woman’s appeal for help. In the guise of a messenger boy, Cad has overheard the woman scheming with the head of the gang to lure him to his death, and Dudie, who in spite of being warned that the gang has female members, has declared, “I’ll bet my life on her sincerity,” is forced to eat his words. In another scene, when Dudie is being menaced by members of the gang and forced into a duel, a “boyish-looking youth” magically appears to serve as his second. This is Cad, of course, and she’s had the foresight to recruit three men who “were Jim terrors right on their looks” to back her.

The narrator emphasizes that Cad’s chief advantage as a detective is her skill at disguise and her consequent ability to spy on criminals. At one point, she is described as “the strange, weird girl, who could flit from place to place like a shadow, who could change her appearances as readily as a change actress on the stage.” At one point, even Dudie doesn’t recognize her in disguise as a messenger boy, and praises her as “the wonder of the age.” Historians of gender will note that while the story reinforces the particular reprehensiveness of female deceit, it is Cad’s ability to out-deceive the master criminal deceiver that makes her its hero.

There is no strong suggestion of romance between the partners, who call each other “brother” and “sis.” But when Cad dismisses Dudie’s “lovely lady” as “the beautiful siren who is to lure Ulysses into the den where he is to be slain with merciless precision and cold-blooded exactness,” he suspects her motives:

Seeing the glitter in Cad’s eyes he fell to a conclusion and asked:

“Is my beautiful partner jealous?”

Cad responds, “Yes, I am jealous for your life.” Whether the author intended to prepare the way for future romance, or whether he intended only to provide further evidence of Dudie’s inability to read women, I can’t say, since as far as I know, the pair never appeared together again. (I’m happy to be corrected by a more knowledgeable reader.)

Oddly enough, Cad exits the story before its climax. When Dudie’s villainous female antagonist gives the order to shoot him and the police burst into the room, Cad is nowhere to be seen — unless she is disguised as one of the men with repeating rifles who crowd the room. Has the author abandoned her when she’s served her purpose or is he guarding her secret? We can hope for the latter explanation, but the dime novels aren’t known for their subtlety.

Harlan Page Halsey

Cad Metti, the Female Detective Strategist is widely available in multiple additions. You can read it free online through Project Gutenberg or download a free copy at Kobo or Amazon.