The hotly anticipated follow-up to The Tumbling Girl, The Innocents follows Minnie and Albert on a new crime-solving quest in the world of a Victorian music hall. A string of murders has torn through London, throwing together the now notorious Minnie Ward and Albert Easterbrook once again. It seems that the crimes all link back to a tragedy fourteen years ago that left 183 children dead. But given that the incident touched so many people’s lives, everyone is a suspect . . .

'Splendid' Wall Street Journal 'A wry, warm and proper rib-tickling slice of dirty Victorian gothic’ Julia Crouch  1876, Victorian London. Minnie Ward, a feisty scriptwriter for the Variety Palace Music Hall, is devastated when her best friend is found brutally murdered. She enlists the help of private detective Albert Easterbrook to help her find justice.  Together they navigate London, from its high-class clubs to its murky underbelly. But as the bodies pile up, they must rely on one another if they’re going to track down the killer – and make it out alive . . . The first in a sharp, witty series of Victorian mystery novels, The Tumbling Girl is sure to delight fans of Sarah Waters, Elizabeth Macneal, and Miss Scarlet and the Duke.

The first in a sharp, witty series of Victorian mystery novels, The Tumbling Girl sees an unlikely duo team up to solve a grisly spate of murders. 1876, Victorian London. Minnie Ward, the feisty scriptwriter for the Variety Palace Music Hall, is devastated when her best friend is found brutally murdered. She enlists the help of private detective Albert Easterbrook, who already has his hands full trying to catch the notorious Hairpin Killer. But Minnie can't help getting involved in the investigation, and as the bodies begin to pile up, Albert's burgeoning feelings for his amateur partner start to interfere... A dazzling debut for fans of Sarah Waters and Elizabeth Macneal, and shows like Miss Scarlet and the Duke.

Why did certain domestic murders fire the Victorian imagination? In her analysis of literary and cultural representations of this phenomenon across genres, Bridget Walsh traces how the perception of the domestic murderer changed across the nineteenth century and suggests ways in which the public appetite for such crimes was representative of wider social concerns. She argues that the portrayal of domestic murder did not signal a consensus of opinion regarding the domestic space, but rather reflected significant discontent with the cultural and social codes of behaviour circulating in society, particularly around issues of gender and class. Examining novels, trial transcripts, medico-legal documents, broadsides, criminal and scientific writing, illustration and, notably, Victorian melodrama, Walsh focuses on the relationship between the domestic sphere, so central to Victorian values, and the desecration of that space by the act of murder. Her book encompasses the gendered representation of domestic murder for both men and women as it tackles crucial questions related to Victorian ideas of nationhood, national health, political and social inequality, newspaper coverage of murder, unstable and contested models of masculinity and the ambivalent portrayal of the female domestic murderer at the fin de siecle.

Why did certain domestic murders fire the Victorian imagination? In her analysis of literary and cultural representations of this phenomenon across genres, Bridget Walsh traces how the perception of the domestic murderer changed across the nineteenth century and suggests ways in which the public appetite for such crimes was representative of wider social concerns. She argues that the portrayal of domestic murder did not signal a consensus of opinion regarding the domestic space, but rather reflected significant discontent with the cultural and social codes of behaviour circulating in society, particularly around issues of gender and class. Examining novels, trial transcripts, medico-legal documents, broadsides, criminal and scientific writing, illustration and, notably, Victorian melodrama, Walsh focuses on the relationship between the domestic sphere, so central to Victorian values, and the desecration of that space by the act of murder. Her book encompasses the gendered representation of domestic murder for both men and women as it tackles crucial questions related to Victorian ideas of nationhood, national health, political and social inequality, newspaper coverage of murder, unstable and contested models of masculinity and the ambivalent portrayal of the female domestic murderer at the fin de siecle.