Lizzie Borden Took an Axe, or Did She? A Rhetorical Inquiry

by Annette M Holba

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We've heard the rhyme: Lizzie Borden took an axe, And gave her mother forty whacks, When she saw what she had done, She gave her father forty-one. But what do we really know about this infamous case of murder that occurred over one hundred years ago? Lizzie Borden Took an Axe, or Did She? is a collection of essays, written by a teacher-scholar (and a former Prosecutor's Detective), that that explore various interesting questions that have virtually remained unexplained for over one hundred years. What was Lizzie Borden's sexual orientation? Why did Lizzie Borden change her name after her public acquittal? What is the value of Edwin Porter's The Fall River Tragedy then and now? What role did media and gender play in this public spectacle? What was the relationship between John Morse and Bridget Sullivan? These and other questions are explored through rhetorical, narrative, and common sense theories to help us critically engage this captivating case. Whether you are reading this book for a class or reading it for fun outside of an academic setting, this book was written to engage the story of Lizzie Andrew Borden from refreshing new perspectives.

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3 out of 5 stars

A Textbook Featuring Lizzie, 2008-07-06
From the point of view of Borden researchers, the meat of the book consists of five essays previously published in The Hatchet or the Lizzie Borden Quarterly. Dr. Holba has cleverly packaged these as a college textbook designed to teach students to use critical thinking skills to analyze narratives of all kinds. Lizzie Borden's story is a good choice for this: it has blood, mystery, murder, and hints of unsavory sex; it's a story that almost everybody has heard about but whose facts and folklore are widely divergent; there is a great deal of written evidence from the time and a number of retellings.

The Lizzie researcher who isn't interested in critical theory is unlikely to find anything new here.

The Lizzie researcher who is interested in narratives qua narratives will wonder why there isn't a chapter explaining Lizzie's lifelong notoriety in terms of Michel Foucault's carceral continuum.

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