Adding on to this thread a good while after its latest post (June of 2020)
McBain's "theory" is infuriating and lacks even a basic understanding of the known facts of the case. That said, what I find interesting and certainly noteworthy is the idea that Lizzie was Queer. Despite rumors spread after the murders, there is no evidence that Lizzie ever showed interest in men or sex in general (not that such interests would be openly expressed in ways contemporary readers might expect). Something else we know that is mentioned all too infrequently is that we know there was a significant disruption in Lizzie's female role-model with the death of her mother and the animosity between her and Abby Borden. Yes, Emma stepped in to act as a mother, but she was also a child - the blind leading the blind...I just don't buy that Lizzie had a stable female role-model in either Emma or Abby Borden. With respect to Bridget, there's no evidence to suggest that her and Lizzie were romantically involved. The evidence often used to suggest this is the $5000 paid to Bridget by Mr. Jennings on behalf of the Borden sisters to return to Ireland and never come back. This seems to be alluded to in the inscription outside the house of George Winston in Anaconda, MT (for whom Bridget worked and where she spent the rest of her days after returning from Ireland post-trial) that says "The maid never spoke of the crime, but reportedly confessed on her deathbed in 1948 that Lizzie, who was acquitted, paid Sullivan for her evasive testimony." There's also a strange anecdote that I cannot source from the so-called "historical" tours of the Borden house that Sullivan got a bad case of pneumonia about a year before she died (so around 1947) and was told to prepare her final goodbyes. According to the anecdote, she wrote to a friend from Fall River telling her that she had to reveal a terrible secret before she died. The friend high-tailed it out to Montana only to discover that Bridget had made a full recovery and dismissed her letter as "I was just being dramatic." That has no independent source outside of what a tour guide of the Borden House said so take it with a grain of salt. But then again, the inscription outside the Winston home has no source listed, and as far as I can find nobody has been able to track down the source of this claim.
Someone here pointed out that Lizzie and Bridget were of different classes which they said was further evidence against this theory - that said, we know now of one of Lizzie's female servants at Maplecroft who underwent significant health problems, treatment for which Lizzie financed. Some read more into this to suggest that maybe Lizzie wasn't so class-obsessed in this respect, especially considering how subversive queerness would have been for the time in the first place. Then again, we know she was generally very generous and affectionate with her house staff and virtually everyone who remained loyal to her after the trial. The strongest evidence we have of Lizzie's queerness are the deeply affectionate letters between her and Nance O'Neil as well as their highly-publicized outings and parties - I believe it was Nance who gave Lizzie the pet-name 'Lizbeth' with which she was buried ('Parallel Lives' by Michael Martins & Dennis Binette pg. 727-729, at the very least, Nance's inscription in this book dated in 1904 is the first known instance of Lizzie being addressed as 'Lizbeth' which she subsequently used everywhere).
Perhaps even more infuriating than McBain's speculation is the way other Borden historians (many of whom I have a deep respect for and, as such, will redact their names) dismiss the idea of Lizzie as Queer out of hand, and often without much care for what they express when dismissing this idea. For example, one historian in a lecture, mentioning the letters between Lizzie and Nance, said "People use this to suggest that Lizzie was something different from you and me." ("something"? why some "thing"? "different from you and me"? was it a convention of explicitly heterosexual Borden history fanatics? NOTE: I am not suggesting this historian is actively hateful by any stretch. I am simply noting the general lack of care when talking about Queer people in this context on the part of virtually every Borden historian I've read/listened to).
In another interview with a different Borden historian, they mentioned "People like this theory because it ties up a few loose ends, but I think just because a woman shows no interest in men or in sex that that doesn't automatically make her a lesbian." I'll note this historian is heterosexual and, as far as I'm aware, is not literate in Queer theory, and thus would have absolutely no tools with which to read between the lines. I can't help but point out how odd it is that this someone is more inclined to deem Lizzie asexual than they are to deem her lesbian...despite the not insignificant evidence to the latter. When dealing with people of the past, we have to understand that if anything was written down on something that was meant to be kept (not burned or otherwise disposed of), it would not be admissions of something that would send you to the asylum or to prison. We wouldn't be expecting to read a 50 Shades-type letter, but we might expect something Byronic, flowery, something beyond what one would expect to hear between two platonic friends. Sure enough, we have the handwritten "Flower and Thorn" poem in the volume of Aldrich poetry dedicated to "my dear Lizbeth with love from Daphne" first published in 'Parallel Lives'. Martins & Binette go on to mention that pet names and diminutives were quite common in this era, but Lizzie didn't just have a nickname like the other examples they give (Margaret into "Daisy", Mary into "Mame", etc). She, here as in virtually every other aspect of her life, broke with convention by not just changing her name without having married, but by publicly changing her first name. The fact that Lizzie and Nance felt strongly enough about each other to give one another pet names, that Lizzie undertook an action commonly associated with marriage but with an almost literary subversion of the trope by changing her first name to the very pet name believed to have been given to her by Nance O'Neil, a woman who is known to have had a lesbian relationship after leaving Fall River (more explicit love letters surfaced after her death in 1965 between herself and a female friend), suggests something a bit more intimate than these Borden historians seem to want to admit. No, there are no letters in which they give detailed descriptions of their intimate feelings/intimate knowledge of one another. We wouldn't expect to read such letters from the Victorian era - go back even to Karl Heinrich Ulrich - the first man to publicly declare himself homosexual in Germany of 1862 - he never got into it beyond stating the nature of the attraction.
Speaking of late 19th-century Germany - we know that Lizzie passed through Germany in her 19-week tour of Europe of 1890, specifically Nuremberg, Cologne, and Munich, followed by a stay at Innsbruck, Austria. It is not wholly unreasonable/unlikely that if she passed through Berlin she would have seen the initial murmurings of Magnus Hirschfeld and his Scientific-Humanitarian Committee (considered the founding of Queer studies and rights advocacy in the modern period) unless very specifically shielded from it. We know she was deeply affected by this trip - preserving cards and photographs of the famous scenes/artworks she'd witnessed in two well-bound scrapbook volumes (parts of which were reproduced in 'Parallel Lives'). I mean, hell, kids today who do a one-week exchange program can't shut up about their trips to "Bar-the-lona" for years afterwards so imagine the impact this would've had on someone without the advent of the internet or air travel....Then again, the idea is pure speculation as I have no idea whether she would have passed through Berlin or whether she would've been able to encounter Hirschfeld's Committee (not officially established until 1897, but first began to meet as early as 1888) or any of their published works.
Also interesting to note in a podcast interview with Michael Martins and Dennis Binette they mentioned a reticence on the part of Borden-affiliate descendants to share the information they had with anyone. They talk about how many Fall Riverites who had connections to Lizzie were "disgusted" by the common portrayals of Lizzie Borden...regularly bemoaning the ax-wielding maniac portrayal, yet stopping short at mention of anything Sapphic. Martins went on to lambast Victoria Lincoln saying "I think she was a traitor to her class by writing [A Private Disgrace], she should have known better." He waffles as to the book's contributions to Borden/Fall River history, saying that she elaborated on social relations with Fall River (the part with which he seemed to take most issue), that she was the first to provide a glimpse into the relationship with Nance O'Neil and the potted palms, the orchestra, and such at Maplecroft, but that a good portion of the book was fully fabricated by Lincoln, who was a novelist by trade, not a historian. At first, I disregarded that comment about being a "class traitor" but then he says - "The Lincoln Family, although somewhat progressive, were well-connected and lived up on the Hill." This made me perk up - "progressive" how? Would this progressiveness have precluded the Lincolns from being accepted in "polite society", if so, how? Are we to understand this progressiveness in the contemporary political meaning of the term or in an unmentioned and more obscure meaning? And then of course it begs the question what "class" did Victoria Lincoln betray? ...It just opens up a rabbit hole that I don't think has been satisfactorily explored.
(link here:
https://youtu.be/hpq73Jym7zA)
That same podcaster brings this idea up in a few episodes and dismisses it by suggesting that the nature of the relationship between Lizzie and Nance may have been more intimate than a regular friendship but that it would have been "more complicated" than "simply a lesbian affair." This strikes me as the same kind of nonsense and illogic used to platonize the relationships between Achilles and Patroclus, Michelangelo and Tommaso dei Cavalieri, King James I and the Duke of Buckingham - even to totally sanitize all of Sappho's poetry as "expressions of a chaste woman" (Henry T. Wharton is the latest proponent of that nonsense). In short, it strikes me as deeply homophobic. Those who first leveled the charge against Lizzie did so to demean her. Those who dismiss this charge out of hand tend to admit they do so out of either deep sympathy for Lizzie or a belief in her innocence and, because they see her in that light it would be anathema to them to see her as a lesbian - it might even be easier for them to believe she was asexual. (NOTE: It does not wash with me that people who profess their belief in Lizzie's innocence and promulgate her status as a tragic and sympathetic figure outright dismiss the idea of Lizzie as Queer because they have hard evidence to the contrary [they don't] or have genuine, Queer-informed interpretations of the same evidence that leads them to other conclusions [if any such interpretations exist, I've not found them]. The only *reason* considering Lizzie as Queer would be wholly anathema to people who wish to promulgate her innocence and perpetuate her story as a tragic figure would be if they believed the idea of Lizzie being Queer would negate the idea that she was either innocent or a tragic figure...which...uh...yeah that's just homophobic I hope I don't have to explain further)
I actually found one take on this that was perhaps most perplexing - that because homosexuality was not acceptable in Lizzie's lifetime and she might not have known of the concept, that she could not have been a lesbian. It struck me as the same non-argument that Deleuze made against a popular theory about the death of Tutankhamun being caused by tuberculosis (a theory later disproven by better technology) - that because tuberculosis was not a known pathogen to the ancient Egyptians (much in the same way staph infections weren't known as such), it could not have been tuberculosis. Basically, that because they wouldn't have called it tuberculosis, it could not have been tuberculosis. In this case, that because Lizzie would not have known about lesbianism in that terminology that she could not have been a lesbian...patently absurd, at least to me.
I've not found someone who writes eloquently and accurately on the subject who suggests that she might have been a lesbian *and* that her guilt or innocence is *not* further illuminated by this potential insight. In part, thanks to "McBain" or whatever his real name is, the idea of Lizzie being condemned by her stepmother and father for her sexuality as a new motive for the murder is in the aether, and has tainted subsequent investigations into this question. I think a lot of Borden historians dismiss this idea out of hand because they don't want to investigate it thoroughly, either because of prejudice or because they think they'd be feeding into McBain's unfounded nonsense and want to avoid that at any and all costs...even the cost of a simultaneously accurate and fresh perspective - the idea that she might have been Queer *AND* that that had no real bearing on her guilt or innocence, her potential motives, or her relationship with Emma. It certainly *could* provide more context and *could* make some things make more sense, but I would also be cautious to treat it as the key to the whole case as McBain suggests. Just to give an analogy from my primary field in the music world - we know that Franz Schubert was gay, and we know he had a horrible relationship with his father. For nearly a century, discussions of Schubert were limited solely to his harmony and consideration of texture. After this revelation, Schubert literature was dominated by all these catchy narratives of "this song is actually about Schubert's sexuality" and "this symphony actually represents Schubert's father" - all with far less substantive evidence than can be found in this case. It's only recently that a new take on this has started getting published - that Schubert was gay, that he had a horrible relationship with his father, that in *some* instances these things showed up in his work but that in most instances, they did not, because people are multifaceted and no one aspect of them can explain all others.
Just to add my own experiences into this, when I first went to tour the Borden House, I went on a whim last Sunday, I wore what to me is normal clothing for the summer (for context, I'm a gay man): a white shirt and a pair of shorts. Apparently my shirt's wide collar was enough to identify me as an outsider - one worthy of turned heads, non-plussed stares, low murmurs. We Queer folk are no strangers to this kind of behavior, but I can say it was rather palpable to me. It's not so outlandish to conclude that there might be some prejudice still at work here with respect to this aspect of Lizzie's life.
Yes this post took me around five hours to write to make sure I wasn't taking anything out of context or being overly harsh. I think Lizzie as Queer is still an open question, much like her guilt/innocence, and I wish that someone with the time/expertise (i.e. knows some Queer theory enough to be able to read between the lines without distortion or fabrication) would comb over this case and the biographical information we have of all the key players...sadly, I don't think that's coming down the pipeline anytime soon