The Butcher's Daughter: The Hitherto Untold Story of Mrs. Lovett

The story of the vengeful barber Sweeney Todd has gripped fans across literary, stage, and screen renditions-but little has been revealed about Mrs. Lovett, Todd's notorious partner in crime. Until now.

Enclosed herewith: a bloodcurdling correspondence of profound horror and intrigue, based on the original Victorian penny dreadful that started it all.

London, 1887: At the abandoned apartment of a missing young woman, a dossier of evidence is collected, ordered chronologically, and sent to the Chief Inspector of the London Metropolitan Police. It contains a frightening correspondence between an inquisitive journalist, Miss Emily Gibson, and the woman Gibson thinks may be the infamous Mrs. Lovett-Sweeney Todd's accomplice, “a wicked woman” who baked men into pies and sold them in her pie shop on Fleet Street. The talk of London Town-even decades after her horrendous misdeeds.

As the woman relays the harrowing account of her life-from her upbringing on Butcher's Row in the unruly streets of Victorian London to her daring escape from a mad doctor-her missives unlock an intricate mystery that brings Miss Gibson closer to the truth, even as that truth may cost her everything.

A hair-raising and breathtaking novel for fans of Sarah Waters and Gregory Maguire, The Butcher's Daughter is an irresistible literary thriller that draws richly from historical sources and shines new light on the woman behind the counter of the most disreputable pie shop ever known.

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The Butcher's Daughter: The Hitherto Untold Story of Mrs. Lovett

The story of the vengeful barber Sweeney Todd has gripped fans across literary, stage, and screen renditions-but little has been revealed about Mrs. Lovett, Todd's notorious partner in crime. Until now.

Enclosed herewith: a bloodcurdling correspondence of profound horror and intrigue, based on the original Victorian penny dreadful that started it all.

London, 1887: At the abandoned apartment of a missing young woman, a dossier of evidence is collected, ordered chronologically, and sent to the Chief Inspector of the London Metropolitan Police. It contains a frightening correspondence between an inquisitive journalist, Miss Emily Gibson, and the woman Gibson thinks may be the infamous Mrs. Lovett-Sweeney Todd's accomplice, “a wicked woman” who baked men into pies and sold them in her pie shop on Fleet Street. The talk of London Town-even decades after her horrendous misdeeds.

As the woman relays the harrowing account of her life-from her upbringing on Butcher's Row in the unruly streets of Victorian London to her daring escape from a mad doctor-her missives unlock an intricate mystery that brings Miss Gibson closer to the truth, even as that truth may cost her everything.

A hair-raising and breathtaking novel for fans of Sarah Waters and Gregory Maguire, The Butcher's Daughter is an irresistible literary thriller that draws richly from historical sources and shines new light on the woman behind the counter of the most disreputable pie shop ever known.

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The Butcher's Daughter: The Hitherto Untold Story of Mrs. Lovett

The Butcher's Daughter: The Hitherto Untold Story of Mrs. Lovett

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The Butcher's Daughter: The Hitherto Untold Story of Mrs. Lovett

The Butcher's Daughter: The Hitherto Untold Story of Mrs. Lovett

Unabridged — 13 hours, 15 minutes

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Overview

The story of the vengeful barber Sweeney Todd has gripped fans across literary, stage, and screen renditions-but little has been revealed about Mrs. Lovett, Todd's notorious partner in crime. Until now.

Enclosed herewith: a bloodcurdling correspondence of profound horror and intrigue, based on the original Victorian penny dreadful that started it all.

London, 1887: At the abandoned apartment of a missing young woman, a dossier of evidence is collected, ordered chronologically, and sent to the Chief Inspector of the London Metropolitan Police. It contains a frightening correspondence between an inquisitive journalist, Miss Emily Gibson, and the woman Gibson thinks may be the infamous Mrs. Lovett-Sweeney Todd's accomplice, “a wicked woman” who baked men into pies and sold them in her pie shop on Fleet Street. The talk of London Town-even decades after her horrendous misdeeds.

As the woman relays the harrowing account of her life-from her upbringing on Butcher's Row in the unruly streets of Victorian London to her daring escape from a mad doctor-her missives unlock an intricate mystery that brings Miss Gibson closer to the truth, even as that truth may cost her everything.

A hair-raising and breathtaking novel for fans of Sarah Waters and Gregory Maguire, The Butcher's Daughter is an irresistible literary thriller that draws richly from historical sources and shines new light on the woman behind the counter of the most disreputable pie shop ever known.


Editorial Reviews

Publishers Weekly

03/10/2025

Mrs. Lovett, the cannibalistic, meat-pie-making accomplice of barbaric barber Sweeney Todd, gets her own melodramatic backstory in this dark retelling of the Victorian penny dreadful from Demchuk (Red X) and debut author Clark. In 1887, journalist Emily Gibson searches for the infamous Margery Lovett. She believes she’s found her in Margaret Evans, a self-described “prisoner” living among the sisters at St. Anne’s Priory, whose story plays out through a series of letters between the two women. Margaret recounts her childhood as the daughter of a butcher and her time as a maid in the household of a ghoulish London surgeon, where she is impregnated by her employer and forced to flee. Though punctuated with occasional creepy incidents, these early chapters feel like perfunctory episodes in Margaret’s gradual awakening to her power—which comes to roaring life when her child, purportedly stillborn, is snatched away from her. Adopting the Lovett persona and trade, a vengeful Margaret partners with psychotic Sweeney and the story goes full tilt ripping yarn, acquiring new energy and lurid gusto. Though the authors fiddle with the Sweeney legend as most horror and Broadway fans know it, they build to a startling final twist that readers will think worth the liberties taken. It’s a bloody good time. (May)

From the Publisher

Praise for The Butcher's Daughter

“A wild, high-octane, blood-soaked tale.”
The New York Times Book Review

“An often-gruesome work of darkest Victorian noir . . . It is an undeniably impressive performance: a Penny Dreadful whose most startling turns of plot seem worthy of Charles Dickens and whose most unexpected shocks lie in cunning wait until the final sentences.”
—Tom Nolan, Wall Street Journal

“Your fingers may bleed with paper cuts as you tear through The Butcher’s Daughter. Retailed with consummate confidence, this novel draws out of the foggy demimonde of Victorian London all manner of mayhem. I am spellbound. You will be too, should you attend the tale.”
—Gregory Maguire, author of Wicked: The Life and Times of the Wicked Witch of the West

“Grisly, spellbinding, and oddly touching . . . Demchuk and Clark get their arms bloody to the elbow reaching deep into the carcass of a story about life at the margins and the gruesome allure of wanton violence.”
—Gretchen Felker-Martin, author of Manhunt and Cuckoo

“Engrossing and exquisitely detailed. A twisty tale worthy of the enigmatic Mrs. Lovett.”
—Kelley Armstrong, New York Times bestselling author of Bitten and I'll Be Waiting

“A Victorian nightmare. Demchuk and Clark present an assembly of communications and reports that together form temporal windows to a slaughterhouse, turning us into voyeurs glimpsing the edges of carnage. All the ingredients of a macabre treat.”
—Hailey Piper, Bram Stoker Award-winning author of Queen of Teeth and All the Hearts You Eat

“A consistently clever and harrowing fin-de-siècle horror, The Butcher’s Daughter draws its eerie narrative harmonies from a cacophony of documents. Demchuk and Clark are equally adept in blending genres, creating a unique mixture of sensation fiction and literary horror. Tremendous fun.”
—Naben Ruthnum, author of Helpmeet

“A wonderfully sophisticated horror. The Butcher’s Daughter is a gloomy, disgusting, and suspenseful rollercoaster ride, brought to vivid life by two exceptionally talented writers. At its heart, it is a tale about bodies—especially women’s bodies—about freedom and agency, and those who wish to control other human beings down to their guts. An historical novel, yes, but very much spun from this current bloody moment. Bleak, witty, and disturbing.”
—Richard Mirabella, author of Brother & Sister Enter the Forest

“Bloody and beautiful, The Butcher’s Daughter is a visceral novel that grips the reader and refuses to let go. David Demchuk and Corinne Leigh Clark brilliantly reimagine a classic, giving it new depths, new horrors, and new layers to peel back by centering the character of Mrs. Lovett and rightfully letting her tell her own tale in her own voice. The moment I started reading, I didn’t want to put it down.”
—A. C. Wise, author of Wendy, Darling

“The seedy underbelly of Victorian London comes to life in this deliciously dark novel, with mad scientists, murderous cults, merciless madams, and, of course, meat pies. If Sarah Waters had written penny dreadfuls, it might look something like this, but only David Demchuk and Corinne Leigh Clark could make me hungry while reading about cannibalism.”
—Nino Cipri, author of Dead Girls Don't Dream

“While Sweeney Todd makes an appearance in The Butcher’s Daughter, rest assured this story is all about Mrs. Lovett. This novel offers us a deep exploration of her as an individual, the ‘why’s’ that shaped her into the person she eventually becomes. She transforms before the reader’s eyes, skillfully mastered by the authors. The choice to present this to us in the epistolary format helps with creating, building, and maintaining suspense.”
—The Fandomentals

“Those who enjoy being immersed in the gritty, visceral, and historically accurate world of Victorian London as seen in Alan Moore's From Hell or Virginia Feito's Victorian Psycho will eagerly devour this tale.”
Booklist

“A bloody good time . . . Though the authors fiddle with the Sweeney legend as most horror and Broadway fans know it, they build to a startling final twist that readers will think worth the liberties taken.”
Publishers Weekly

“Demchuk (Red X) and debut author Clark have crafted a grim tale of Victorian London with appeal to readers of classic horror retold from new perspectives, such as Lucy Undying by Kiersten White and Eynhallow by Tim McGregor.”
—Library Journal



Praise for David Demchuk

“Can a horror novel be too disturbing? David Demchuk’s Red X begs that question, not because of any excess of gore or violence but because of its singular and unflinching dark vision. That’s a good thing—too much contemporary horror fiction plays for easy shocks and even easier sentimental tears, and Demchuk is clearly after something deeper.”
Toronto Star

“[Red X is] a book full of heart and righteous fury, an urban nightmare with some retro-horror stylings that sidesteps that genre’s usual pitfalls of splatter and pessimism to deliver a story of emotional heft and guarded optimism. While it’s relentless and can be incredibly disturbing, there are also moments of beauty, hope, and a certain melancholy. It’s a complex, disturbing, challenging, and compulsively readable work that commands your attention, and indeed deserves it.”
—Tor Nightfire

Library Journal

02/01/2025

In this epistolary novel, readers are introduced to the story of the murderous barber Sweeney Todd from the perspective of Mrs. Lovett, his accomplice who baked the human meat pies. Told in letters and newspaper articles, beginning with the police investigation of the disappearance of a young journalist named Emily Gibson, the book's clever structure will captivate. Via letters, the woman Emily believes to be Mrs. Lovett tells the story of her life: a start on Butcher's Row, playing maid to a doctor with secrets, life as a companion, and then as a baker. The clues revealed letter by letter increase the sense of unease and anticipatory dread, punctuated by correspondence from sources as Emily continues her investigation. The choice of language in the book and the change in tone between letters give readers a strong sense of time and place as well as clearly delimiting the different narrators. VERDICT Demchuk (Red X) and debut author Clark have crafted a grim tale of Victorian London with appeal to readers of classic horror retold from new perspectives, such as Lucy Undying by Kiersten White and Eynhallow by Tim McGregor.—Lila Denning

Product Details

BN ID: 2940194660995
Publisher: Recorded Books, LLC
Publication date: 05/06/2025
Edition description: Unabridged

Read an Excerpt

Inspector A—

As requested, this dossier contains the letters, documents, notebooks and miscellaneous papers gathered from Miss Emily Gibson’s rooms after her mother’s visit to Whitehall. The housemistress expressed surprise that Miss Gibson’s door was left unlocked and could not attest with confidence that the premises had remained inviolate in the days preceding. I detected no evidence of theft or foul play, no obvious sign of violence or struggle. Nothing of value appeared to have been taken. Many items that I would have considered among her prized possessions were in their proper places in plain sight, including a few coins and a small cache of jewellery on her dressing table near her bedside. None of the other residents could recall any recent visitors. They were unaware of any suitors, romantic involvements or close companions. This is a curious one! The rooms are now secured and will remain so until you approve the release of their contents to the family. Mind the feather.

—Dew

*

April the 3rd, 1887

Dear Miss Gibson,

I am in receipt of your three letters to Mother Mary Angelica, our Prioress, which had been held for consideration in the offices of St. Anne’s Priory here in North Hampstead. They have been released to me for reply. I see that you are a journalist, in search of Mrs. Margery Lovett—a wanton woman, a murderess, whose name we daren’t speak aloud for its profanity. A half century has passed since her dark deeds! You believe her to be secreted here at the Priory, working in the kitchen or as a housemaid or possibly as a nurse. What has led you to this conclusion? You do not say. You present a rough and unflattering description of her, which no doubt befits such a monstrous creature. You do not elaborate on your interest in her whereabouts or well-being, though given your occupation one can surmise the worst.

Three letters! You are persistent, I will give you that. I suppose it’s a vital quality in your profession and serves you well for the most part. However, we do not know your Margery Lovett nor do we know where she might be found.

St. Anne’s is a community of Sisters of the Church, living in quiet contemplation. I can assure you the pious women on these premises would have nothing to do with someone as depraved as your Lovett, let alone provide her with shelter. A hundred and fifty gruesome murders! Baking human flesh into pies! Perhaps she was more diabolical than her vile confederate Sweeney Todd, that malevolent barber of infamy, for who could conceive of such a thing. The Sisters here are innocent of such horrible stories as are told to children to frighten them under the covers. They have no knowledge of these ghastly crimes, and they are better for it. One of our youngest, Sister Catherine with her fine and delicate hand, has been assigned to assist me in crafting this reply. Poor soul. The names of Lovett and Todd had never touched her ears until this moment. If only I could be as unspoiled as she.

I wish you had been here with me in the minutes just after dawn when I was out in the yard with the cook’s maid, gathering eggs from our three nesting hens. I take on such tasks as the need arises, and will sometimes top a plumped-up bird to make our Sunday supper. As we had our basket filled and our backs to the runs and were dithering with the kitchen door, a windhover lurking in our ancient oak saw his chance to strike and swept down to seize one of the hens. Unexpectedly, the old girl put up a tremendous fight, screeching and thrashing with beak and claw until the maid and I could grab our sticks and drive the creature off. The hen may yet die from her wounds, poor thing, but not without having torn a few feathers from her assailant. I know some of how she feels. Young as you are, and more fair than fowl, I wonder if you do as well.

Why don’t you turn your attention away from the gutter, to more worthy journalistic pursuits? I have read your inspiring piece in the Daily Post on the suffragist Helen Taylor, and your series of articles on the Malthusian League, abandoned mothers and unwanted children. Why seek out the worst of women, when those who suffer legitimate injustices need your passion, when we need you to shine a light on the struggles we face in every turn of our lives, at every station, at every age? Even the Priory has faced hostilities over decades: accusations of succumbing to papacy and rejecting women’s natural obedience to men. You are not the first to write to us enquiring after vagrants, cutpurses, dissolutes, harlots and worse.

Ours is an order of Christian charity. I myself have suffered greatly, decade upon decade. I have endured many abuses, faced horrors at the very height of London society and among the very dregs. In these, my final years, I am grateful that the Sisters and the Prioress, Mother Mary Angelica, took pity on me and accepted me into their fold so that I could escape the turmoil of the world. Your time and effort would be better spent on noble works, on acts of bravery and benevolence, than on a ghoulish tale which has been glorified in penny bloods and gaffs. In any event, the last I heard of your Lovett was that she died in her cell at Newgate Prison, poisoned herself I believe, which by all accounts was the best possible outcome. Certainly, poisoning is more merciful than a hanging.

With this, Sister Catherine and I must leave you, as we are being called to dine before Vespers. This is a time of great unease for us at the Priory. The Reverend Mother, God bless her soul, was taken to hospital early yesterday evening; we understand her to be direly ill, and do not know if she will ever return. Our Sister Augustine is acting in her place, and is at sixes and sevens with her new duties, as you would expect. Might the Post consider a portrait in prose of the Reverend Mother as a beacon of benevolence in the capital? It would send an inspiring message to the populace, even as she lies on what may be her deathbed.

We wish you the best of luck in your endeavours, but please know this is not the right rock under which to look. Margery Lovett is no doubt at the bottom of a pile of bones in a pauper’s grave, and that is better than she deserves. Leave her to rest with the dead, if rest she can. You would be chasing phantoms.

I enclose for you the windhover’s feather, speckled and striped. A memento between us.

Always look forward, never look back.

Margaret C. Evans (Miss)

*

London Evening Post
Monday Evening, April 3, 1887
10 pages—One halfpenny

Hampstead Prioress Taken Ill

Hampstead Heath, England: Mother Mary Angelica, age 71, of St. Anne’s Priory, fell ill unexpectedly last night, and was transported to the Royal Free Hospital where she is under careful watch in the Victoria Wing. Doctors suspect an inflammation of the heart. The Sisters of St. Anne’s request the prayers of our readers to hasten the Reverend Mother’s recovery.

*

April the 14th, 1887

Dear Miss Gibson,

Thank you for your kind enquiry after the health of the Reverend Mother. Sadly, she remains at Royal Free Hospital in a most desperate state, watched over day and night by the fine nurses in the Victoria Wing. Despite all our prayers, we are told that she is unlikely to recover. It is only a matter of time. Sister Catherine is beside herself with grief. She and the Reverend Mother had grown quite close in recent months.

As for your other queries, your determination is admirable but remains misdirected. We regret that we do not permit visitors to the Priory. Ours is an order of peaceful observance that benefits from being at a remove from the troubles that surround us. As the acting Prioress, Sister Augustine would be the one to receive guests on our behalf. If you have questions, she would be pleased to assist, though I doubt she has the answers that you seek. Even if your Lovett had been here in decades past, our files are unlikely to be of much use, and are not available for your perusal.

I do see though that we have piqued your curiosity about our order and Mother Mary Angelica. Allow me to take a moment to tell you about the Priory. St. Anne’s was built as Hunt House, a huddle of mottled black brick and grey stone along the north-eastern edge of the cemetery. It was built by Sir Charles Marten shortly after the ascent of George I, and was so named for its proximity to the Bishop’s Wood, now known as Brewer’s Fell. He died fifty years after, leaving the house to the Church which first fashioned it as a convalescent home for those leaving hospital, and then as an attachment to the St. Milburga’s Abbey in North London. Our Sisters number twenty-nine at the moment, the eldest aged eighty-one and the youngest sixteen. To this, we add six lay workers who tend the kitchen, the refectory, the oratory, the dormitory and chapel, and the ice house; the Sisters and I tend to the chicken shed where we get our eggs, the small glass conservatory, the laundry, the garden and grounds. There is also the Prioress, may the Lord bless and protect her. And, of course, they also have me. When my strength is with me, I assist in the baking of altar breads between Matins and Lauds; these are offered up to churches throughout London. On the harder days, I join the elders in the parlour and embroider handkerchiefs, table linens and altar cloths, and help with the mending of socks and mantles and robes. One must strive to be useful in this life, and through usefulness find purpose. My loving Sister thinks I see the world queerly, and perhaps I do. While the women here are gentle with me and hold me among their number, it is at an arm’s length at best: I sleep and eat alongside them; I watch them as they rise and wash their bodies, pale and freckled and soft with womanly down; I listen as they chant and pray; but I am not of their realm, not truly, nor am I of the world beyond the gate. I admit I keep a certain distance as well, and do not invest myself in their whispers and their tiny daily dramas.

Sister Catherine’s face is already flushing, she knows what I’m about to tell: yesterday after Terce, one of the youngers, Eleanor, went to fetch her sewing kit and found her thimble was missing, an enameled silver bauble set with tiny white beads. Eleanor came to us a merchant’s daughter, well-to-do, just turned twenty-one and twice as vain as she was pretty. She refused to surrender this token of her father’s affection and now it was gone: not in the basket, not under the bed, nowhere on the floor. Vanished. An hour of wailing while the others searched the dormitory; then one of the others, Estelle, two years older and two feet taller, she came in laughing from outside to say that she had tossed it in the sluice where we all dump our chamber pots, and no doubt was on its way down to the Thames. Eleanor ran out into the morning fog in just her tunic, hurried to the sluice and combed through the clots of muck with a stick until she saw the dainty item lodged against the iron grate in the Priory wall, stopping it from sliding out and down into the gutter. She scurried back in, sobbing and sniveling, flung herself down to the cellar and into the laundry, and washed and scrubbed the filthy object as best she could. Sister Augustine, meanwhile, took Estelle by the ear, pulled her up the stairs and confined her without meals to the bedchamber that we keep aside for those who are unwell. She remains in there at this hour, and likely through the night. As if all that would not suffice, one of the kitchen girls, a rude and ruddy sort, muttered to the others about “Sister Stinkfinger.” We were two twips away from a bare-knuckle brawl. None of this would have happened, of course, if the Reverend Mother was well and with us. It is in our grief and fear that our tempers flare; pettiness takes hold of our hearts, and we lower ourselves to foolishness that would be frowned upon by bone-grubbers.

I say all this to you, but to the others I say little. Sweet Catherine here has never heard me speak so much. Her eyes are wide as saucers! I keep to myself, and wisely so, and know my company is true. I am more alone here than I have ever been, yet I cannot claim to be lonely. I have never been safer than I am in here, yet my heart still quickens, seizes, at the thought of the dangers I’ve left behind. If you are reluctant to share the story of our Reverend Mother with the world, perhaps you would find something of interest in mine, here at the Priory or in my life before. I have come to virtue late in life. I enjoy a simple existence, and have ample time to reflect upon it. Your readers might do well to join in that reflection.

I wonder, Miss Gibson: Have I seen you at the gate, in those moments after Prime when we gather ourselves to break our fast, when the streets outside are calm and still? Have I seen you standing there, watching our windows, imagining our lives? I have caught a woman lingering there more than once these past few weeks. A smart, sharp, curious girl, perhaps from the village, imagining a life of solitude and service within these walls. Young and strong she is, cheeks aflush with the first light of dawn, a feathered green postilion perched above her auburn curls, emerald dress ruffled and pleated with a jet-black bodice, taffeta and silk, blouse clutched tight at the neck. Could this be you? Would you tell me if it was? Her soft black glove frothed with white lace at the cuff, she clasps one bar and then another, stares intently through the refectory window, strains to see inside. Fleeting figures shuffling in and out of the shadows. Is that you watching, Miss Gibson? Have you seen us? Have you seen me?

Walk worthy of the vocation wherewith you are called.

M.E.

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