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Then charismatic Baby Harris flirts into Nora's life in her red cowboy boots.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn the damp, windy winter, Nora contends with heartbreak, aging, and local environmental worries, while painting what she hopes will be her masterpiece. Along the way, she encounters the chain-smoking, motor scooter-driving landlady Miss Ruby; Reverend Patsy, the vegan minister of the Unitarian church; and Brunhilde, barista extraordinaire and rival for Baby's affections. 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While careful to point out the differences between the public reigns of terror that led to many lynchings and the rarer instances of the murder of one woman by another privately motivated woman, Duggan asserts that dominant versions of both sets of stories contributed to the marginalization of African Americans and women while solidifying a distinctly white, male, heterosexual form of American citizenship. Having explored the role of turn-of-the-century print media-and in particular their tendency toward sensationalism-Duggan moves next to a review of sexology literature and to novels, most notably Radclyffe Hall's \u003c\/span\u003e\u003ci\u003eThe Well of Loneliness\u003c\/i\u003e\u003cspan\u003e. \u003c\/span\u003e\u003ci\u003eSapphic Slashers\u003c\/i\u003e\u003cspan\u003e concludes with two appendices, one of which presents a detailed summary of Ward's murder, the trial, and Mitchell's eventual institutionalization. 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