Welcome

Welcome
John William Tuohy lives in Washington DC

In 1887, pioneering journalist Nellie Bly, (Elizabeth Jane Cochran) had herself committed to a New York asylum for 10 days to expose the horrific conditions the patients were subjected to.

 

Burdened with theater and arts reporting, Bly talked her way into the offices of Joseph Pulitzer's newspaper the New York World and took an undercover assignment for which she agreed to feign insanity to investigate reports of brutality and neglect at the Women's Lunatic Asylum on Blackwell's Island, now named Roosevelt Island.

 It was not an easy task for Bly to be admitted to the Asylum: she first decided to check herself into a boarding house called Temporary Homes for Females. She stayed up all night to give herself the wide-eyed look of a disturbed woman and began making accusations that the other boarders were insane. Bly told the assistant matron: "There are so many crazy people about, and one can never tell what they will do."

She refused to go to bed and eventually scared so many of the other boarders that the police were called to take her to the nearby courthouse. Once examined by a police officer, a judge, and a doctor, Bly was taken to Blackwell's Island.

Committed to the asylum, Bly experienced the deplorable conditions firsthand. After ten days, the asylum released Bly at The World's behest. Her report, later published in book form as Ten Days in a Mad-House, caused a sensation, prompted the asylum to implement reforms, and brought her lasting fame. She had a significant impact on American culture and shed light on the experiences of marginalized women beyond the bounds of the asylum as she ushered in the era of stunt girl journalism.

In 1893, Bly used the celebrity status she had gained from her asylum reporting skills to schedule an exclusive interview with the allegedly insane serial killer Lizzie Halliday.

Biographer Brooke Kroeger stated that:  Her two-part series in October 1887 was a sensation, effectively launching the decade of “stunt” or “detective” reporting, a clear precursor to investigative journalism and one of Joseph Pulitzer’s innovations that helped give “New Journalism” of the 1880s and 1890s its moniker. The employment of “stunt girls” has often been dismissed as a circulation-boosting gimmick of the sensationalist press. However, the genre also provided women with their first collective opportunity to demonstrate that, as a class, they had the skills necessary for the highest level of general reporting. The stunt girls, with Bly as their prototype, were the first women to enter the journalistic mainstream in the twentieth century.