Reprinted 2024
About the book:
When her husband dies in 1909, Ines Maceda inherits his newspaper, which is running out of audience and funds; she soon finds that she’s good at both the money side and the reporting side. The paper gets a scoop about the discovery of the body of a priest who had been missing several months, but any pleasure in Ines’s coup is dampened when her son Andres is imprisoned on suspicion of murdering the priest, whose past turns out to be shadier than imagined. What follows is part detective story and part historical fiction, set in the Philippines seven years after the conclusion of the Philippine-American War (1899–1902) that cemented U.S. occupation of the islands. The mystery elements are competently plotted, and the characters appealing, and there’s a charming long-distance romance, with a hint of another yet to come. The book’s signal virtue, though, is its bighearted look at Filipino culture and society in 1909.
David Keymer
Library Journal
Cecilia Manguerra Brainard’s novel is full and complex, overflowing with textured, fully realized characters who drive the story on every page … The Newspaper Widow offers a nuanced glance into Filipino society circa 1909. It is a world rich with history, myth, and ritual; descriptions pulse with life, providing insights into aspects of Filipino culture and world colonial history … Cecilia Manguerra Brainard displays masterful storytelling skill in The Newspaper Widow, a unique, memorable mystery.”
Mya Alexice
FOREWORD Reviews
The Newspaper Widow may not have a flashy detective as its protagonist, but it is definitely crime fiction that’s a cut above the usual whodunits. Thanks to Brainard’s elegant prose and insights, it’s also a social commentary that attempts to shine the light on the dark corners of organized religion. It does not demonize the Church, but it recognizes the fact that there are a few demons posing as angels within it. Brainard’s masterpiece also reminds us that in life, things are not always resolved as neatly as we would like them to be. There’s a clear demarcation between good and bad, but there are also a lot of gray areas that we have to learn to navigate.
Faye Valencia
The Manila