From January 1, 1898 to November 12, 1917, there existed in New Orleans an “exotic” and infamous section of the city known as The District by the inhabitants and as Storyville by others. It is often mistakenly believed that Jazz originated there (although it could claim credit for some Jazz Legends) and that Storyville was created to legalize prostitution. Prostitution wasn’t made “legal,” but it was specified as “illegal” outside of Storyville. In 1978, it regained notoriety in Louis Malle’s highly controversial movie, PRETTY BABY, which was set during Storyville’s final months.
Al Rose’s STORYVILLE, NEW ORLEANS is a fascinating book. It is not a narrative so much as it is an exploration of Storyville through a variety of themes. It describes the years just prior to the beginning of Storyville when the Crescent City was literally overrun by prostitution. A family could buy a home in a quiet street, and awaken a short time later to discover that a bordello had opened next door. People were accosted in the streets and while riding public transportation.
New Orleans created Storyville as its solution. And it was a very viable solution until the federal government, courtesy of the Department of the Navy, forced it to close down ... a step that some legal researchers have maintained was unconstitutional.
In his book, Rose introduces the Reader to many of Storyville’s inhabitants. He leads a guided tour through the most famous establishments. Day-to-day living is described. Two sections that I especially enjoyed were “The Music of Storyville” and “The Press of Storyville.” And throughout there are smatterings of the gossip, legends, and retellings of astonishing staged events that occurred with the confines of The District.
For the most part, the descriptions are handled with delicacy. Very little will appeal to those with a more salacious interest. But, there are previously unpublished glass plates from Storyville photographer, Ernest Bellocq ... who was very different from his portrayal in PRETTY BABY ... and a section entitled, “Some Anonymous Survivors of Storyville.” This latter consists of seven interviews with both the language and descriptions being much more graphic.
Storyville does conjure “romantic” images of a place where every erotic fantasy could be experienced. That is why I found it to be especially eye-opening to learn that the average visit to one of the houses lasted approximately 15-minutes. That included being admitted, having a drink, a dance, the upstairs session of sexual intimacy, and then out the front door. Storyville had perfected the Art of production line Prostitution which probably left most customers more dazed than satisfied.
For those who prefer a deep dive into history, the Appendicies include the entire text of the ordinance that created Storyville, a listing of all known musicians who worked there and the instruments they played, a complete issue of one of the tabloid newspapers, and “The Daily Picayune” newspaper’s complete account of Storyville’s most famous shootings.
Included in the anonymous interviews is one by “Violet.” I think it is more than a coincidence that this was the name of Brooke Shields’ character in PRETTY BABY as there are notable shared incidents.
Years ago, when my family visited New Orleans, we had a tour guide who was an absolute joy, providing a non-stop litany of “local color” as we traveled from place to place. STORYVILLE, NEW ORLEANS captures that sense of being shown the environs by someone who knows where all of the skeletons are hidden.