A piece in the Orlando Sentinel written by Craig Rice published on June 22nd, 1952, is accompanied

by an illustration of a larger-than-life woman. She is glamorously styled with

classic 1920s hair, dramatic arched eyebrows, and thick curled eyelashes. Farmland

extends behind her but she doesn't look like what you might

picture as someone working on a farm in the 20s. Instead, she's wearing Art Deco-era

jewelry with big sparkly earrings and gem-studded bangles on her wrist,

and extending from her wrist is a very well manicured hand.

Her fingers are extended, and she's toying with four miniature men on her ring finger is a

wedding band. The depiction of the glamorous woman with her handful of men is of

Lottie Cody. Craig Rice's article calls her the down east siren.

But to me that name gives her the allure of a red-hot black and white film love interest, or maybe the damsel who is much in distress and by the end of the story

she's rescued and twirled and dipped into a deep kiss as the credits role but that wasn't the story of Lottie Cody. She may have been the love

interest of many men, but Lottie was not in distress. And the only thing read was the blood on her hands.

In the 1920s in North Gorem, Maine,

Lottie Cody couldn't stop killing her husbands.

This is the case of Lottie Cody, the most murderous woman in North

Gorham.

Lottie was born in Gorora, Maine on April 3, 1883 to her prominent and respected parents, Freeman

Johnson and Nellie Dresser Campbell.

The very same year she was born, Lottie's father Freeman passed away at just 27 years old.

Lottie's mother raised her and her older sister Hattie on the family farm on North Street in Gorham.

Their family might have been categorized as well-to-do at the time, given the fact that they

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