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Frieda Trost - A Life of Loss, Scandal, and Redemption

Tuesday, November 19, 2024
Anonymous

Early Life and Tragedy

Born Frieda Goetz in Germany in 1881, she immigrated to the United States in 1885. She married Frederick Hartman, a baker, in 1900, and together they settled into a modest life at 1301 Germantown Avenue. However, their life was marred by profound tragedy. Three of their four children died in infancy or early childhood, leaving only their daughter, Irene, born in 1904, to survive. Their first child, Frederick, was born in 1901 but lived only seven weeks, passing away on July 6, 1901. Their second child, Freda Helen, born in 1902, tragically died at just five months and seven days old on December 7, 1902. A third child, Anna May, born in 1909, was stillborn or died shortly after birth. The repeated loss cast a heavy shadow over the young family's existence.

Death Certificate of Anna May Hartman

Death Certificate of Anna May Hartman

The Death of Frederick Hartman

In 1911, fate dealt another cruel blow. Frederick Hartman died suddenly from typhoid pneumonia or a congested lung, leaving Frieda a widow with $5,000 in insurance money and the family saloon, which she managed with the bartender, Guenkle. Frieda initially lived extravagantly, enjoying the financial cushion while it lasted. However, her lavish spending soon caught up with her, and within 18 months of Frederick’s death, she found herself in debt. The saloon, struggling to bring in income, offered little reprieve.

Death Certificate of William Trost

Death Certificate of William Trost

The Second Marriage and Accusations

Frieda then remarried on August 1st, 1912, and her new husband, William Trost, was a baker like her first husband. However, this second marriage proved even more disastrous than the first. Just six days after their wedding, on August 7th, William Trost died, and whispers of foul play quickly grew into an uproar.

Initially, it was reported that Trost had died in a trolley accident. However, an autopsy revealed traces of arsenic in his stomach. Within a week of her marriage, Frieda was charged with Trost’s murder, accused of poisoning him with arsenic. Investigators speculated that Frieda, overwhelmed by the debts she had accumulated, killed Trost to inherit his estate, valued at around $10,000, and possibly $15,000 in life insurance.

The Trial and Media Portrayal

Adding to the intrigue was the involvement of Edmund Guenkle, the bartender Frieda employed at her saloon. Witnesses described Guenkle as being particularly close to Frieda and reportedly indifferent to her marriage. Speculation arose that Guenkle might have been an accessory to the crime, and he was also arrested in connection with the case. Additionally, the juror, 80-year-old Martin McNeal, revealed a personal connection to Frieda, having known her since she was a young girl. When Frieda saw him in court, she began to cry. McNeal later remarked, “I feel sorry for you, but I had to perform my duty.”

Article Mentioning Christian Hartmann

Newspaper article about Christian Hartmann's suspicions

Frieda's former brother-in-law, Christian Hartmann, openly voiced his suspicions, suggesting that Frieda might have been responsible for Frederick's death and possibly even the deaths of their children. He urged the coroner and district authorities to investigate Frederick Hartmann's death, which he believed occurred under mysterious circumstances. Christian shared these concerns with a member of the district attorney’s staff, who was actively working to secure evidence against Frieda.

The jury deliberated for just two hours before convicting Frieda of first-degree murder. On February 28, 1913, she was denied a new trial and sentenced to be hanged. No woman had been executed in Pennsylvania since Mrs. Edwards in 1901.

Life in Prison and Compassionate Acts

Following her conviction, Frieda was sent to Moyamensing Prison, where her health began to decline. Her attorney appealed to Governor John Tener, pleading for clemency. In response, Governor Tener commuted her sentence to life imprisonment. On December 31, 1913, Frieda was transferred to Eastern State Penitentiary. Interestingly, her name was misspelled in the prison records as "Freda Trost," with prison number B6935.

Prison Record of Frieda Trost

Prison record of Frieda Trost at Eastern State Penitentiary

When Frieda was arrested and charged with William's murder, the trial that followed became a media spectacle. Newspapers depicted her as a type of black widow, a cold-hearted woman who manipulated marriage for personal gain. The prosecution, bolstered by Christian Hartmann's damning testimony, portrayed Frieda as a woman driven by greed and an alarming disregard for human life. The press eagerly fueled this narrative, frequently describing her as stoic, highlighting her apparent lack of emotion during the proceedings.

Today, we recognize the profound impact that such trauma can have on an individual's mental state. It is possible that Frieda's emotional detachment during the trial was not a sign of cold-heartedness, but rather a manifestation of her past trauma. The media's failure to consider the potential effects of trauma on Frieda's behavior raises questions about the ethics of their reporting.

Re-examination of Frieda's Story

In light of our evolving understanding of mental health and trauma, it is worth re-examining Frieda Trost's story from a modern lens. A closer look at the archival documents, including her personal letters and prison records, may reveal a more nuanced understanding of her motivations and actions.

For example, entries in The Umpire offer touching glimpses into Frieda Trost’s compassionate and spirited nature, showing a side that contrasts starkly with her portrayal in the media. One particular line reveals her warmth and kindness:

“We also wish to thank her mother, Freida, our cook, for her kindness in giving us ice cream in the afternoon. Our most earnest prayer is that mother and daughter may be happily reunited in the near future, and that they may enjoy to the fullest the happiness that we trust shall be theirs.”

In this expression of gratitude, Frieda’s fellow inmates acknowledge her generosity and the small comforts she brings them—a testament to the sense of community she fostered within the prison.

Another part of The Umpire highlights Frieda’s patriotism and resilience:

“Freida, our cook, got tired reading about the other blocks having flags, and to show that she has the right spirit she purchased a dandy flag, so now the stars and stripes of ‘Old Glory’ proudly wave o’er the 2nd Block. Long may it wave.”

By purchasing an American flag, Frieda expressed her pride and her desire for her block to be represented with dignity.

Release and Legacy

Furthermore, Frieda Trost’s record as a "model prisoner" at Eastern State and other institutions suggests a capacity for rehabilitation and personal growth, challenging the media's portrayal of her as inherently "bad" or incapable of change. Described by Warden "Bob" McKenty as a compliant and resilient inmate, Trost diligently worked at making prison clothing, kept her cell meticulously clean, and regularly attended Sunday devotional services.

After 26 years of imprisonment, Frieda Trost, at 54 years old, was released from the State Industrial School for Women at Muncy. She had no intention of resuming the life she left behind, choosing instead to start anew. Frieda planned to live a quiet life with her friend, Mrs. Albertina Birr, at 3936 Sansom Street. Renowned for her culinary skills, she intended to work as a cook—a role in which prison authorities had described her as the best they had ever seen.

Frieda Trost’s story remains an enigma, a narrative filled with unanswered questions and moral ambiguity. Was she a cold-blooded killer who used marriage as a means to an end, or was she a victim of circumstance, wrongly accused and condemned? Did her transformation in prison reflect genuine remorse, or was it a calculated act of survival?

Her case raises vital questions about the ethics of justice, the influence of media on public perception, and the potential for redemption. It serves as a poignant reminder that truth is often multifaceted, and even the most seemingly straightforward stories may conceal deeper, more complex layers.

Works Cited