Why I Wrote The Boston Stranglers

Susan KellyBy

Susan Kelly

Well, as the man said when they asked him why he climbed Mount Everest: “Because it was there.”

That answer might require some back story. Longer ago than I want to recall—oh, okay, it was 1981—I was embarking on my third attempt to write a mystery novel. (The less said about the first two attempts, the better, I assure you.) I wanted to know about investigative work as it is done by actual police detectives. So I made an appointment to talk to a lieutenant of detectives in the Cambridge Police Department. I remember the day itself well; it was one of those typical Massachusetts November afternoons when the sky looks like a dirty old mattress.

When I got to the station, I had to wait; the lieutenant was interviewing a witness to a crime. So I cooled my heels in the anteroom to the chief’s office. Sitting there with me were two detectives, socializing with the chief’s secretary, very genial white-haired men who introduced themselves to me as “the two Billies.” (Each had the first name of William.) They asked me what I was doing here in the police station. I explained that I was researching police procedure.

They told me that they’d been detectives for thirty years and had some great stories. I assured them that I was very, very eager to hear anything they wanted to tell me.

I added, then, that I was particularly interested in serial killers.

“Like Ted Bundy,” I said.

The two Billies looked at each other with odd little grins. Then one of them asked me, “Who do you think the Boston Strangler was?”

The question was a little startling, because I thought it had been long since settled. “Albert DeSalvo.”

Both Billies laughed.

“Albert DeSalvo was the Boston Strangler like my dog was the Boston Strangler,” one of them said.

Oh, my.

I asked them to tell me about it. And they did.

Well, the upshot of this conversation was that I kept on interviewing people involved, one way or another, in law enforcement: cops, district attorneys, defense lawyers, etc. And always, the subject of The Boston Strangler arose. And inevitably: Not one of these people thought DeSalvo was the guilty party.

It was one of the strangest disconnects I’ve ever experienced: A received truth was being roundly denied by those people in the best position to know the facts of the matter.

Well, anyway, I filed all this away, and went on to write novels, and my novels got published. But the Strangler story always stayed in the back of my mind. And so, in 1992, I decided to do something about it. I did the research, did the interviewing, and wrote the book. It was a lot of work, but it was a lot of fun.

(Maybe it wasn’t work. I love writing. It makes me feel really alive. Nothing involved in the process is tiresome to me.)

And…doing the book accorded me a rare privilege: that of revising a small piece of history. I read every single one of the case files regarding the murders that took place between June 1962 and January 1964, and my position on the case remains the same today. These murders were not serial killings, although a quite reasonable case can be made that the first four victims—older white women—might have been murdered by the same person.

Now I realize that some of you—with absolute justification—will point to the DNA testing done in the summer of 2013 on a blanket found in the apartment of Mary Sullivan, the final Strangler victim. It indicated that DeSalvo’s DNA had been found on the blanket. And I would understand perfectly if you concluded that this proved DeSalvo’s guilt of, at least, the Sullivan murder.

But…there were two samples of DNA found on Sullivan’s body—one in the pubic area–that did not match DeSalvo’s. One of them matched the DNA of the original prime suspect in her murder, who was not DeSalvo. The state declined to test these samples.

I should also add that DeSalvo’s DNA was not found on the blanket during any previous testing. I should further add that there were plenty of other reasons to assume that the prime suspect was guilty, such as the fact that he flunked two lie detector tests.

I believe that DNA is an incredibly useful tool in crime investigation. It is unique to an individual, and therefore irrefutable as a means of identification. If you find the DNA of a suspect in the vagina of a rape/murder victim, and under her fingernails from shreds of his skin that accumulated there as she tried to fight off her assailant, and on her face or anywhere else that his saliva or sweat or mucus or semen may have dripped…well, that’s very inculpatory. But the presence of DNA at a crime scene does not necessarily indicate guilt, particularly if it’s not on the victim. Let me tell you why.

We drop our DNA, in a variety of ways, everywhere we go. You’ve just returned from a trip to the grocery store. Your DNA is on anything you touched there, including that head of Romaine you returned to the produce bin because it didn’t look quite fresh enough. It’s on that bottle of ketchup you put back on the shelf because you just remembered you have an unopened bottle of ketchup in the cupboard at home. It’s on the money or credit card you handed the cashier at the check-out counter. And your DNA is all over the cart you used.

In the course of the day, did you go to your dentist? Your doctor? Your lawyer? Your DNA is all over their waiting rooms, consultation rooms, or examination rooms. If you went to the public library, you left it in their stacks.

Okay. Suppose you visited a friend and had coffee or a drink with him or her. Your DNA would be on the cup or glass you used, on the chair or sofa where you sat, in the bathroom if you used the sink, toilet, tub, or shower…it would be on anything you touched. And so would your fingerprints, for that matter.

Now suppose—horrific thought—your friend is murdered shortly after you leave his or her house or apartment. Your DNA is all over the place. It may also be on your friend’s body, if you hugged or kissed or shook hands. Suppose you and your friend engaged in some form of sexual activity. You have left your DNA all over your partner’s body, and on the bed, if you used the bed. Does that mean you’re the murderer? Of course it doesn’t. Sure, you might be. But more is required to prove your guilt. And that is exactly as it should be.

Well, I am not going to try your patience with a long list of reasons why Albert DeSalvo probably didn’t kill Mary Sullivan, nor anyone else. If you like, you can read the book (The Boston Stranglers). Or the article I wrote and posted on my Amazon author page (amzn.to./18wHstx; just type that address into your browser exactly as I’ve written it). Get back to me with any questions.

The Strangler case is fascinating for a lot of reasons. It became a social and cultural phenomenon, generated in large part by press hysteria. Boston had more newspapers then than it does now, and they were all competing for the same audience. (Sample headline from the time: PHANTOM FIEND STRIKES AGAIN.) The case also became a political football, and an opportunity for various people to make names for themselves. It was the perfect venue for showboaters. And, as the late Robert B. Parker once observed, for psychics and dancing chickens as well. In all this, the victims became…just bodies. They deserved better than that.

I am not an apologist for Albert DeSalvo. He wasn’t a good guy; he was a serial sex offender. But he wasn’t a serial killer.

So here’s the thing: We are all innocent until proven guilty beyond a reasonable doubt.

BRAINDROPS

are falling from my head…

By

Zachary Klein

zachWe’re approaching summer’s dog days and I’m feeling pretty mellow, so deciding what to write this week has been difficult. It’s always easier for me if I have a mad on and Germany’s attitude toward Greece jumps to mind. Or how ‘bout them sorry Sox? But mellow is rare, so I might as well see where it takes me.

We recently had a great time at Fenway Park. It was a beautiful night and, as I looked around the field, I realized how impressive a renovation had been done by Janet Marie Smith, the architect of Baltimore’s Camden Yards. Despite adding a significant number of seats and signage to the oldest field in baseball (1912), Ms. Smith somehow made the relic a much more welcoming place while keeping its traditional feel and atmosphere. (Not the ticket prices, though, which are the highest on average in Major League Baseball.) It was a fun night even with the Sox loss–to be expected this season.

And speaking of renovations, despite my writing partner, Susan’s send up of HOUSE HUNTERS in last week’s column, Sue (my wife) and I are gearing up for our own major league kitchen rebuild, replete with wall removals, open floor plan (NOT!), and granite vomitori—whoa—make that countertops. Reconstruction begins sometime in August and I’m fervently hoping that it takes a little less time and is much more successful than our Country’s. Not gonna bet on it though.

Ahh, betting. The Casino War still rages on in Boston. Although voted FOR by almost 60% and supported by rejecting another referendum which tried to overturn the first, a number of politicians are still trying judicial end runs–Including our mayor.

I understand the issues people have with gambling and have some mixed feelings myself. But voters, tired of seeing millions and millions of dollars flow to Connecticut’s casinos, spoke loudly and clearly TWICE. My biggest regret is that Boston won’t allow a den of inequity on one of the harbor islands. And not because The Donald is a bidding developer because he isn’t.catTrumpNo surprise, really. The “Athens of the East” clings to its puritanical ancestry despite our current liberal reputation. Clings to many anomalies. Just ask anyone of Color or eyeball the vast sea of White faces while catching a game at Fenway.

Not sure why, but somehow all that White makes me think of Greece. (I tried not to. Really.) Excuse me, but what two-faced crazy is running around in Germany’s head?

“London School of Economics and Political Science Professor of Economic History Albrecht Ritschl conducted research into how Germany was able to pay off its debts after the two World Wars. In particular, his re-interpretation of the scale of financial payments to, and debt forgiveness for Germany after World War II shed new light on the approach that modern-day Germany should take towards debt-ridden countries such as Greece. Ritschl looked in detail at the financial assistance that was paid to Germany after the war under the Marshall Plan, in which the US gave $17 billion – around $160 billion in today’s values – in economic support to help rebuild European economies. He showed that while the transfers were tiny, the cancellation of debts was worth as much as four times the country’s entire economic output in 1950 and laid the foundation for Germany’s fast post-war recovery.”

It seems pretty obvious the terms of Greece’s “bailout” will crush the poor and working people of that country—but fuck ‘em. Let’s make sure the greed-heads get the interest owed. Every goddam Euro.

And now you got me started. What’s with the response to the Iranian deal? This is a no-brainer but once again the human no-brainers are running their mouths. If Reagan’s administration had pulled this off, all the pols would be kissing his ass. Hell, Nixon cut a deal with China when Mao was still alive! Since it’s Obama’s administration though, both Democrats and Republicans are talking stupid. Batshit racists, whether they know it or not.

Sorry about that. I said no rants….

especially since this has been a fine week. Belated birthday dinner with a good friend, a rooftop dinner with other good friends, and a visit to the Boston’s Greenway’s amazing new installation by Janet Echelman, an aerial shape and color shifting translucent public art sculpture.Aerial

Janet-Echelman-Netting-sculpture

 

 

 

 

tumblr_nopdc9G41s1s5qhggo8_500(For more information about Ms. Echelman’s wonderful piece, including a time-lapse video of the installation check out http://www.echelman.com/project/boston-greenway/. You won’t be sorry.)

Thank you Big Dig for stitching my city back together and creating space near the ocean for beauty.

It never ceases to amaze me how little public art is offered in our cities compared to say, Mexico or France. But hey, that’s a topic for another week.

Told you I was feeling mellow.

 

The mind is its own place, and in itself can make a heaven of hell, a hell of heaven. ~ John Milton

A FATHER’S DAY LAMENT

By

Zachary Klein

zachYesterday was Father’s Day and I enjoyed talking to my kids and getting their good wishes. But somewhere along the way I realized that I’m lucky. Jake and Matt are adults and able to understand the racism that exists in our country. I don’t need to sit them down and try to explain the underlying causes that produce nine slain Blacks at their own church. And my grandchildren are too young to understand much of anything since they’re 7½ months old, so Matt and Alyssa won’t be doing any explaining for a while.

But what about the parents who must try to make some sense out of this one and the other countless tragedies that routinely occur to Black people every day of the week in this country?

Me, I go crazy trying to think of solutions to this curse. It’s impossible to outlaw hate so the haters keep hating and passing it down to their offspring. So I desperately imagine redesigning our states in ways that allow people who believe in integration to actually live in integrated communities. Where parents send their kids to schools that look like that old Coke commercial. Where the police don’t predictably shoot teenagers because of color.

A dream and not even a satisfactory one. This idea also creates states where people could simply live with their own kind. Would we call ourselves the United Reservations of America?

So let’s pretend that the vast majority of our population really wants an end to racism and everything it represents. What’s to do?

I suppose we can just limp along from one murder to another and accept that nothing of import will change. But I’m not built that way. I can’t sit idly by and watch the disintegration of my society without at least considering some alternatives to the status quo.

I’d start by demanding that all presidential hopefuls begin talking about the 46.5 million people who live in poverty with almost half of them children. Worse, 20.4 million people, were living in deep poverty which means they were living 50% below the poverty line that our government has established. Compared to non-Hispanic Whites, Hispanics are more than twice as likely to live in deep poverty, and Blacks are almost three times more likely to live in deep poverty.

Now take a look at more numbers for minorities: Among racial and ethnic groups, Blacks had the highest poverty rate at 27.4 percent, followed by Hispanics at 26.6 percent and Whites at 9.9 percent. (These numbers come from the 2013 census and I don’t believe it’s gotten any better.)

It’s damn hard to enjoy Father’s Day when so many kids (and their parents), are suffering in a land of plenty.

And even many of our best hopes aren’t talking the talk. I know Bernie Sanders, and a couple of other candidates have spoken some about this issue, but almost always under the rubric of the middle class. Always the middle class and “working people.” Of course we should redistribute wealth to help solidify both those groups, but I want to hear politicians speak about poverty. To take the issue head on and tell us their plans to eradicate it. As some before me, (Martin Luther King to name one) I too believe that it’s impossible to untangle poverty from racism—though there are more facets to racism than just hunger and hopelessness.

White America has always found a way to oppress then blame our victims. And within our boundaries victims are almost always minorities. We’ve done it historically, socially, and culturally so hard and for so long throughout our country’s entire history that it’s become a disease. I’m not talking about an emotional or cultural disease, but one that’s invaded the very being of White people.

This isn’t a metaphor but something I believe to be literally true. Epigenetics, (the study of the process by which genetic information is translated into the substance and behavior of an organism: specifically, the study of the way in which the expression of heritable traits is modified by environmental influences or other mechanisms without a change to the DNA sequence), probably explains an important underlying cause of our racism. In other words, who we are is a combination of our genes and the way the environment affects the expression of those genes. We are racially sick.

We are racist because we have swallowed our own myths about Black people so thoroughly they’ve become part of who we are—right down next to to our genes. We are racially sick.

I’m aware this also works the other way around: minorities have become infused with how their environment impacts them. But frankly, racism is a White peoples’ disease and, if we really want to get rid of our malady, our focus has to be on ourselves and all the institutions we as Whites have created. Until and unless we eradicate poverty and root out our own disease and the unhealthy racist institutions we have created—oppression and violence and blame the victim—will never end.

Difficult for a father to explain to his kids on Father’s Day. That all us White folks have an illness called racism, virtually all our institutions reflect this illness, and since I brought you into this world, you kids have it too. And it’s probably gonna take the rest of your lives, and beyond, to cure it if we, as a people, even bother to try.

And try we must because if we don’t confront our sickness we will forever be locked in a society that will continue to breed separate and unequal. Now that’s a tough tale to tell on Father’s Day.

ANOTHER TAKE ON CRIME WRITING

zach

By Zachary Klein

I’m an outspoken pacifist. I cover my eyes while watching most violence I see on television or in the movies. And I continue to believe in humanity, despite the gruesome reality that surrounds us.

I also earn my living writing about murder, betrayal, greed, and as much of the dark underside in our society as I can possibly perceive and understand.

What’s wrong with this picture?

Nothing. Writing is an art and I believe that every type of art gives all of us the space to experience the truly ugly strands of human nature without having to act them out. I’ll go even farther. It doesn’t have to be art. I believe the same about pornography, politically incorrect movies, and any “make believes.” I feel exactly the same about video games—though I haven’t played one since Tetris.

I know the argument that viewing/reading violence, sex, and the politically incorrect, actually encourages people to act out their inner uglies. I just don’t believe it. Worse, arguments like those have tightened control on what we can see, listen to, write and produce. We’ve lost a serious amount of creative space, not added. In fact, I think that throughout history, restriction and censorship has done more damage than what it tries to condemn.

A few nights ago Sue and I were flipping through mainstream channels, spotted the film Airplane, and stopped to watch—though we’d seen it a boatload of times. The movie had been released in 1980 and, at the same moment, we turned to each other and agreed that it would be impossible to make that movie now. “Have you ever seen a grown man naked?” pilot Peter Graves asks a little boy. (Not allowed to crack wise about pederasty these days.) A stewardess blows a rubber doll. (Where besides a fetish flick can you watch that?) An airport manager sniffs glue. And much, much more that defies our current cultural zeitgeist. Nothing in the movie was sacred. Oh, Airplane was rated PG.

The politically incorrect parts were making fun of and lambasting racism, sexism, drug use etc, rather than promoting it. Know what? Our kids did not grow up traumatized from sexual innuendo. (Who do you know that became a racist after watching Blazing Saddles?) No matter how you slice it, there’s a loss here.

I’ll grant my belief that every type “make believe” as a space to allow the worst of ourselves to be harmlessly encountered is difficult to conceive. Especially since we live in a world with an amazing amount of violence and perversity that has always, and continues, to exist. It’s tough to see how crime writing has reduced crime when crime is rampant. That writing about murder has reduced killing. But I believe it’s tough to see because the gift of imaginary freedom has always been buried under reality. And reality isn’t particularly pretty.

We’ve been socialized to think entertainment is simply that. For fun. That art is something to read, watch, and sometimes feel. And it’s that socialization which has reduced the power of “make believe” and I believe added to real life’s crushing brutality.

So before we can get an honest answer to my proposition, we actually need to eradicate the social/political/poverty and race issues that cause the actual violence in which we live. Only please don’t hold your breath waiting for that to happen.

Even if we were magically able to staunch the blood flow, there will always be an underside in everyone and that’s not going anywhere. Except into imagination which I as a reader and writer hold most dear. For the “make believe” we read in crime fiction or see in violent movies or hear in some dark music is a space that allows us to visit, explore, and treat the worst parts of ourselves—harmlessly, and then come back to our normal lives and sit down at the dinner table.

I’m not saying I write detective fiction simply for the good of humanity. In past columns I’ve mentioned the wonderful similarities I see (and sometimes get to enjoy) between playing jazz and writing detective fiction. (To be honest, probably more traditional jazz than total free-form.) The excitement of taking a paradigm and pushing at its boundaries. The novelist’s pleasure of bringing their audience into unknown places and unexpectedly intense situations.

But more than the personal enjoyment, I believe that, without proof, our work as crime writers contribute to the hope of a better, less violent, more tolerant world. And whether or not we collectively, cognitively, acknowledge it, all the multiple forms I mentioned above give promise to that hope.

We need imaginary violence. We need a place for kinkiness, we need a space in which we can safely (for ourselves and others) try out anything we want to be—without actually being it and without fear of reprisal.

We need more Breaking Bads, Sopranos, Deadwoods, Big Sleeps, Red Harvests, and especially more movies like Airplane.

You can’t depend on your eyes when your imagination is out of focus ~ Mark Twain

Why We Write about Crime

By Susan Kelly

Susan KellyI’m going to take a bold leap here, and speak for Zach as well as myself, and a host of hard-working people who pour their guts into their writing. Somehow, I don’t think Zach and the others will mind. But if I’ve presumed too much, I ask everyone’s pardon.

So…why do we write about crime? Well, there are two practical considerations. Publishers, traditionally, have always liked books that can be labeled: mystery, science fiction, romance, fantasy, historical, or western. The categories can be sub-divided; under the rubric of “mystery” you will find novels in which the detective protagonist is a cop, a private eye, a forensics expert, or an amateur. There are novels featuring major historical figures–Ben Franklin and Abe Lincoln come to mind-as the chief investigator. Hard-boiled. Soft-boiled. The descriptor is a marketing tool, and is, for booksellers as well as writers, publishers, and readers, a useful one.

The second pragmatic reason for writing about crime-particularly in novel form-is that the writer starts out knowing what he or she has to accomplish. The basic storyline exists before the writer has set pen to paper, or finger to keyboard. Someone has to commit a crime, and someone else has to solve it, or attempt to solve it. It’s a huge relief knowing what you have to do. The beginning and ending are more or less ordained, freeing you to concentrate on character, dialogue, setting, and theme.

But the larger question remains: Why do people write about crime? And, for that matter, why do people like to read about it? As individuals we know that our lives will, sometimes, be very hard. We’ll lose our loved ones, sometimes before their time, sometimes in terrible ways. As a group, we understand that the world could end tomorrow if some kook decides to start a nuclear war. We live with the intellectual and visceral awareness of loss: personal and communal, past, present, and future. So why should we add to those fears and sorrows by reading fiction and non-fiction about the darkest side of human nature? What’s fun or relaxing or entertaining or instructive about a narrative involving a homicidal child rapist? Or a fanatic impelled by ideology and inner demons to commit genocide? Or someone who arranges to have his or her spouse killed in order to collect on an insurance policy? Or a serial killer?

Simple answer: Because it’s cosmic. It’s more cosmic than anything, even sex. It’s about life cut short by a death that was a violation of the natural order. Murder affronts us all. We witness injustice; we look for someone to redress the injustice. Jews would call this tikkun olam, to heal or repair the world. Or restore the balance of the universe, if you want to look at it in medieval or Renaissance terms.

Speaking of which, I’ve always believed that the true ancestor of the crime novel is the medieval romance itself. All the elements are there. The twenty-first century fictional detective functions exactly as the fourteenth-century fictional knight did. A wrong is committed, evil threatens good, and the knight or detective sets forth to right the wrong, to vanquish the evil. And protect and defend the innocent.

The knight, like the detective, is a flawed human being. But, most importantly, both adhere to a code of honor.       As humans, we have always been obsessed with the need to put things right. The urge cuts across time, culture, nationality, and religion. It has never not been with us, any time, anywhere. The fact that sometimes we succeed in putting things right encourages us to go on trying to do so. The fact that very often we don’t succeed in putting things right may spur our efforts even further.

So what crime writers do, I suppose, is take that urge and make of it a story. Create characters to act it out, and set up a stage for them to do so. Provide a backdrop for the action.

Mostly-although perhaps I should speak only for myself here–we don’t do it nearly as well as we’d like.

But we keep on doing it.

And we hope you’ll keep on reading it.