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(cid:37)(cid:66)(cid:87)(cid:74)(cid:69)(cid:1)(cid:52)(cid:68)(cid:73)(cid:78)(cid:74)(cid:69) (cid:52)(cid:70)(cid:83)(cid:74)(cid:66)(cid:77)(cid:1)(cid:44)(cid:74)(cid:77)(cid:77)(cid:70)(cid:83)(cid:84)(cid:1)(cid:74)(cid:79)(cid:1)(cid:34)(cid:78)(cid:70)(cid:83)(cid:74)(cid:68)(cid:66)(cid:79)(cid:1)(cid:36)(cid:86)(cid:77)(cid:85)(cid:86)(cid:83)(cid:70) DavidSchmidisassociateprofessorofEnglishattheStateUniversityofNew YorkatBuffalo. TheUniversityofChicagoPress,Chicago60637 TheUniversityofChicagoPress,Ltd.,London (cid:2)C 2005byTheUniversityofChicago Allrightsreserved.Published2005 PrintedintheUnitedStatesofAmerica 14 13 12 11 10 09 08 07 06 05 1 2 3 4 5 isbn:0-226-73867-1(cloth) LibraryofCongressCataloging-in-PublicationData Schmid,David(DavidFrank) Naturalborncelebrities:serialkillersinAmericanculture/DavidSchmid. p. cm. Includesbibliographicalreferencesandindex. isbn0-226-73867-1(cloth:alk.paper) 1.Serialmurderers—UnitedStates—Publicopinion.2.Crimeinpopular culture—UnitedStates.3.Serialmurdersinmassmedia.4.Fame.I.Title. hv6529.s32 2005 364.152(cid:3)3(cid:3)0973—dc22 2004026467 (cid:2)∞ Thepaperusedinthispublicationmeetstheminimumrequirementsofthe AmericanNationalStandardforInformationSciences—PermanenceofPaper forPrintedLibraryMaterials,ansiz39.48-1992. acknowledgments vii introduction IdolsofDestruction:Celebrity,Consumerism,and theSerialKiller 1 part one: a history of serial murder one TheVictorianKillerasMediaStar:Jackthe RipperandH.H.Holmes 31 two DefiningtheEnemyWithin:TheFBIandSerial Murder 66 part two: serial murder in american popular culture three NaturalBornCelebrities:SerialKillersandthe HollywoodStarSystem 105 four OutofThisWorld:Aliens,Devils,andSerial KillersinTelevisionCrimeDrama 138 five NextDoorMonsters:TheDialecticofNormality andMonstrosityinTrue-CrimeNarratives 175 six TheUnbearableStraightnessofViolence: QueeringSerialMurderinTrueCrime 209 epilogue SerialKillinginAmericaafter9/11 244 notes 259 works cited 285 index 311 Writingthisbookhasbeenalongandsometimesdifficultjourney.Ihavebeen helpedbysomanypeoplealongthewaythatIcannotpossiblyacknowledge themall.ThemostIcandoistorecognizethosewhosecontributionshave been especially important. When I first began studying representations of violence as a master’s student at the University of Sussex, Jacqueline Rose impressed upon me the seriousness and importance of such an endeavor. WhileIwasworkingonthisprojectasastudentintheModernThoughtand LiteratureProgramatStanfordUniversity,GilSorrentino,EstelleFreedman, andSandraDrakewereawonderfullyengagedandinvigoratingdissertation committee.EquallyimportantintheirownwaywereMarieBrazilandMonica Moore,peerlessprogramadministratorswhosteeredmethroughthreatening bureaucraticthicketswiththeircustomarycharmandefficiency.Sincearriv- ingattheUniversityatBuffalo,Ihavebeenblessedbymanysupportiveand stimulating colleagues. Stefan Fleischer, Barbara Bono, Neil Schmitz, Bob Daly,MarkShechner,AlanSpiegel,ArtEfron,RuthMack,ElayneRapping, andTimDeanhaveallbeenextremelygenerouswiththeirtimeandadvice, and the book is much better for their input. I would also like to thank my superlativeresearchassistant,BenjaminJoplin,forallhishardworkonmy behalf.OutsideofBuffalo,ErinCarlstonhasbeenformanyyearsmyclosest andmostsupportivefriend,whilemyprofessionalassociationandfriendship withSteffenHantkehasbeencrucial.EricHickeyandEdwardIngebretsen vii viii acknowledgments providedmewithextremelydetailedandconstructivereaders’reports,while the editorial staff at the University of Chicago Press, especially Douglas MitchellandTimothyMcGovern,havebeenmodelsofprofessionalismand affability. I owe Susan Tarcov a particular debt of gratitude for her careful andinspiredcopyediting.MymostimportantdebtsarethosethatIcannever repay.Myparents,DenisandIrisSchmid,canneverbethankedenoughfor stressingtheimportanceofeducationtotheirawfullylazyson.Mybrother, Antony,andhisfamily,Mandy,Luke,andJames,havebeenunfailinglygener- ousandloving.Mydaughter,Lucia,wasbornduringthemostintenseperiod ofwritingthisbook.Iresentedeveryminutethisprojecttookmeawayfrom her,butnowritereverhadagreaterinspirationthanthethoughtofgetting tospendasmuchtimewiththiswondrouschildaspossible.Asformywife, Carrie,therearenowordsthatcanexpressmyfeelingsforher.Asascholar, ateacher,apartner,andamothershedeservesallavailablesuperlativesand simultaneouslyrenderstheminadequate.Thisbookisdedicatedtoher,with loveandgratitude. IdolsofDestruction:Celebrity, Consumerism,andtheSerialKiller Fame,Fame,fatalFame Itcanplayhideoustricksonthebrain ButstillI’dratherbeFamous ThanrighteousorHoly,anyday Anyday,anyday. —TheSmiths,“Frankly,Mr.Shankly” Thepeople’sshudderofadmirationforthe“greatcriminal”is addressedtotheindividualwhotakesuponhimself,asin primitivetimes,thestigmaofthelawmakerortheprophet. —JacquesDerrida,“TheForceofLaw” Tomeviolencehadalreadybeenreinforcedthroughtimeasa meansofbeingthestar,centerstageinthisdrama. —SerialkillerquotedinEricHickey’sSerialMurderers andTheirVictims SellingMurder Onlineshoppingisalltheragethesedays,andthemurderabiliaindustry inparticular,whichspecializesinsellingserialkillerartifacts,isbooming.At Spectre Studios, sculptor David Johnson sells flexible plastic action figures ofTedBundy,JeffreyDahmer,EdGein,andJohnWayneGacyandplansto produceafigureofJacktheRipperinthefuture.1SerialKillerCentraloffers a range of items made by serial killers themselves, including paintings and drawingsbyAngeloBuono(oneofthe“HillsideStranglers”)andHenryLee Lucas.Forthemorediscerningconsumer,Supernaught.comchargesamere $300forabrickfromJeffreyDahmer’sapartmentbuilding,whilealockof Charles Manson’s hair is a real bargain at $995, shipping and handling not included. The sale of murderabilia is just a small part of the huge serial killer in- dustrythathasbecomeadefiningfeatureofAmericanpopularculturesince the1970s.Aconstantstreamofmovies,magazines,T-shirts,tradingcards, videos,DVDs,books,Websites,televisionshows,andatsunamiofephemera havegiventhefigureoftheserialmurdereranunparalleleddegreeofvisibility inthecontemporaryAmericanpublicsphere.Inaculturedefinedbycelebrity, serialkillerslikeBundy,Dahmer,andGacyareamongthebiggeststarsofall, instantlyrecognizedbythevastmajorityofAmericans.NaturalBornCelebri- tiesanalyzeshowandwhyserialkillersbecamefamous,whattheconsequences 1

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Crime in popular culture—United States. 3. Serial murders in mass media. 4. Fame. I. Title. hv6529.s32 2005. 364.152 3 0973—dc22. 2004026467 of Violence: Queering Serial Murder in True Crime 209 epilogue .. Whatever political or social or psychological factors influence the desire to be famous