Title: SAVAGE APPETITES
Subtitle: Four True Stories of Women, Crime, and Obsession
Author: RACHEL MONROE
Genre: TRUE CRIME, NON-FICTION
Length: 272 PAGES
Publisher: SIMON AND SCHUSTER CANADA – SCRIBNER
Received From: NETGALLEY
Release Date: AUGUST 20, 2019
Price: $11.99 USD
Rating: 4 OUT OF 5 STARS ⭐⭐⭐⭐
A provocative and original investigation of our cultural fascination with crime, linking four archetypes—Detective, Victim, Defender, Killer—to four true stories about women driven by obsession.
In this illuminating exploration of women, violence, and obsession, Rachel Monroe interrogates the appeal of true crime through four narratives of fixation. In the 1940s, a frustrated heiress began creating dollhouse crime scenes depicting murders, suicides, and accidental deaths. Known as the “Mother of Forensic Science,” she revolutionized the field of what was then called legal medicine. In the aftermath of the Manson Family murders, a young woman moved into Sharon Tate’s guesthouse and, over the next two decades, entwined herself with the Tate family. In the mid-nineties, a landscape architect in Brooklyn fell in love with a convicted murderer, the supposed ringleader of the West Memphis Three, through an intense series of letters. After they married, she devoted her life to getting him freed from death row. And in 2015, a teenager deeply involved in the online fandom for the Columbine killers planned a mass shooting of her own.
Each woman, Monroe argues, represents and identifies with a particular archetype that provides an entryway into true crime. Through these four cases, she traces the history of American crime through the growth of forensic science, the evolving role of victims, the Satanic Panic, the rise of online detectives, and the long shadow of the Columbine shooting. In a combination of personal narrative, reportage, and a sociological examination of violence and media in the twentieth and twenty-first century, Savage Appetites scrupulously explores empathy, justice, and the persistent appeal of violence.
Rachel Monroe is a woman after my own heart. As she described her visit to the premiere True Crime Conference called CrimeCon in 2018, I was green with envy. Living outside the city of Toronto, Ontario in Canada, there was just no feasible way for me to attend such an event, especially since it takes place quite a distance from my home.
Rachel Monroe has taken it upon herself to dig into the “why” of the appeal of True Crime to women and to explore the possible reasons.
Any female of my generation (I am 47) who are interested in this subject probably grew up reading Nancy Drew and maybe even The Hardy Boys. Rachel states that: “This detective impulse first burbled up in [her] early, say around age eight.” Reading these words, I wanted to shout out loud, “Me too!”
The book focuses on four very different women, from different times, but, who all had an interest in crime and murder. Their reasons are as varied as possible, yet they are all tied together by the singular theme of True Crime.
I couldn’t believe I had never heard of France’s Glessner Lee. Sure, she was a child of the 1890s, and grew up “… Living in a mansion on Chicago’s ‘Millionaire’s Row.” But still, she was a role model for other women in adulthood and smashed through gender barriers that would have seemed impenetrable to other women of her time. I am impressed and glad that I now know about her. Thank you Rachel Monroe!
The author talks about the Manson murders which have been excessively covered, and yet the way she presents this crime is less about Manson, and more about how the crime changed so many things and so many people.
She speaks about the murder of Taylor Behl in 2005 which happened in her town. Rachel says “Part of what I was looking for, I realized, was overlap, all the ways she and I were similar. There was a troubling pleasure in thinking about how I could have been her, or she could have been me… It felt good, in a bad way, to think about my own proximity to violence. To imagine my life as a near miss.”
Rachel also addresses a phenomenon that has always perplexed me – that of women who “date” and/or marry men serving life sentences in prison. This section is a must read.
I even learned a new word:
HYBRISTOPHOLIA – the attraction to someone who has committed murder.
I never knew there was a word for it, but, in this day and age, I should not have been surprised.
All in all, Author Rachel Monroe has gone deep down many rabbit holes in her research for this book. She extensively studied so many factors that it is amazing she was able to whittle them down into a cohesive and compelling whole.
I rate SAVAGE APPETITES as 4 OUT OF 5 STARS ⭐⭐⭐⭐ and because of it’s subject matter, I forsee it becoming a book that is widely read. Perhaps she will have her own following at CrimeCon 2020.
*** Thank you to NetGalley for providing me with a free copy of this book. ***
ABOUT THE AUTHOR:
Rachel Monroe is a writer and volunteer firefighter living in Marfa, Texas.
Her work has appeared in The Best American Travel Writing 2018, The New Yorker, The Atlantic, The New York Times, The New York Times Magazine, and elsewhere.
To learn more about this author, visit the following links:
WARNING – SPOILERS AHEAD – STOP READING THIS POST NOW IF YOU DO NOT WANT ANY EXTRA INFORMATION ABOUT THIS BOOK!!!
SUBJECT # 1 OF SAVAGE APPETITES is FRANCIS GLESSNER LEE.
The following is copied from a 2017 Washington Post article written by Sadie Dingfelder…
At first glance, the grisly dioramas made by Frances Glessner Lee look like the creations of a disturbed child.
Another doll rests in a bathtub, apparently drowned.
A third lies in bed peacefully … except for her blood-splattered head.
There’s no need to call a psychiatrist, though — Lee created these works in the 1940s and ’50s as training tools for homicide investigators. 19 of the dollhouse-size crime scenes are on display in the Renwick Gallery exhibit “Murder Is Her Hobby: Frances Glessner Lee and The Nutshell Studies of Unexplained Death.”
Lee, who died in 1962, called her miniatures “nutshell studies” because the job of homicide investigators, according to a phrase she had picked up from detectives, is to “convict the guilty, clear the innocent and find the truth in a nutshell.”
“She became the first female police captain in the country, and she was regarded as an expert in the field of homicide investigation,” exhibit curator Nora Atkinson says.
When Lee was building her macabre miniatures, she was a wealthy heiress and grandmother in New Hampshire who had spent decades reading medical textbooks and attending autopsies. Police departments brought her in to consult on difficult cases, and she also taught forensic science seminars at Harvard Medical School, Atkinson says. Lee painstakingly constructed the dioramas for her seminars, basing them on real-life cases but altering details to protect the victims’ privacy.
“She was very particular about exactly how dolls ought to appear to express social status and the way [the victims] died,” Atkinson says.
“If a doll has a specific discoloration, it’s scientifically accurate — she’s reproducing the effects of carbon monoxide poisoning and positioning them based on when rigor mortis took effect.”
Tiny details in the scenes matter too. For example, fibers on one doll’s wounds match those on a nearby door frame.
At the Renwick exhibit, visitors will be given magnifying glasses and flashlights to conduct their own homicide investigations, but don’t ask museum staff for help — the scenes are still used in annual training seminars, so their secrets are closely guarded.
TRY TO DEDUCE WHAT HAPPENED IN THE 11 ITEMS POINTED OUT BELOW …
1. Lee used red nail polish to make pools and splatters of blood.
2. Lee crocheted this tiny teddy bear herself, so that future investigators might wonder how it landed in the middle of the floor.
3. The pattern on the floor of this room has faded over time, making the spent shotgun shell easier to find.
4. Lee knit this runner and sewed the toy chairs on it in this exact state of disarray.
5. The bedroom window is open. Could it be a sign of forced entry?
6. Lee would paint charms from bracelets to create some prop items. Others she bought from dollhouse manufacturers.
7. The table settings are sewn into place to indicate an orderly, prosperous family.
8. There’s one big clue in clear view in this room
9. Lee sewed the clothes worn by her figurines, selecting fabrics that signified their social status and state of mind. In some cases, she even tailor-made underwear for them.
10. The doll heads and arms were antique German porcelain doll parts that were commercially available. Lee would create the bodies herself, often with lead shot in them.
11. How did blood end up all the way over here?
Renwick Gallery, 1661 Pennsylvania Ave. NW
WHAT DO YOU THINK THE SOLUTION IS?
Leave your guess in the comments and I will come back and discuss it with you. In your comments post any clues or abnormalities in the scenes that you find.
A FEW MORE PICTURES OF THE “NUTSHELL” MINIATURE CRIME SCENES:
Every element of the dioramas—from the angle of miniscule bullet holes, the placement of latches on widows, the patterns of blood splatters, and the discoloration of painstakingly painted miniature corpses—challenges trainees’ powers of observation and deduction. The Nutshells are so effective that they are still used in training seminars today at the Office of the Chief Medical Examiner in Baltimore.
Showcasing the Nutshells at the Renwick allows visitors to appreciate them as works of art and material culture in addition to understanding their importance as forensic tools, and to see Lee’s genius for telling complex stories through the expressive potential of simple materials. While the Nutshells represent composites of real and extremely challenging cases featuring homicides, suicides, and accidental deaths, Lee imagined and designed each setting herself. She was both exacting and highly creative in her pursuit of detail—knitting tiny stocking by hand with straight pins, hand-rolling tiny tobacco-filled cigarettes and burning the ends, writing tiny letters with a single-hair paintbrush, and creating working locks for windows and doors.
The exhibition also highlights the subtly subversive quality of Lee’s work, especially the way her dioramas challenge the association of femininity with domestic bliss and upend the expected uses for miniature making, sewing, an other crafts considered to be “women’s work.” Also evident is her purposeful focus on society’s “invisible victims,” whose cases she championed. Lee was devoted to the search for truth and justice for everyone, and she often featured victims such as women, the poor, and and people living on the fringes of society, whose cases might be overlooked or tainted with prejudice on the part of the investigator. She wanted trainees to recognize and overcome any unconscious biases and to treat each case with rigor, regardless of the victim.
As the Nutshells are still active training tools, the solutions to each remain secret. However, the crime scene “reports” (written by Lee to accompany each case) given to forensic trainees are presented alongside each diorama to encourage visitors to approach the Nutshells the way an investigator would.
Dioramas or “Nutshells” as the creator of them referred to them, photographs were obtained from the website of the Smithsonian American Art Museum
Want to learn more about Frances Glessner Lee?
Here is a preview of the original documentary
Watch this documentary “OF DOLLS AND MURDER” when you have a spare hour
This documentary was followed by another with newly discovered material called MURDER IN A NUTSHELL
THE MURDER OF TAYLOR BEHL
Taylor Behl was a 17-year-old freshman at Virginia Commonwealth University in Richmond, left her dormitory room Sept. 5, 2005 to give her roommate some privacy with her boyfriend. She took with her a cell phone, some cash, a student ID and her car keys. She was never seen alive again.
To learn more about the murder of Taylor Behl, click HERE.