Bookmarked Bookmarks!

This is an index to my posts showcasing items from my bookmark collection. Bookmark it!

#1: Kiki the Cat
#2: A is for Acorn
#3: The Church of the Presidents
#4: Forest Vision
#5: Blessings
#6: Bookworm
#7: Ivory and Gold
#8: Leonine
#9: Opera Masks
#10: Pancake Bay
#11: Beaded
#12: Raining Cats and Dogs
#13: Computer Man
#14: The Fabric of Our Lives
#15: Dragon Time
#16: Piper and Stone
#17: The GG’s
#18: Fearsome
#19: FKA Easter Island
#20: Scotland Forever
#21: Tapestry Castle
#22: Miró, Miró
#23: Good Wood
#24: Ribbons ‘n’ Beads
#25: Magic Carpet Ride
#26: All Aboard the Ark!
#27: Library Card Art
#28: The Citadel
#29: Butterfly Bookmark
#30: Another Butterfly!
#31: Happy Bookday!
#32: Wisdom for the Ages
#33: The Cat is Back
#34: By Way of an Obit
#35: Dragonfly
#36: Licensed to Read
#37: Bookstores No More I: Classic Bookshops
#38: Bookstores No More II: The Bob Miller Book Room
#39: Bookstores No More III: World’s Biggest Bookstore
#40: Flower Power
#41: In the Beginning
#42: Going Big
#43: Bookstores No More IV: The Book Room
#44: Bookstores No More V: Lichtman’s News and Books
#45: Summer Palace
#46: Another Bookworm
#47: Dare to Dream
#48: Bon Voyage!
#49: Kitty Corner
#50: Bookstores No More VI: Book Depository
#51: Bookstores No More VII: Book City (Annex Location)
#52: From the Glassworks
#53: Animal Crackers
#54: Woody
#55: Hitting the Slopes
#56: Bookstores No More VIII: Macondo Books
#57: Bookstores No More IX: Booksmith
#58: A Wild Goose Chase
#59: Book Sale Bookmarks
#60: Canoodling
#61: A Strange Bird
#62: Sweet Liberty
#63: Bookmark Like an Egyptian
#64: Scary Stuff
#65: Coin and Elephant
#66: War and Peace
#67: Bookstores No More X: Albert Britnell Book Shop
#68: National Book Festival
#69: Bow-wow Bling
#70: Book Hoard
#71: This Is Not a Pipe
#72: Pandamonium
#73: Chinese Names
#74: A New Leaf
#75: Writers’ Trust
#76: Bookstores No More XI: The Book Cellar
#77: Bookstores No More XII: Longhouse Bookshop
#78: Awarded for Distinguished Bookmark Collecting
#79: Medieval Times
#80: Napoleon in the Library
#81: Stone Mask
#82: Bookstores No More XIII: Co-Op Bookstores (Stone Road Mall Location)
#83: The Pot of Basil
#84: The Rich Coast
#85: Portrait of the Artist as a Grumpy Old Man
#86: The Luck of the Irish
#87: Throwing Darts
#88: Reporting on the Afterlife
#89: Hungry Like the Wolf
#90: New Zealand Wood
#91: Memories of Suzhou
#92: Memories of Suzhou 2
#93: Montreal Moose
#94: Mush!
#95: Bookmark Like an Egyptian 2
#96: The Man in the Iron Mask
#97: The Girls with the Jugs
#98: Return to the Rich Coast
#99: Alnwick Castle
#100: Kylie Too!
#101: Hello, Frank Lloyd Wright
#102: Shiny Eyes
#103: Osprey
#104: The Canadian Encyclopedia
#105: Shark Week
#106: Bookstores No More XIV: Nicholas Hoare
#107: Bookstores No More XV: Highway Book Shop
#108: May the Bookmark Be with You
#109: Tassel Time
#110: Souvenirs of Scotland
#111: Oh, Garfield
#112: Turkey Day
#113: Kafka Offshore
#114: Tablet
#115: More Scary Stuff
#116: Happy November!
#117: Remembrance Day
#118: Panda Poo!
#119: Tom Likes Books
#120: Snowflake
#121: Stained Glass
#122: Felt
#123: That Most Wonderful Time of the Year
#124: Christmas 2025
#125: Eek! A Mouse!
#126: English Country Estates
#127: Do Not Disturb
#128: Celeb Sex Shenanigans
#129: Book Pile
#130: A Trip to the Taj
#131: Bookstores No More XVI: The Children’s Book Store
#132: Bookstores No More XVII: Bryan Prince Bookseller
#133: Prince Edward Island
#134: Book Shelves
#135: Dolphin Flip-flops
#136: S Marks the Spot
#137: Brass Butterflies
#138: Memories of Budapest
#139: Hopping into Spring
#140: The China Set
#141: The Fun Years
#142: Libraries are Forever
#143: Bookstores No More XVIII: As the Plot Thickens Mystery Bookshop
#144: That’s a Wrap!
#145: Hiiiii-yah!
#146: May Flowers
#147: Lulu the Giraffe
#148: Poppies
#149: Scratch ‘n’ Sniff
#150: Here Be Dragons
#151: Canada Day 2026
#152: Irish Heritage
#153: Paper Cuts
#154: Quilting Bee as in Bookmark
#155: Reading by Moonlight
#156: Get Ready for John Galt Day!
#157: A Rose in Winter
#158: On Walden Pond
#159: Upper Canada Village
#160: A Rose by Any Other Name
#161: Red Skies
#162: Pressed Flowers
#163: Celebrating Indonesia
#164: Walk the Dinosaur
#165: The Event of the Year!
#166: My Little Buttercup
#167: Elephants Never Forget
#168: Bookmark from Another Planet
#169: Astérix et Obélix

TCF: The Best American Crime Reporting 2007

The Best American Crime Reporting 2007
Guest Editor: Linda Fairstein

The crimes:

“The Loved Ones” by Tom Junod: were the operators of a New Orleans nursing home that didn’t evacuate before Hurricane Katrina struck guilty of negligence? Or did they care too much?

“The Inside Job” by Neil Swidey: the owner of a construction and landscaping business hires an accountant from a temp agency who proceeds to embezzle millions from him, largely without him even being aware of it.

“The Talented Dr. Krist” by Steve Fennessy: the perpetrator of a ghastly kidnapping does his time and even becomes a doctor, but can’t help getting into trouble.

“The Case of the Killer Priest” by Sean Flynn: a priest in Toledo is charged with having killed a nun a quarter-century earlier.

“Double Blind” by Matthew Teague: British efforts to infiltrate the IRA are so successful the double agents don’t even know whose side everyone is on.

“The School” by C. J. Chivers: an account of the Beslan school massacre in North Ossetia, as experienced by various survivors.

“A Kiss Before Dying” by Pamela Colloff: a high school football player in Texas kills his ex-girlfriend by shooting her in the head with a shotgun and throwing her body in a stock pond, apparently all in accordance with her wishes. He is acquitted at trial.

“The Devil in David Berkowitz” by Steve Fishman: the Son of Sam killer finds God in prison, or so he says.

“The Man Who Loves Books Too Much” by Allison Hoover Bartlett: a swindler steals rare books from second-hand bookshops across the U.S. He’s caught, but remains largely unrepentant.

“Dirty Old Women” by Ariel Levy: female teachers have affairs with underage male students.

“Who Killed Ellen Andross?” by Dan P. Lee: a pair of high-profile medical examiners face off in the murder trial of a husband accused of killing his wife.

“Fatal Connection” by David Bernstein: a Chicago escort is murdered not by one of her clients but by her financial adviser.

“Last Seen on September 10” by Mark Fass: a woman living in Lower Manhattan goes missing the day before the attack on the World Trade Center. Her family think she died in the bombing but others have their doubts.

“My Roommate, the Diamond Thief” by Brian Boucher: a man rents out the bedroom in his one-bedroom apartment to a mysterious fellow who turns out to be a jewel thief on the run.

“The Monster of Florence” by Douglas Preston: an American writer living for a while in Florence befriends an Italian journalist and they start looking into the case of a serial killer who terrorized the area years earlier. This gets them both into trouble with the authorities.

The book:

Like all the entries I’ve read in this (now sadly defunct) series, it’s great. I didn’t think there was a bad story. Levy didn’t do much with her quick look at teachers-in-heat, and Boucher’s piece is also a bit light, but they’re also the two shortest stories and still manage to be interesting and fun.

On the other end of the scale, C. J. Chivers on the Beslan school massacre is the longest piece and still feels as though it needed more room. It really should have been a book, complete with photos and maps, as it’s basically a collage of first-person accounts (or “a museum of words,” as Chivers puts it) and isn’t always easy to follow. Meanwhile, the fact that at least two of the stories included here – the ones by Bartlett and Preston – were later turned into successful books gives you some idea of the quality of the material.

I don’t go into such an anthology expecting much in the way of continuity in terms of the subject matter, so I was surprised to find a strong recurring theme. Perhaps guest editor Linda Fairstein had a predilection for a particular kind of crime story. However it came about, a lot of the stories deal with a betrayal by individuals in a position of trust.

We begin with the operators of a nursing home who put their residents at risk as a hurricane bears down on New Orleans. Next up an accountant embezzles funds from her employer. Then we have a bad doctor and a killer priest. Also we’ll have teachers having sex with their students and a financial advisor who steals money from his client before killing her. And finally the Italian police in “The Monster of Florence” demonstrate not so much ignorance and corruption (though there was probably some of that) as provide evidence that they’re not the kind of people you’d want to put in a position of authority.

A lot of this is a sort of sub-set of a message that a lot of true crime writing carries: that you can’t trust anyone. Put another way, “if delusion is our enemy, it equally may be said that trust is no friend of clear-thinking” (this is from the Introduction by the series editors). Or, as Duncan says of the treacherous thane of Cawdor:

There’s no art
To find the mind’s construction in the face.
He was a gentleman on whom I built
An absolute trust.

Indeed there is no art, as Duncan is about to find out by putting his trust in Macbeth. He’s learned nothing. That said, we learn from books as much as example and experience, which is one of the things that I think gives true crime real value. If not an art, there’s a skill to reading people that we can always get better at. It begins with realizing that there’s no one deserving of “an absolute trust.”

Noted in passing:

In my notes on Kathryn Casey’s She Wanted It All I talked about some of the stupid ways that not-very-bright criminals find to blow their ill-gotten money. I thought of that again reading about Angela Platt bilking her boss for millions and then spending it on not just a new house, a big-screem TV, and time-shares in Florida and the Bahamas but also “the kind of bizarre crap you’d expect to find if you could journey through Christopher Walken’s brain”:

A hot rod fashioned into a green monster with teeth the size of fence pickets. A 1931 Plymouth with the faces of Bonnie and Clyde and lots of bullet holes painted on it, bearing the Rhode Island license plate UMISED. Collections of rare guns and wretched movies. Talking trees inspired by The Wizard of Oz.

OK, I’m not sure what this has to do with Christopher Walken, and I have a small collection of wretched movies myself, but this sounds pretty bad. And there was more! Platt also had a life-sized statue of Al Capone wearing a white suit and chomping on a cigar. For her brother’s wedding she hired the entire Riverdance touring troupe (at a cost of over a quarter million dollars) and Burt Bacharach (nearly $400,000) to perform. Given that her boss hardly even noticed the money she was siphoning off to pay for all this, I really had to laugh.

I’d forgotten how David Berkowitz had been caught. A woman had seen his car being ticketed on the night of one of the killings and reported it. When police investigated they turned up a lot of suspicious information relating to Berkowitz, and when they tracked down the car (Berkowitz hadn’t changed his plates) they found he’d left a gun lying unconcealed in the back seat.

It’s interesting how these routine traffic violations have played a role in catching famous bad guys. Peter Sutcliffe, the Yorkshire Ripper, was caught because an officer noticed that his car had false plates. Timothy McVeigh was only stopped while leaving Oklahoma City because he hadn’t attached plates to the vehicle he was driving. It’s the little things that trip you up.

Takeaways:

While not everyone is a potential killer, it’s a safe bet that nobody is exactly what they seem to be. In any event, you should always question people in positions of trust and authority unless you know they’ve earned it. They rarely have.

True Crime Files

Afterlife with Archie: Escape from Riverdale

Afterlife with Archie: Escape from Riverdale

This is the title that launched the Archie Horror imprint due to its boffo success both critically and with a wide audience. And I don’t find that success surprising as I loved it in almost every way.

The idea grew out of a parody Life with Archie cover by Francesco Francavilla that had Archie being confronted with zombie versions of Jughead, Betty, and Veronica. This seemed like such a good idea, they decided to make a whole comic out of it. Because this was the time of peak zombie and zombies were going well with everything. Pride and Prejudice and Zombies (the novel) had come out a few years earlier and been a smash success, quickly followed up by a major motion picture. Such mash-ups thrive on the incongruity of high-culture being mixed with low, or in this case a wholesome American town turned into an abattoir. After a while, and really it didn’t take long, the joke got stale. But some really good work came out of it too.

Afterlife with Archie is really good. Things kick off naturally enough at Riverdale High’s Halloween dance, and just before the zombie outbreak begins we get a lot of insider jokes keyed to horror movies, which is very much in the manner of these things. Pet Sematary, for example, is referenced because the apocalypse is triggered by Sabrina the Teenage Witch raising Jughead’s beloved Hotdog from the dead, with predictably disastrous results. The seminal text Night of the Living Dead gets a nod in a flashback with Mr. Weatherbee horning after Miss Grundy. Dilton Doiley is the nerdy character from the Scream franchise who knows how horror movies are supposed to play out. And so it goes.

From here we’re taken through the familiar run of zombie incidents. The infected person who tries to brush it off as no big deal. The siege, this time in stately Lodge Manor no less, and subsequent breakout. The confrontation with transformed loved ones. Now you’d think, or at least I would have thought, that none of this was all that interesting or new, and on one level I guess it isn’t, but I still enjoyed it immensely. Writer Roberto Aguirre-Sacasa, who was the main force behind the TV series Riverdale, adeptly brings the Archie brand into a sort-of real world, fleshing out the main characters just before they start eating flesh. In terms of their appearance they’ve changed a lot from their traditional look – Archie in particular is unrecognizable but for his red hair, and Jughead but for his cap and “S” sweater – but you can actually buy into them as real teenagers. Some liberties are taken with the fringe Riverdalers – Ginger Lopez and Nancy Woods are romantically involved, and Cheryl and Jason Blossom have some kind of incestuous attachment hinted at – but I didn’t know these people anyway.

Poor Jughead: Patient Zero or “Jugdead” here and made into a werewolf in the Jughead: The Hunger series. It’s hard being the odd man out in any gang, and I guess he always was. Were these transformations his revenge? I think that’s something in the mix.

So yes, I loved it. Enjoyed nearly every page of it. And a special shout out for some great lettering by Jack Morelli. The only misstep that registered was the business with Archie’s dog Vegas (I don’t remember him from the comics). I thought they should have skipped that part. But even that might have had a purpose, making me wonder if there was maybe a connection being drawn between his doggy devotion to his master and the Lodge butler Smithers (an ancestor of Waylon Smithers in The Simpsons?) with his sense of duty toward his Mistress Veronica. I liked being drawn into these kinds of conjectures, and they weren’t what I was expecting from an Archie zombie comic. Well done!

Graphicalex

Bias in the press

From “The Mystery of Marie Rogêt” (1842) by Edgar Allan Poe:

We should bear in mind that, in general, it is the object of our newspapers rather to create a sensation – to make a point – than to further the cause of truth. The latter end is only pursued when it seems coincident with the former. The point which merely falls in with ordinary opinion (however well founded this opinion may be) earns for itself no credit with the mob. the mass of the people regard as profound only him who suggests pungent contradictions of the general idea. In ratiocination, not less than in literature, it is the epigram which is the most immediately and the most universally appreciated. In both, it is of the lowest order of merit.

TCF: Homegrown

Homegrown: Timothy McVeigh and the Rise of Right-Wing Extremism
By Jeffrey Toobin

The crime:

On April 19, 1995 (the second anniversary of the end of the Waco siege) Timothy McVeigh detonated a truck bomb in front of the Alfred P. Murrah Federal Building in Oklahoma City. There were 168 dead, including 19 children. McVeigh was quickly apprehended and after being found guilty executed by lethal injection. His associate Terry Nichols, who helped him build the bomb, is serving a life sentence.

The book:

Homegrown is the opposite of a timely book, coming out nearly thirty years after the events it describes and the extensive media coverage it attracted. Ten years ago I reviewed a book on the subject – Oklahoma City: What the Investigation Missed – and Why It Still Matters by Andrew Gumbel and Roger G. Charles – that took a very critical look at the investigation and the question of whether McVeigh and Nichols were working alone. Jeffrey Toobin doesn’t mention Oklahoma City and I don’t know if he even read it, but he takes the opposing side, praising the efforts of law enforcement and arguing that there were no shadowy connections between McVeigh and various right-wing militia movements.

Which is not to say he doesn’t see McVeigh as part of the same tide of extremism that was swelling in America at the time and that later crested in the Capitol riots of January 6, 2021. The connection to the Capitol riots, and “the rise of right-wing extremism” more generally in the wake of the Oklahoma City bombing is the main point Toobin wants to drive home. This he does repeatedly. Flipping to the index I found January 6 referenced over 30 times. It usually sounds like this:

The right-wing extremists of the 1990s employed the same kind of violent imagery that their successors would use more than twenty-five years later. Before Oklahoma City, [Rush] Limbaugh spoke of how close the nation was to “the second violent American revolution,” just as Donald Trump told his armed supporters on the Ellipse on January 6 to march to the Capitol and “fight like hell.” On both occasions, actual violence followed broadcast incitement. Clinton believed that this kind of language had real-life consequences, but that wasn’t the kind of conclusion that could be tested in a court of law. In contrast [Merrick] Garland and others in the Justice Department refused to tie the bombing case to contemporary politics, believing that such analyses could only confuse a straightforward criminal trial. Thanks to the reticence of Garland and his colleagues, as well as the tunnel vision of the journalists covering the case, the impression lingered that McVeigh was an aberration, a lone and lonely figure who represented only himself and his sad-sack co-defendant. This notion, as history would show, was mistaken.

Or:

The events of January 6, 2021 saw the full flowering of McVeigh’s legacy in contemporary politics. McVeigh was obsessed with gun rights; he saw the bombing as akin to the revolutionary struggle of the Founding Fathes; and he believed that violence was justified to achieve his goals. So did the rioters on January 6.

And so on. From their embrace of violence, performative rage (“the fight – was the end in itself”), fetishization of the Second Amendment, invocation of the spirit of ’76, and inspiration drawn from The Turner Diaries (elevated into a kind of sacred text), a clear line runs from McVeigh to today’s right-wing militias. What has mainly changed is the way the Internet and social media now allow for greater mobilization of the “army” that McVeigh could only dream of. McVeigh read books and listened to the radio and shortwave. He wrote letters to the editors of local newspapers and to his representatives in congress. He met up with kindred spirits in the flesh at gun shows. What he “lacked was something that hadn’t been invented.” “The digital radicalization of McVeigh’s descendants,” Toobin notes, “was much faster and more efficient.” “More than any other reason, the internet accounts for the difference between McVeigh’s lonely crusade and the thousands who stormed the Capitol on January 6, 2021.”

I’m in broad agreement with this point of view, as it’s part of a larger question that historians and pundits have been discussing ever since the rise of Trump: to what extent did Trump and his MAGA movement mark a significant break with traditional Republican values, and to what extent was he the culmination of the American right’s long slide into violent insanity? Toobin clearly comes down on the side of continuity, and I think he makes a strong case. There were some places, however, where I thought he pressed too hard. At one point, for example, he tries to rope McVeigh in with “incel” culture:

McVeigh came of age before the term “incel” – involuntary celibate – came into wide use. Like the incels of a later day, McVeigh was unable to attract the sexual interest of women and responded with rage toward them.

This appears to be mistaken just on the basis of Toobin’s own reporting. For starters, I wasn’t sure what rage he was referring to, aside from McVeigh’s anger at his mother. But more to the point, McVeigh himself claimed to his lawyers that he’d had eight sexual partners, “three of them the wives of friends” (including the wife of Terry Nichols). A serial cuckolder isn’t an incel, and I wouldn’t have thought having eight partners by one’s early 30s was considered batting at such a low average as to be described as “unable to attract the sexual interest of women.”

Even without knowing anything of McVeigh’s sexual history, my own knee-jerk reaction against calling him an incel had to do with his height. Are there many tall incels? According to dating data, height is a primary (if not the primary) sexual selector, and McVeigh at 6’3” would be considered pretty much ideal in this regard. In comparison, famous killer incels Elliot Rodger and Alex Minassian were both 5’9,” which isn’t short but didn’t make them irresistible.

I’ve noted this dangerous predilection women have for tall men before in these notes, and the point here is that just by being 6’3” McVeigh seems to have had no problem attracting at least some women, despite having no job, living out of his car, and only possessing average looks combined with a rebarbative personality. But he also seems to not have been that interested in women anyway, or bothered seeking them out, which sort of kills your chances. In any event, it’s interesting that he took exception to a New York Times story that considered him to be “asexual” because he did his own dishes – a judgment that shows how facile such analyses can be.

Calling McVeigh an incel though isn’t just another way to tie his case in with more recent cultural trends but is part of the usual pattern, at least among not very good writers, of painting a villain as black as possible every chance you get. McVeigh was an evil man, but having said that, what purpose is served by calling him an incel, or a coward? Here is Toobin trying to explain “the real reason” why McVeigh didn’t shoot Charlie Hanger, the officer who arrested him:

In Iraq, McVeigh could fire a projectile from a Bradley and still strike a target far off in the distance. In Oklahoma City, he could put in his earplugs and set off a bomb that targeted faceless federal employees he would never see. But McVeigh never had the guts to kill a man face-to-face.

This struck me as a really cheap shot, and stupid. Because why does it take guts to kill someone face-to-face? I would have thought that this was just the mark of a psychopath. Would killing Hanger have made McVeigh more of a man?

I guess this is a minor point though, when placed in context. Overall I thought Toobin did a good job here retelling the story, though I was surprised given the amount of material he had to mine (courtesy of McVeigh’s lawyer rather dubiously donating all of his material on the case to a library in Texas) how little here is actually new. But did we not know all about McVeigh before this? What was there to find out? Toobin seems mainly intent on putting to rest ideas that McVeigh had help from anyone other than Nichols and Michael Fortier. This seems pretty convincing, though I wouldn’t be surprised if some of the “clutter” that the prosecution didn’t want to bring into their case might have also included other individuals or even groups who were to some degree in the know.

I also wasn’t as impressed as Toobin by the efforts of law enforcement and the prosecutors. They did their job. But the fact is this was as open-and-shut a case as you could imagine. Toobin frankly calls McVeigh’s defence to be “hopeless.” It’s also true that McVeigh was apprehended by accident, after being pulled over for failing to attach a licence plate to his car (much the same way Peter Sutcliffe, the Yorkshire Ripper, would be caught). Nichols, for his part, would basically turn himself in. Then, after McVeigh was in custody he pretty much gave himself up and wanted to sound a call to arms/become a martyr to his cause. The fantastic sums his lawyers were provided to defend him seems mostly to have been wasted on what were basically just expensive vacations.

The most disturbing thing in the book though is the conclusion Toobin draws: that what was once extreme has become mainstream. The so-called Overton window has shifted. To take just one example:

The McVeigh prosecutors put the “civil war” issue in front of the jury to show how extreme and exotic the defendant’s views were. But a quarter century later, McVeigh’s view was close to the conservative movement norm. This view – about the possibility of civil war – became mainstream as the passions underlying the January 6 insurrection roiled conservatives during the Biden presidency. According to an Economist/YouGov poll in the summer of 2022, 43 percent of Americans believe it’s at least somewhat “likely” that “there will be a U.S. civil war within the next decade.” More than half of Republicans feel that way, and 21 percent of “strong Republicans” believe a civil war is “very likely.” McVeigh’s extremism had spread to much of the contemporary Republican Party.

First you imagine these things happening. Then you calculate their possibility. Then you start talking about them as inevitable. And then they happen.

Noted in passing:

There’s long been a theory about how the American West has traditionally acted as a kind of safety valve for the discontents of “civilized” modern life. I don’t know if McVeigh was aware of this, but on some level he clearly was tapping into it in his understanding of the kind of American past he wanted to return to: “I want a country that operates like it did 150 years ago – no income taxes, no property taxes, no oppressive police, free land in the West.” The frontier thesis of Frederick Jackson Turner is still in play, at least in some minds.

I’ve written before about the strange way that some cases strike the fancy of the public and stick in the public consciousness more than others. At around the same time as the Oklahoma City bombing trial was going on (in Denver) there were the O. J. Simpson civil trial and the JonBenét Ramsey murder, and it’s hard to say if the bombing will last longer in memory than either of those. That may sound callous and even cruel, but as Toobin points out at one point it may have been technically inaccurate to say, as many media figures and even the FBI did at the time, that the bombing was “the deadliest act of homegrown terrorism in U.S. history.”

It was not; indeed, the bombing was not even the deadliest terror attack in Oklahoma history. In June 1921, a white mob in Tulsa conducted a pogrom and killed about three hundred Black residents of the city’s Greenwood neighborhood. In the aftermath of the Oklahoma City bombing, the Tulsa race massacre was scarcely mentioned.

Actually, before there was a spate of interest thrown up by a book and documentary recently, I think the Tulsa race riots had been almost completely forgotten. Similarly, the Bath, Michigan school bombing of 1929, which killed 44 people (38 of them students) is an event that very few people know anything about today. Or take this list that Toobin provides in talking about the 1994 bill before Congress to ban assault weapons:

Assault weapons – that is, short-stock semiautomatics, with magazines for multiple rounds – had figured in several recent mass murders at the time. In 1989, a teacher and thirty-four children were shot by an intruder in an elementary school in Stockton, California, in 1991, a gunman killed twenty-three people at a Luby’s restaurant in Killeen, Texas; eight people were killed in a San Francisco law firm in July 1993. (Notably, as the roll call of mass shootings continued in subsequent decades, these horrors have been largely forgotten.)

Guilty as charged. I pulled a blank on all of these, though the Luby’s shooting did ring a distant bell.

It really is impossible to say what historical events, or cultural artefacts, are going to stay with us. Here, for example, is a bit Toobin takes from the summation of McVeigh’s lawyer, Stephen Jones:

Forty years ago this very month, there was a major literary event in this country. James Gould Cozzens’ great novel, By Love Possessed, was published. And for people of my generation and my mother and father’s generation, and I’m sure some but not all of you, that novel remains with us today, though its author has long since been forgotten. The book was an instantaneous best seller. It stayed at the top of the New York Times best seller list for over a year. It was a Reader’s Digest condensed book. It won for the author not only the Howell prize but a cover story on Time magazine. And eventually as you might expect, it was made into a movie and then translated into some 14 or 15 languages throughout the world.”

Again, and perhaps with even greater embarrassment, I have to plead guilty. I couldn’t remember ever having heard of By Love Possessed, book or movie, before this, or for that matter of the Howell Prize (technically the William Dean Howells Medal, which Toobin also must not have known anything about). I know I must have at least read Dwight Macdonald’s review, but there’s no memory of any of it now. The author, I can testify, has indeed “long since been forgotten.” This is just the way cultural memory works. Or doesn’t work.

Takeaways:

There’s nothing new about violent right-wing extremism in America. What has changed is how mainstream it has become. A lot of that is probably due to the Internet and social media, as people bring the poison into their homes and their phones, but it’s also due to the rot now spreading down from the top. All of which makes me think that it’s probably impossible now to root out.

True Crime Files

Torso

Torso

Torso is a six-part series based on the Cleveland Torso Murderer investigation. Though the killer was never apprehended, it’s assumed that he killed and then dismembered some 12 victims in the 1930s, leaving their body parts scattered around Cleveland (for fuller accounts of what happened, see here and here). So we’re definitely in true-crime noir territory here, as if you couldn’t tell from the stark black-and-white art inking every face half in shadow.

There’s also a documentary feel to the proceedings, underscored by cityscapes backlit with vintage photos. And for the most part, at least in the early going, creators Brian Michael Bendis and Marc Andreyko stick fairly close to the record, even including a gallery of newspaper archive clippings and pictures with this edition (though there’s no bibliography or suggested further reading; even 300 had suggestions for further reading!). On the other hand, some names have changed and made-up characters have been introduced. The drama is heightened and compressed. And at the end a climactic shootout in a burning human abattoir that is very Hollywood is wholly invented. But overall it’s not bad on that front. Just remember that it is a fictionalization, a historical graphic novel.

The presentation plays off different tensions. The separate chapters begin by taking us in and out of focus and commercial stippling. As with the shadow – and there is a lot of shadow in this book! – it seems the harder we look the less we see. Another tension is between static and dynamic. Stencil-like figures are repeated identically throughout the book, sometimes throughout entire scenes of dialogue and sometimes reappearing in different scenes in different chapters. But this stationary feeling is given a spin by a layout that zigs and zags around the page, or that requires you to turn the book on its side to read. One scene, Eliot Ness’s interview with the killer “Gaylord Sundheim,” even forces you to turn it all the way around as it’s written in a spiral.

That spiral page (or double-page spread) will annoy some people, but I thought it had a thematic point and worked well playing off the circling movement with the way figures are repeated over and over. Plus, it’s a one-off.

This is a stylish but not artificially artsy book that I rated very highly, though I’ll concede that it’s probably not for everyone. Don’t get hung up on it being an accurate account of the Cleveland torso murders and just enjoy it for the dark entertainment that it is.

Graphicalex

Erasing the past

“Typewriter Eraser, Scale X” by Claes Oldenburg and Coosje van Bruggen (1999).

I was watching a documentary last week on modern art and at one point the discussion turned to pop art and the sculpture of Claes Oldenburg. I was familiar with a few of Oldenburg’s works, but I hadn’t seen the one they splashed on the screen: Typewriter Eraser, Scale X.

What really took me aback though was that without the title I wouldn’t have even known what this was a (giant-sized) sculpture of. Something about it triggered a very vague memory. I’m sure I’d seen erasers like this somewhere before, but I couldn’t tell you where or when. And I learned to type on a classic Underwood that was as heavy as an engine block, complete with a long silver arm that you swatted back for carriage return. But I never used a typewriter eraser. I think there are few people alive who have, and fewer every day. And yet this was a 1999 sculpture (albeit one Oldenburg had apparently been thinking about doing since the 1960s).

The reason this struck me as meaningful is that Oldenburg’s sculpture, like a lot of pop art, was based on representations of instantly recognizable, everyday objects. He made giant clothespins and giant cheeseburgers. So what happens to pop art when the objects it represents have become so alien? I mean, a giant typewriter eraser might even be an alien, with the spindly brush a shock of blue hair coming out of a round pink cyclopean head. Less imaginatively, it’s a wheeled pizza cutter with a handle that’s come apart.

It seems like an interesting question for art appreciation. If the point is to have you recognize an object that is immediately identifiable even when it’s presented on a different scale and in a different setting, but you don’t know what the object is supposed to be in the first place, then the whole effect of the piece has changed. It hasn’t been lost, mind you. Just changed. I think there’s an analogy that can be made to how we respond to current events when we’ve lost so much historical understanding and perspective. Events lose their meaning, or their meaning changes, when they no longer have any generally understood context. The giant eraser becomes a metaphor.