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RANCHO MIRAGE

AN AMERICAN TRAGEDY OF MANNERS, MADNESS, AND MURDER

Knife-edged retelling of a killing in California's ritzy residential country club Rancho Mirage, in which the sadistic victim heedlessly orchestrates his own murder by way of his mentally troubled wife. Saroyan (Friends in the World, 1992, etc.) writes more coolly here than ever before and few will deny his objectivity, although he clearly deplores the court's final verdict of first-degree murder, with no insanity plea influencing the wife's sentence of 25-years-to-life. Beautiful ninth-grade dropout Andrea Claire, a lifelong victim of males and addicted to serving them, leaped from high-priced call girl to wife of elderly Bob Sand, a millionaire bound to a wheelchair by multiple sclerosis but gripped by a boundlessly kinky sex drive. This was her fifth disastrous marriage, his second, and at the time of his death she was 39, he 69. She married, she said, not for money but companionship. But jealous Bob curtailed her social life, kept her running about the house nude, enjoyed making up rape fantasies and having Andrea act them out while he masturbated or took endless Polaroids of her bareness. Andrea liked this sex play with her fun-loving, well- read, intellectual husband (as she saw him) and had no qualms when he showed his photo collection to visitors. But she began reacting badly to his ever more intense spanking-and-rape fantasies, which echoed a real rape endured in her teens: Her none-too-stable mind at last burst as he drew for her a terrible scene, causing her to go into a blackout and stab him 26 times. The prosecutor bent himself fiercely to proving her sane, and won, but the reader groans. Told through a film of ice—but may Saroyan's success here not trap him exclusively in the true-crime genre. (Photographs—not seen)

Pub Date: Nov. 23, 1993

ISBN: 0-942637-95-X

Page Count: 366

Publisher: Barricade

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Oct. 1, 1993

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MY FRIEND DAHMER

An exemplary demonstration of the transformative possibilities of graphic narrative.

A powerful, unsettling use of the graphic medium to share a profoundly disturbing story.

If a boy is not born a monster, how does he become one? Though Backderf (Punk Rock and Trailer Parks, 2008) was once an Ohio classmate of the notorious Jeffrey Dahmer, he doesn’t try to elicit sympathy for “Jeff.” Yet he walks an emotional tightrope here, for he recognizes that someone—maybe the other kids who laughed at and with him, certainly the adults who should have recognized aberration well beyond tortured adolescence—should have done something. “To you Dahmer was a depraved fiend but to me he was a kid I sat next to in study hall and hung out with in the band room,” writes the author, whose dark narrative proceeds to show how Dahmer’s behavior degenerated from fascination with roadkill and torture of animals to repressed homosexuality and high-school alcoholism to mass murder. It also shows how he was shaken by his parents’ troubled marriage and tempestuous divorce, by his emotionally disturbed mother’s decision to move away and leave her son alone, and by the encouragement of the Jeffrey Dahmer Fan Club (with the author a charter member and ringleader) to turn the outcast into a freak show. The more that Dahmer drank to numb his life, the more oblivious adults seemed to be, letting him disappear between the cracks. “It’s my belief that Dahmer didn’t have to wind up a monster, that all those people didn’t have to die horribly, if only the adults in his life hadn’t been so inexplicably, unforgivably, incomprehensibly clueless and/or indifferent,” writes Backderf. “Once Dahmer kills, however—and I can’t stress this enough—my sympathy for him ends.”

An exemplary demonstration of the transformative possibilities of graphic narrative.

Pub Date: March 1, 2012

ISBN: 978-1-4197-0216-7

Page Count: 224

Publisher: Abrams ComicArts

Review Posted Online: Dec. 17, 2011

Kirkus Reviews Issue: Jan. 1, 2012

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UNDER THE BRIDGE

A tour-de-force of true crime reportage.

Godfrey reconstructs a horrific murder with a vividness found in the finest fiction, without ever sacrificing journalistic integrity.

The novel The Torn Skirt (2002) showed how well the author could capture the roiling inner life of a teenager. She brings that sensibility to bear in this account of the 1997 murder of a 14-year-old girl in British Columbia, a crime for which seven teenage girls and one boy were charged. While there’s no more over-tilled literary soil than that of the shocking murder in a small town, Godfrey manages to portray working-class View Royal in a fresh manner. The victim, Reena Virk, was a problematic kid. Rebelling against her Indian parents’ strict religiosity, she desperately mimicked the wannabe gangsta mannerisms of her female schoolmates, who repaid her idolization by ignoring her. The circumstances leading up to the murder seem completely trivial: a stolen address book, a crush on the wrong guy. But popular girls like Josephine and Kelly had created a vast, imaginary world (mostly stolen from mafia movies and hip-hop) in which they were wildly desired and feared. In this overheated milieu, reality was only a distant memory, and everything was allowed. The murder and cover-up are chilling. Godfrey parcels out details piecemeal in the words of the teens who took part or simply watched. None of them seemed to quite comprehend what was going on, why it happened or even—in a few cases—what the big deal was. The tone veers close to melodrama, but in this context it works, since the author is telling the story from the inside out, trying to approximate the relentlessly self-dramatizing world these kids inhabited. Given most readers’ preference for easily explained and neatly concluded crime narratives, Godfrey’s resolute refusal to impose false order on the chaos of a murder spawned by rumors and lies is commendable.

A tour-de-force of true crime reportage.

Pub Date: Oct. 1, 2005

ISBN: 0-7432-1091-3

Page Count: 368

Publisher: Simon & Schuster

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: July 15, 2005

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