This is the nearest we will ever get to knowing the truth about the Ripper

books:


	• Portrait of a Killer: Jack the Ripper -- Case Closed Patricia Cornwell G.P. Putnam Sons, 2002 - 387 pages view larger image
	for more information click here

This is the nearest we will ever get to knowing the truth about the Ripper

JACK THE RIPPER

REVIEW BY SALLY RAMAGE

OF

"PORTRAIT OF A KILLER:JACK THE RIPPER CASE CLOSED"

by Patricia Cornwell, Sphere Books, Little, Brown Book Group, London, 2003. ISBN 978-0-7515-3359-0

Patricia Cornwell is the Director of Applied Science at the National Forensic Academy. Her book is so gripping that I read it from first page to last page without putting it down.

It is obvious that the writer is a criminologist. She wrote this structured book with a beginning, middle and an end.

She tells the reader at the beginning that she concludes that Jack the Ripper was no other than Walter Sickert the artist. She then takes the reader through all the evidence and there is little doubt that her findings are sound. Cornell's writing is objective, scientific, methodical, and intelligent.

She reminds the reader that the `Jack the Ripper' killings were British and I can see reflections of the Jack the Ripper scenarios in the `Yorkshire Ripper' murders. It is clear that Cornell had examined a vast amount of evidence, primary and secondary and these are listed in the back pages. She was assisted over many years of research by a whole team of forensic investigators and in the book, she acknowledged their contributions.

Her `terms of reference' were to consider the extent of Jack the Ripper's unlawful activities. She then considered the motives for these murders. Obviously, she could not interview the killer, so she relied mainly on primary and secondary evidence about Sickert the artist.

I can see her use of Karl Popper's scientific methods. Popper suggested that one should look for instances that confirm or verify one's theories and Patricia Cornwell demonstrated this. She explored unsuccessful avenues as well as those which uphold her theory. She writes (pg 133), "computerised image enhancement detects hundreds of grey shades that the human eye cannot see and makes it possible for a fuzzy photograph or erased writing to become visible or discernible. Whilst forensic image enhancement might work with bank security videos or bad photographs, it does not work on paintings. All our efforts accomplished with Ennui (one of Sickert's paintings) was to separate Sickert's brush strokes until we ended up with the reverse of what he was doing when he put the strokes together."

One is reminded repeatedly in this `Jack the Ripper' case, that forensic science does not and will not ever take the place of human detection, deduction, experience, common sense and very hard work.

Patricia Cornwell's book concentrated on the number of women who were murdered by `Jack the Ripper'. Cornwell also concentrated her book on the conduct of the police investigation, the conduct of the coroners and on the death certificates issued after eachprostitute was murdered. Cornwell concentrated on the fact that social explanations often pinpoint which social group is more vulnerable to a phenomenon than others while psychological explanations identify the social group more likely to be vulnerable than others.

There is much concern and theorising about serial killers nowadays (see Simpson (1980); Leyton (1986); Seltzer, (1998);Grover and Soothill (1999); Soothill ( 2001); Smith, (2002) and Peters (2005).

I could see leanings in the book to Leyton's central thesis of homicidal protest. Leyton's thesis is that that the criminal offence of murder is a form of homicidal protest. Leyton concludes that homicidal killings are committed by frustrated members of the middle classes usually. Leyton said that, occasionally , serial killings contain a metaphor from the earlier era and that serial killers interrupt the lives of prostitutes and runaways because, in the killer's distorted mind, he assumes that these women deserve to be killed as punishment.. Criminologists Kelly and Radford also hypothesised that violence against women is a reflection of a patriarchal society Criminologists Grover and Soothill theorised that when women such as prostitutes are murdered, it is because they are increasingly seen as a socio-economic burden on society. Grover and Soothill's theory concluded that British serial killings reveal that Britain is inadequate in its provision of social and economic protection of the poor and vulnerable. Serial killers prey on the vulnerable and in Britain, the vulnerable are those who cannot compete within the structural conditions of patriarchal capitalism- those who, for various reasons, are unable to retort against those whom this patriarchal capitalism adorn with power.

Finally Patricia Cornwell brings the reader to conclusion that the artist Sickert was the murderer `Jack the Ripper'.

She revealed that DNA results from an anonymous letter to the police from the killer compares well with a letter to someone from Sickert's mother. DNA testing has become an established part of criminal justice procedures, and the admissibility of DNA in court today is routine. This technology is highly sensitive and can generate a reliable DNA profile from a crime scene stain that is as small as the size of a pin head. Both Sickert's written letter, the anonymous letter to the police and Sickert's mother's written letter contain part of the same DNA sequence. DNA evidence is biological evidence. Biological is a type of physical evidence. Biological evidence is not always visible to the naked eye.

DNA analysis is similar to fingerprint analysis in how matches are determined. Evidence collected from a crime scene is compared to a known sample. If each feature is not identical, the DNA evidence is determined NOT to be a match and therefore did NOT come from the suspect. When a crime scene profile does not match any stored profiles, it is possible to undertake further testing to see if it partially matches that of a genetic relative. Familial searches in the UK today can only be conducted with the specific authority of the Custodian of the NDNAD(National DNA Database) and there are legal parameters for use of the NDNAD, these being the prevention and detection of crime; the investigation of an offence; the conduct of a prosecution or the identification of a deceased person. The aim of familial searching is to provide legitimately useful intelligence in solving crime and there are instances in which its use is able to be justified, such as tracing the relatives of an unidentified serial killer.

The weak point of Cornwell's argument of DNA match, though, is this - the chain of custody of evidence is a record of individuals who have had physical possession of the evidence. Documentation is critical to maintaining the integrity of the chain of custody. Maintaining the chain of custody is vital for any type of evidence. In addition, if laboratory analysis reveals that DNA evidence was contaminated, it may be necessary to identify persons who have handled that evidence.

In processing the evidence, the fewer people handling the evidence, the better. There is less chance of contamination and a shorter chain of custody for court admissibility hearings. The Jack the Ripper case is very old and who knows how many people have previously handled the evidence?

Because extremely small samples of DNA can be used as evidence, greater attention to contamination issues is necessary when identifying, collecting and preserving DNA evidence. DNA evidence can be contaminated when DNA from another source gets mixed with DNA relevant to the case. Saliva on the envelopes or the letters was probably tested. Saliva is the fluid that moistens the mouth. It is secreted from three sets of glands. Screening for saliva is based on detection of high levels of amylase in the sample. It is not a confirmatory test as amylase is found in other body fluids.

Saliva contains ABH substances, especially in secretors. Saliva samples (spit or buccal swabs) are often taken as reference materials for determination of secretor status.. Stains can be typed using absorption-elution or absorption-inhibition.

If Cornwell's team had confirmed the DNA match by testing for body fluids on both letters, they would know that DNA typing has become such an effective tool in forensic biology that almost all of the traditional techniques have fallen into disuse but they may have used some old techniques which are still used in the examination of body fluids. Cornwell may have used the technique of serology, the detection, identification, and typing of body tissues, either in native form or as stains or residues left at a crime scene. Most often, the tissue of interest is a body fluid such as blood or semen; however, other tissues such as hair or bone are encountered. The detection and identification process begins with a physical examination, followed by a screening test, and may include confirmatory identification and sample typing.

All in all, Patricia Cornwell's book is a very convincing read. What is interesting is the renewed interest in the artist Walter Sickert. There is to be a London painting exhibition, on 25 October to 20 January, of Walter Sickert's paintings of the Camden Town Nudes. Against contemporary conventions of the idealised nude, Sickert depicted his naked models in the shabby interiors of Camden Town bedsits, investing the images with the disquieting themes of prostitution and poverty associated with this working class area of North London where he lived and worked.

The exhibition in London will bring together around fifteen of the principal canvases from private and public collections and will assemble Sickert's four so-called Camden Town Murder paintings.. Sickert's characteristic method of painting was in the reduced, almost grisaille quality of his tones. Many of his paintings depict the interiors of music- halls & theatres. Previous exhibitions of Sickert's paintings have been held at the Tate in the year 2006, and in the year 2000 at the Fine Arts Society, London. The exhibition in the year 2000 marked the publication of a book titled, Walter Sickert: Prints by Ruth Bromberg. The exhibition showed some of Sickert's finest paintings, drawings, prints & some letters & telegrams from Sickert. The fevered interest in Sickert and his paintings has even inspired an essay competition at the University of St Andrews, Scotland.

Patricia Cornwell, as well as her scientific and biological analysis, has, as a criminologist, read all the literature on Sickert, including these texts:

* Whistler, "Cross-examination in the Trial of Ruskin for libel-1878;

* Sickert, "Mr Whistler and His Art" The Artists and Journal of Home Culture, 1st Jan. 1884;

* Sickert "Is the Camera the Friend or the Foe of Art", Spectator Magazine, July 1893;

* Sickert, "All the greater draughtsmen tell a story- A critical calendar", English Review. March 1912

* W. Baron, W. and R. Shone, (ed)., Sickert Paintings, ( Yale University Press, Newhaven & London 1992);

* Q. Bell, "Some Memories of Sickert." Burlington Magazine. Vol. Cxxix, April 1987;

* R. Bromberg, Walter Sickert: Prints, A Catalogue Raisonn. (New Haven, London 2000);

* L. Browse, Sickert, ( Faber and Faber Ltd, London 1943);

* M. Connetti, Walter Sickert and the Camden Town Group,(David & Charles, Italy 1992);

* C.Connolly, "The Degas of Camden Town." Sunday Times. 29 May 1960;

* D. P. Corbett, Walter Sickert, ( Tate Gallery Publishing, London 2001);

* A. Dempsey, "Whistler and Sickert: A Friendship and its End", Apollo. No. 83, Jan. 1966;

* T. W. Earp, "The Work of Walter Richard Sickert" Apollo. No. 11, April 1930

* R. Emmons, The Life and Opinions of Walter Richard Sickert, ( Faber and Faber Ltd, London, 1942);

* M. Hollis, M. (ed.), Late Sickert - Paintings 1927 to 1942, ( Arts Council Publications, London 1981);

* M. Lilly, (ed.) Sickert - The Painter and his Circle, ( Elek, London 1971);

* R. Morphet, "The Modernity of Late Sickert", Studio International. Vol. 140, 1975;

* L. Morris, Walter Richard Sickert - Advice to Young Artists, (Norwich School of Art Gallery, Norwich 1986);

* P.Pelowski, Sickert & Thanet - Paintings and Drawings by W.R. Sickert, (Ramsgate Library Gallery, Ramsgate 1986);

* A. Powell, "The Servant of Abraham", Apollo, No. 95, March 1972;

* R. Pickvance, "The Magic of the Halls and Sickert", Apollo. No. 76, April 1962;

* A.G.Robins, "Degas and Sickert: notes on their friendship", Burlington Magazine. 1988;

* J.Rothenstein, . Sickert, ( Beaverbrook Newspapers Ltd., London 1961);

* F.Rutter, "Richard Sickert", Studio. No. 100, Nov. 1930;

* R.Seddon, "The Technical Methods of Walter Richard Sickert", Apollo. No. 38, Dec. 1943;

* R.Shone, Walter Sickert, ( Phaidon, Oxford 1988);

* O.Sitwell (Ed), "A Free House!" - The Writings of Walter Richard Sickert, (MacMillan & Co. Ltd., London 1947);

* A.Stephenson, "Buttressing bohemian mystiques and bandaging masculine Anxieties", Art History. 1994 vol. 17, no.2. June;

* D. Sutton, Walter Sickert, ( Michael Joseph, London 1976);

* L. Tickner, "Walter Sickert: The Camden Town Murder and Tabloid Crime" Modern Life and Modern Subjects - British Art in the Early Twentieth Yale University Press. London, 2000;

* S.Tillyard, "W.R. Sickert and the Defence of Illustrative Painting.", Brian Allen (ed.) Studies in British Art 1 - Towards a Modern Art World. (Yale University Press, London 1995);

* V. Woolf, Walter Sickert: A Conversation, ( Hogarth Press, London 1934);

and

* E.D.H. Johnson, Paintings of the British Social Scene from Hogarth to Sickert. (Weidenfeld and Nicolson, London 1986).

QED.

for more information click here

A speculative confection of a book that's taken too much abuse ....

It seems that a lot of people hate either this book, Patricia Cornwall, or both. Fair enough. But some of the reviews I've just been perusing have seemed unjustifiably vicious. Since the late 19th century, people have been speculating--with a great deal of confidence--on the identity of Jack the Ripper. Patricia Cornwall has the professional resume to take her turn, and in her defence, I believe she makes a very strong case for her conclusions.

I cannot believe the nastiness of some of these other reviews--particularly the ones calling her names that have no business in a public forum. Really, it's probably the first time I've ever actually felt sorry for a wildly successful writer.

Cornwall's a novelist, and her writing of nonfiction is enlivened by the prose that's made her successful in her established medium. This is no dreary textbook; quite a lot of it is narrative, following her tracks as she researches the White Chapel murders. I enjoyed it thoroughly. Does this mean she knows better than Scotland Yard? Probably not--but, then again ...

(This review has been posted by Marcus Damanda, author of the vampire novel: "Teeth: A Horror Fantasy.)

for more information click here

Portrait of a Killer: Jack the Ripper--Case Closed

I am looking forward to reading this book. I have been looking for this book for quite a while and now I have a chance to read it. I am very interested in the Jack the Ripper case.

reviews: 1, 2, 3, 4, page 5, 6, 7, 8, 9, 10, 11, 12, 13, 14

hot

not?

What's your opinion?

Write a review and share your thoughts!

recommendations

True Crime -- nothing but murder!

search for books
case, closed, jack, killer, portrait, ripper

Impressum / about us