Now, in more recent news reports, I found out that Jeanne Boylan actually interviewed the younger sister of Elizabeth about her memory of the abduction night and that the poor suspect drawing the media was showing was not from her interviews, but was from a local portrait person and was not taken from the little sister's sighting the night of the abduction but rather was taken from the family who knew the man and had spent many hours with him. Now I understood why the descrepancy.
I felt relief. I momentarily thought Jeanne Boylan had lost her skills. Now I understand the difference between her interview and the drawing that is now linked to the case but does not look like the kidnapper.
I look forward to the sequel of 'Portraits of Guilt' and to reading more about what happens to eyewitness's memories when the sightings are endured during moments of fright and fear and how that forces their vision very deep into the recesses of their mind as it did for Elizabeth's little sister.
Praise the Lord that with help and encouragement, Elizabeth's little sister finally remembered the religious name with the help of the loving Smart family, the apparently astute police and Jeanne Boylan who all had fiercely guarded the young child's evolving memory while it was gradually surfacing so that the kidnapper was finally caught. Good things come to those who wait!
To my astonishment, this was true and to know that there is a woman struggling essentially all alone to enlighten police about the seriousness of memory malleability made me want to jump into the pages of this book and yell to the police she works with that there is scientific data backing up every word she says about this topic.
Miss Boylan unfortunately writes in too kind a fashion, seemingly concerned about offending the masses, but sometimes creating change requires the proverbial 2 X 4 to create the desired impact. Although I appreciate Miss Boylan's subtle and polite manner, my only complaint about this book and her story is that she should and could have been much more hard hitting in her critique of what has historically gone wrong in criminal investigations. With what she's experienced, she is entitled to be direct.
With the knowledge we in the academic world have now of how memory works, there is no excuse for the mistakes made in past cases to continue to take place. Jeanne Boylan should scream her message and take her lumps. I'd rather see her save lives than to worry about winning a popularity contest. She can speak from inside the world of police, whereas "us" in our ivory towers, don't have access to the real world as she does.
Boylan relied on us to give her the foundation for her work and my predecessor's findings of three decades now, but those of us doing the empirical research have to rely on people like her to deliver our findings to the point of practical application in the police world. She can be the go-between from our world to inside real life criminal investigations.
Overall, Portraits of Guilt is a great book, great 'on the mark' insights into crime victim memory and some lessons in Boylan's stories that had better be paid attention to before we lose more lives such as Polly Klaas. (Her book is dedicated to the Klaas girl's memory.)
I give this book a five star rating for it's general level of readibility and for her stunning insights into trauma victim memory malleability, but Miss Boylan, if you write a second book, and I hope you do, next time, take the gloves off and try to come out swinging.
She succeeds at what she does because she has both a natural ability and a deep understanding of trauma and memory. She also succeeds because she knows how to reach the heart. She works from her intuition as well as her logical understanding. Her kind and gentle nature is a true asset in the work that she does, and she could not achieve what she has achieved without it. In addition to all of this she has the added gift of being an incredible artist. Jeanne Boylan was born to do the work that she does; it is an inborn gift, which was further honed by her own personal experience of trauma and surviving a crime.
Jeanne Boylan describes traumatic memory as being like a fifty-cent piece that has been tossed below eight feet of water. The memory gets buried by the intense emotional trauma, but at the same time is locked into memory. As the emotions arise our minds protect us by blurring the image, like the movement of water. We can still see it, but it is distorted. With the right approach the memory of the trauma can be brought back to the eyewitness's conscious memory in it's original condition, just as the fifty-cent piece can be retrieved from the water fully intact.
Jeanne Boylan works with survivors to draw near perfect portraits of the criminals. Her technique is the art form. She says, "The answers to uncovering memory reside in understanding the powerful inner workings of the human mind-- and more importantly, in the power of the human heart. (p. 11)" She says "The higher the degree of personal trauma, the harder the mind works to discard or bury the image, but, also, the more likely it will have been encoded into memory in the first place, even if it is housed at a much deeper level of recall... Sometimes if we can coach the conscious mind to move aside we can still access the original untainted image--if there is reason enough for it to have been retained in memory. (p.13)" It is the release of emotions, no matter what form, that helps reach the image. She uses an interview technique, which brings the person into a safe space in order to access the memory without the emotions blocking it, and she uses carefully worded questions to prevent suggestions from distorting the original memory.
During her chapters about the devastating kidnap and murder of twelve year old Polly Klass, she provides new insight into how to recognize the veracity of an eyewitness account. She explains that when witnesses remember the trauma or the attacker differently that this is actually a sign that they are telling the truth because no two people remember an experience identically. The discrepancies help to validate and preserve the images and details of the memory for later needs (as long as suggestion has not been introduced). There is usually one stronger witness, however that witness will often have a degree of self-doubt that can be increased when she/he encounters discrepancies among the other witnesses. Jeanne Boylan was the first person on the case of Polly Klass to treat the witnesses (also twelve years old) with the validation and support that they needed.
The chapter about the abduction and torture of Sister Dianna Ortiz was the most powerful aspect of the book, for me. Anyone who has experienced a similar trauma will find a lot of healing and peace in reading this chapter. We watch Sister Dianna Ortiz work through the intense PTSD, become empowered, speak out and overcome the accusations that her experiences were a figment of her imagination. Sister Dianna Ortiz speaks of her healing, "Healing comes in many forms. I know I will always carry the memory of what happened to me on November second, 1989. For more than six and one-half years I have allowed my Guatemalan torturers and Alejandro to haunt me. Many times, I've felt like they danced within me. Many times I've felt that if I got close to anyone, I was going to contaminate them with the evilness that they left inside me. But today, I can sit here and say that that evil does not exist inside me anymore, and that is because of the work that I was able to accomplish with Jeanne Boylan. (p.282)... The images of my torturers and Alejandro have always stayed within me, and I have held myself responsible for the horrible things that happened on that November day, but today, because I was able, with the help of Jeanne Boylan, to put a face to these monsters, I can put them away from me. They no longer live in my soul. Until I faced them, I could never be free. (p283)"
In the next chapter called Awakenings Jeanne Boylan says, "Though I knew instinctively the importance of freeing a victim of the evil left from an attack, never before had I realized so clearly the emotional power that floods the soul when the residual grip of an assailant is finally loosened, and gently removed from the heart. (p. 286)"
Jeannie Boylan ends the book with the conclusion she left us wanting to hear since the Prologue. She weaves in her own experience, and powerfully does for herself what she has already done for so many others.
Jeanne Boylan draws sketches of killers, and her talent is so rare that she's been called in on most every high-profile manhunt in the last couple of decades, from the Unabomber and the Polly Klaas kidnapping to the Susan Smith child drownings, the Oklahoma City bombing, and the murder of Ennis Cosby. What makes her unique has little to do with her artistic talent, however, and everything to do with her understanding of trauma and her interview technique. She talks to crime victims for hours, interspersing nonleading questions into easygoing conversations, teasing out true memories of the perpetrator's face and producing a picture that looks much more like the sought-after party than the usual police sketch. She reaches under the layers of pain and past the tainting photographs the police have shown to get at the pure image of the face that was seared into the brain of the witness at the moment of trauma.
Honest, sensitive, and engaging, Boylan narrates her own story--how she got started, why she feels driven to accept every case the FBI launches her way, the slow disintegration of her marriage, and the parallel progress of her career and personal growth. The focus of her book is not on herself, however, but on the cases she helped solve and the people she helped heal. Her sketches helped catch the man who kidnapped Polly Klaas; put behind bars the man who killed Justin Jones; and save the life of Ruth Mayer (the kidnappers had dug her grave and were about to kill her when they saw on the news how accurate the sketch was and released her). Boylan is slowly (very slowly) influencing the way police departments interview crime victims. And now she has written a first book that will glue you to your seat, lost in the world she so knowingly portrays. --Stephanie Gold