The Archive Of Alternate Endings
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The Archive of Alternate Endings
Tracking the evolution of Hansel and Gretel at seventy-five-year intervals that correspond with earth's visits by Halley's Comet, The Archive of Alternate Endings explores how stories are disseminated and shared, edited and censored, voiced and left untold. In 1456, Johannes Gutenberg's sister uses the tale as a surrogate for sharing a family secret only her brother believes. In 1835, The Brothers Jacob and Wilhelm Grimm revise the tale to bury a truth about Jacob even he can't come to face. In 1986, a folklore scholar and her brother come to find the record is wrong about the figurative witch in the woods, while in 2211, twin space probes aiming to find earth's sister planet disseminate the narrative in binary code. Breadcrumbing back in time from 2365 to 1378, siblings reimagine, reinvent, and recycle the narrative of Hansel and Gretel to articulate personal, regional, and ultimately cosmic experiences of tragedy. Through a relay of speculative pieces that oscillate between eco-fiction and psychological horror, The Archive of Alternate Endings explores sibling love in the face of trauma over the course of a millennium, in the vein of Richard McGuire's Here and Lars von Trier's Melancholia.
ShadowMan
"Mindhunter crossed with American Gothic. This chilling story has the ghostly unease of a nightmare."—Michael Cannell, author of Incendiary: The Psychiatrist, the Mad Bomber and the Invention of Criminal Profiling The pulse-pounding account of the first time in history that the FBI’s Behavioral Science Unit created a psychological profile to catch a serial killer On June 25, 1973, a seven-year-old girl went missing from the Montana campground where her family was vacationing. Somebody had slit open the back of their tent and snatched her from under their noses. None of them saw or heard anything. Susie Jaeger had vanished into thin air, plucked by a shadow. The largest manhunt in Montana’s history ensued, led by the FBI. As days stretched into weeks, and weeks into months, Special Agent Pete Dunbar attended a workshop at FBI Headquarters in Quantico, Virgina, led by two agents who had hatched a radical new idea: What if criminals left a psychological trail that would lead us to them? Patrick Mullany, a trained psychologist, and Howard Teten, a veteran criminologist, had created the Behavioral Science Unit to explore this new "voodoo" they called “criminal profiling.” At Dunbar’s request, Mullany and Teten built the FBI’s first profile of an unknown subject: the UnSub who had snatched Susie Jaeger and, a few months later, a nineteen-year-old waitress. When a suspect was finally arrested, the profile fit him to a T...
In Crime's Archive
This book investigates what happens to criminal evidence after the conclusion of legal proceedings. During the criminal trial, evidentiary material is tightly regulated; it is formally regarded as part of the court record, and subject to the rules of evidence and criminal procedure. However, these rules and procedures cannot govern or control this material after proceedings have ended. In its ‘afterlife’, criminal evidence continues to proliferate in cultural contexts. It might be photographic or video evidence, private diaries and correspondence, weapons, physical objects or forensic data, and it arouses the interest of journalists, scholars, curators, writers or artists. Building on a growing cultural interest in criminal archival materials, this book shows how in its afterlife, criminal evidence gives rise to new uses and interpretations, new concepts and questions, many of which are creative and transformative of crime and evidence, and some of which are transgressive, dangerous or insensitive. It takes the judicial principle of open justice – the assumption that justice must be seen to be done – and investigates instances in which we might see too much, too little or from a distorted angle. It centres upon a series of case studies, including those of Lindy Chamberlain and, more recently, Oscar Pistorius, in which criminal evidence has re-appeared outside of the criminal process. Traversing museums, libraries, galleries and other repositories, and drawing on extensive interviews with cultural practitioners and legal professionals, this book probes the legal, ethical, affective and aesthetic implications of the cultural afterlife of evidence.