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Jonathan H wrote:
We may simply be underestimating the agitation and enmity felt by Anglican English towards anybody foreign, Catholic, Irish, and Irish-American, or all of the above.
Very-very well said. And I also totally agree with this:
Tom Wescott wrote:
Sickert's not connected with the case. He's connected with the lore of Jack the Ripper.
[B]Jonathan H wrote:Walter Sickert [a painting of his hangs here in the Adelaide Art Gallery] was fascinated with the Ripper murders, and told a party-piece story about lodging in the killer's rooms. A tale, I think, lifted from the 1911 novel 'the Lodger'.
This is a tale many a landlady would have told to impress her lodger in the 1890s. There's a painting by Sickert featuring his own bedroom called Jack the Ripper's room. There's also an excellent essay by Wolf Vanderlinden on casebook discussing Walther Sickert's art and the authors who have suspected him, including Patricia Cornwell, who was everything but the first. http://www.casebook.org/dissertations/dst-artofmurder.html
Donald McCormick in The Identity of Jack the Ripper (in the 1970 reprint of the book) was the first author to discuss Sickert as a suspect, as documented by Stephen Knight in Jack the Ripper: The final solution (1976), followed by Jean Overton Fuller in Sickert and the Ripper crimes (1990).
[B]Jonathan H wrote:I suspect Sickert's ghost adores the delusional slander created by Patricia Cornwell. She should have done it as a work of fiction, at which she is very proficient, rather than as an over-reaching work of balderdash. All those millions expended, and yet she does not even know that Abberline, whom she reveres, chose Chapman as the Fiend?!
Cornwell (who used to be a very good fiction writer for thrillers such as her Scarpetta series, especially the early ones, before the books become serialized) has clearly broken through open doors here. Her sad attempt at scholarship bordering on the slanderous, her lack of experience, sloppyness and manipulation of the facts/results that didn't fit her theory, all make perfect sense when one considers her curriculum. She grew up “white trash“ in North Carolina, aspired to be adopted by Ruth Graham, was so impressed by her college professor that she married him (briefly) at 17, she worked as an intern in a morgue and volunteered at a police station. Then she writes Postmortem, gets rich too quickly through her early Scarpetta books, starts modelling herself after her formidable heroine, gets done I don't know how many face jobs, starts buying spots on the boards of forensic institutions, and she's starting to believe she's the great Kay Scarpetta herself. Wishes to conduct forensic investigation for real, finds a girlfriend who has a PhD from Harvard Medical School, oops, now she wants to solve the Ripper case and to be granted membership into the Harvard private club. I almost feel for the woman, and I can kinda see how it happened this way...!
Best regards,
Maria
We may simply be underestimating the agitation and enmity felt by Anglican English towards anybody foreign, Catholic, Irish, and Irish-American, or all of the above.
Very-very well said. And I also totally agree with this:
Tom Wescott wrote:
Sickert's not connected with the case. He's connected with the lore of Jack the Ripper.
[B]Jonathan H wrote:Walter Sickert [a painting of his hangs here in the Adelaide Art Gallery] was fascinated with the Ripper murders, and told a party-piece story about lodging in the killer's rooms. A tale, I think, lifted from the 1911 novel 'the Lodger'.
This is a tale many a landlady would have told to impress her lodger in the 1890s. There's a painting by Sickert featuring his own bedroom called Jack the Ripper's room. There's also an excellent essay by Wolf Vanderlinden on casebook discussing Walther Sickert's art and the authors who have suspected him, including Patricia Cornwell, who was everything but the first. http://www.casebook.org/dissertations/dst-artofmurder.html
Donald McCormick in The Identity of Jack the Ripper (in the 1970 reprint of the book) was the first author to discuss Sickert as a suspect, as documented by Stephen Knight in Jack the Ripper: The final solution (1976), followed by Jean Overton Fuller in Sickert and the Ripper crimes (1990).
[B]Jonathan H wrote:I suspect Sickert's ghost adores the delusional slander created by Patricia Cornwell. She should have done it as a work of fiction, at which she is very proficient, rather than as an over-reaching work of balderdash. All those millions expended, and yet she does not even know that Abberline, whom she reveres, chose Chapman as the Fiend?!
Cornwell (who used to be a very good fiction writer for thrillers such as her Scarpetta series, especially the early ones, before the books become serialized) has clearly broken through open doors here. Her sad attempt at scholarship bordering on the slanderous, her lack of experience, sloppyness and manipulation of the facts/results that didn't fit her theory, all make perfect sense when one considers her curriculum. She grew up “white trash“ in North Carolina, aspired to be adopted by Ruth Graham, was so impressed by her college professor that she married him (briefly) at 17, she worked as an intern in a morgue and volunteered at a police station. Then she writes Postmortem, gets rich too quickly through her early Scarpetta books, starts modelling herself after her formidable heroine, gets done I don't know how many face jobs, starts buying spots on the boards of forensic institutions, and she's starting to believe she's the great Kay Scarpetta herself. Wishes to conduct forensic investigation for real, finds a girlfriend who has a PhD from Harvard Medical School, oops, now she wants to solve the Ripper case and to be granted membership into the Harvard private club. I almost feel for the woman, and I can kinda see how it happened this way...!
Best regards,
Maria
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