I certainly have never dismissed the "diary" because of how it emerged. Indeed, I know little about that.
Rather, it is the intrinsic nature of the work - a photographic album used for a purpose for which it was not designed and with the first several pages removed! That , in itself, for me is a problem that has to be surmounted.
Secondly, I would expect any REAL "diary" or account emanating from "Jack" himself, to include elements that would set of an "OF COURSE!!!" moment - something said, or described that makes one see how the pieces of the puzzle fit together, in a "right" way, which we have never seen before. That did not happen (at least for me). What I mean by that is that the author reveals something that could have come from no other source and fits the facts precisely - indeed, makes the facts we knew gleam more brightly.
What we got was a first-personalised account of the available secondary sources.
Later, I had no option but to recognise that the "writing on the walls" at Miller's Court relies on an rather unintelligent viewing of the famous picture, not on how someone who was in the room and unaware that any picture would be taken, would have written.
That said, provenance is, of course, the sine qua non of acceptability. But even if that was proved to an acceptable standard, I would still say it was a work of fantasy not of reality, based on content.
Phil
Rather, it is the intrinsic nature of the work - a photographic album used for a purpose for which it was not designed and with the first several pages removed! That , in itself, for me is a problem that has to be surmounted.
Secondly, I would expect any REAL "diary" or account emanating from "Jack" himself, to include elements that would set of an "OF COURSE!!!" moment - something said, or described that makes one see how the pieces of the puzzle fit together, in a "right" way, which we have never seen before. That did not happen (at least for me). What I mean by that is that the author reveals something that could have come from no other source and fits the facts precisely - indeed, makes the facts we knew gleam more brightly.
What we got was a first-personalised account of the available secondary sources.
Later, I had no option but to recognise that the "writing on the walls" at Miller's Court relies on an rather unintelligent viewing of the famous picture, not on how someone who was in the room and unaware that any picture would be taken, would have written.
That said, provenance is, of course, the sine qua non of acceptability. But even if that was proved to an acceptable standard, I would still say it was a work of fantasy not of reality, based on content.
Phil
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