Occasionally true crime exposes police misconduct and rectifies miscarriages of justice. More commonly the genre mines suffering for entertainment
of five, Malcolm Macarthur was kicked in the head by a horse. At least that is how his neglectful mother and a farmhand on his parents’ Irish estate recalled it. Wrong, insists Mr Macarthur: he tripped and fell on a rock. Likewise he denies suggestions that he suffered or witnessed regular abuse by his father—experiences that might be linked by “a thread of violence” to the murders he went on to commit.
The modern true-crime fad is generally traced to “In Cold Blood”, Truman Capote’s landmark, fabrication-riddled book of 1966; but the idea can be tracked through Victorian “penny dreadfuls” to early-modern murder ballads and beyond. In the 21st century it has been supercharged by cable television, streaming and podcasts, the bingeable formats fitting the suspenseful narratives like a felon’s glove.
Intellectually, he aims high. Like Dostoyevsky, whom he cites, Mr O’Connell hopes to extrapolate essential verities of human nature from a single, extreme case: “to understand the darkness and violence that run beneath the surface of so many lives”. He wonders how Mr Macarthur copes with his guilt. His ultimate quarry is “for want of a better term, evil”.
Occasionally true crime exposes police misconduct and helps finger culprits or rectify miscarriages of justice. More commonly it risks distressing victims’ relatives . It blurs reality with fiction, not least among the amateur sleuths and vigilantes who obstruct some police inquiries. It services, but never satiates, grisly instincts ofand prurience. Bending the mess of life to fit the arc of a character or an episode, it mines suffering for entertainment.
Belgique Dernières Nouvelles, Belgique Actualités
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