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Mighty_Emperor Divine Wind
Joined: 18 Aug 2002 Total posts: 19943 Location: Mongo Age: 42 Gender: Male |
Posted: 21-06-2004 20:47 Post subject: Jack the Ripper II |
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This is the second part of the long Jack the Ripper thread.
It is designed as a fresh start as the previous thread was unwieldy. Before posting we recommend you familiarise yourself with previous arguements by looking through the thread (use the Index below) and/or visit the casebook
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Index
To help people catch up with information and/or find something they are looking for we have preapred an index:
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Fiction
.....A Study in Terror
Protagonists
.....Cornwell, Patricia
.....Marriot, Trevor
Reading Recommendations
.....Cornwall, Hugo
.....FraterLibre
Groups
.....Masons
.....Royals
Suspects
.....Cream, Thomas Neill
.....Kelly, James
Websites
.....??
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NB: This is a work in progress so if you think a link to an important post is missing then feel free to contact a mod with the link to the post and a suggestion of where it should go - they will decide if it fits in and edit this post accordingly.
Emps
Last edited by Mighty_Emperor on 21-06-2004 20:52; edited 1 time in total |
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| Anonymous |
Posted: 21-06-2004 21:59 Post subject: |
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I'd like to thank Emps for the Augean task of sorting the hell that was the JtR MkI thread into some form of order.
Hell of a job, old thing! |
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Mighty_Emperor Divine Wind
Joined: 18 Aug 2002 Total posts: 19943 Location: Mongo Age: 42 Gender: Male |
Posted: 21-06-2004 22:11 Post subject: |
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| Hugo Cornwall wrote: |
I'd like to thank Emps for the Augean task of sorting the hell that was the JtR MkI thread into some form of order.
Hell of a job, old thing! |
Well I can't actually claim to have done much actual sorting - I just grabbed some bits and bobs and jammed them into the index - hopefully people will spot missing things to add and drop me a line so we can keep it updated and relevant and useful. The original JtR thread is a very useful resource but it had got difficult to use or find stuff so hopefully this can make it usable and keep the debate moving forward
Emps |
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| Anonymous |
Posted: 21-06-2004 23:28 Post subject: |
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Perhaps now key contributors to that thread or indeed contributors to this new thread should inform others of their views on the matter?
Sort of so we know where we're all at? |
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| Anonymous |
Posted: 22-06-2004 10:21 Post subject: Jack the Ripper - The Cornwall Summation |
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Suspect - James Kelly, or someone very similar. White, British, more or less the same class as his victims, history of abusive behaviour toward the 'fallen' class of women, with some history of violent crime. Lived and worked inthe area. Was nearly 30 at the time of the murders.
Number of victims - of the canonical victims, Catherine Eddowes and Mary Jane Kelly certainly. There is a logical(!) progression in the injuries of Mary Ann Nichols and Annie Chapman to Eddowes and Kelly, but I feel that the resemblances are not that compelling. So really only 2 of the 5 I feel are 'Jack', with Nichols and Chapman also having a common but distinct hand. Stride was a domestic.
Secondary suspect: none... JtR never actually existed, the yellow press having engendered a number of 'copy cat' opportunist murders, allow people to settle scores and hope that Jack would be blamed 
Last edited by Guest on 22-06-2004 16:33; edited 1 time in total |
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| Anonymous |
Posted: 22-06-2004 10:50 Post subject: Jack the Ripper - The Hook Innsmouth Summation |
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Jack the Ripper - Born into existence with the Dear Boss letter. An invention of the press, a name given to encompass several losely related murders. The work of dockworkers or their ilk, trying to rekindle the flames of revolution which had exploded on the streets of London just the year before with Bloody Sunday in Trafalgar Square for which many held Charles Warren accountable.
The writing on the wall and the lipski intervention give notable intent. The unnamable culprit for fear of action, the police outwitting the press by falsely reporting that the killer had moved abroad since the presentation of ANY culprit would have kicked off what had happened only the year before.
The writing on the wall, the straw that broke the camels back and Warren realised he was in a stalemate so he resigned. If he'd presented a jewish person, there would be racial riots, if he'd presented a doctor or a member of the upper classes, there would have been riots, if he'd presented a dockworker, there would have been riots. Only one way out, resignation. The killings stop...only to start again a month or so later where possibly a solitary murder tries to ride on the coat tails of the previous murders. And then it stops.
No canonical victims, merely victims of circumstance, of history, of action. Casualties of an all together different war. |
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| Anonymous |
Posted: 22-06-2004 12:53 Post subject: |
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My tuppence worth......
The evidence points to the existence of a psychopathic murderer of strangers active in east London in the summer and autumn of 1888. We would nowadays recognise this individual as a "serial killer".
Using the well-regarded and consistently accurate system of psychological profiling, we can state that the killer was likely to have been a man in his late twenties or thereabouts, to have experienced a childhood marked by traumas that affected the development of his sexuality, and to have a history of violence, possibly directed against animals in his youth.
The close proximity of the murder sites, the way in which four of the attacks were carried out and the escalating levels of violence are all consistent with the theory that one individual was responsible.
Polly Nichols, Annie Chapman, Kate Eddowes and Mary Kelly were all killed by the same hand, and the Ripper may well have been responsible for the murders of Martha Tabram, Liz Stride and others.
He is extremely unlikely to be among the suspects identified to date, although William Henry Bury is a better bet than most.
When consdering the evidence it is important to separate facts pointing to the existence of a killer from the media circus which accompanied the murders. |
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Jerry_B Great Old One Joined: 15 Apr 2002 Total posts: 8265 |
Posted: 22-06-2004 13:55 Post subject: |
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Here's my take -
JtR was a murderer, perhaps also a sadist, who seemed to have some psychological problems with women. All candidates for his true identity thuse far are speculative, as are the reasons for the murders being committed. All of the prosaic theories about what went on arose simply because he wasn't caught - various imaginations have rushed in to fill the 'what if...?' void. This is probably painting it in a much more florid way than is actually the case. Sex killers in later years did equally strange things on occasion with their victims, but because they were caught, we have a better understanding about why they committed such acts. We don't have that luxury with JtR - hence all of the various claims and theories. Few seem to want to grasp the possibility that he was simply a sex killer along similar lines of those who came along later, and who didn't have any big scheme or big plan. They just had their own, somewhat bizarre modus operandi. |
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Spookdaddy Cuckoo Joined: 24 May 2006 Total posts: 3834 Location: Midwich Gender: Unknown |
Posted: 26-06-2004 16:54 Post subject: |
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While this thread is going in no particular direction I thought I’d mention a couple of general points that have always niggled a bit but for which I never found an appropriate point to post on the old one. I’m not responding to anything anyone else has posted - just commenting on some received wisdom that always makes me feel a little uneasy.
It appears to me that the general conception of the Victorian East-End at night tends to be overly influenced by the way that it is portrayed in film and fiction - dark, silent and almost completely deserted. Even a little reading around the subject suggests that this is a complete fallacy. Many factories, large and small, were operational for twenty-four hours a day. Foundries, kilns and boilers were not shut down overnight and even if a workplace ceased operation in the hours of darkness there would be a substantial number of workers employed overnight to guard, maintain and manage them. And the busiest docks the world has ever known didn’t just grind to a halt at six.
On top of this you had a massive problem with overpopulation. Some rooms were occupied on a shift system so that two or even three families or groups might call the same place home - those who were waiting on their turn would have to be somewhere - either working or maybe more likely loafing around the streets. The East-End of London was a twenty-four hour place and although I’m not suggesting that it’s streets were a seething mass of humanity during the hours of darkness they certainly wouldn’t have been deserted.
Of course although this image might not be as atmospheric as the one Elstree or Hollywood depict it actually adds to the mystery of how the murderer (or murderers) got away with so much without detection.
Prostitution - I’ve seen it proposed that the police and the public, at least to start with, weren’t terribly concerned about the murders because the victims were prostitutes. I’ve read at least one statistic that suggests that one in four women in the Whitechapel area had worked as prostitutes. However the bulk of these were women who treated it as a part-time or stop-gap profession to be fallen back on only when times were harder than normal. In these circumstances the gap between “us” and “them” would have been far less noticeable than it would be now - as might be indicated by the outpourings of popular sympathy at the funerals of Polly Nichols and Kate Eddowes. I suspect the anathema with which the more genteel citizens of Victorian London and indeed our own age treat prostitutes was far less noticeable in the East-End itself. Your rear-echelon police executive might have viewed the victims as whores first and victims second but I suspect the average peeler on the beat didn’t see the victims as operating outside of normal society as much we might assume.
I’ve also seen it implied many times that Whitechapel was some sort of no-go area for the forces of law and was poorly policed. This seems really odd to me. Within five minutes of being discovered Polly Nichols body was found independently by a policeman while the original discoverer was round the corner soliciting the services of another copper. The bodies of Annie Chapman and Mary Kelly were attended by policemen within twenty minutes of being found. Within sixteen minutes of discovery Liz Stride's body had been attended by two policeman and a doctor and Catherine Eddowes was virtually tripped over by a copper on his beat. I have absolutely no evidence to back this up but I don’t think I’d be risking much if I were to bet that these response times are comparable to, if not better than, those of modern London.
As to their efficiency or otherwise there are other people here who have read far more than I have on the subject but I have to say that from what I have read the police, with the material and resources available to them, don’t seem to have made as much of a balls-up of the investigation as is often suggested. A series of apparently motiveless crimes perpetrated in an enormous, overpopulated city and with no recourse to anything but the most basic forensic science - lets face it the police were always going to need a very large dose of luck to solve this one, no matter how diligently they dotted the i’s and crossed the t’s.
Comparing the actions of the Victorian police with those searching for Jack’s namesake nearly a century later in Yorkshire I have to say I think I’d prefer the old boys on my side. It’s also quite interesting to compare the attitudes to the victims in both cases - our capacity for empathy seems to have nose-dived in the period between the two. Depressing really.
Last edited by Spookdaddy on 26-06-2004 16:59; edited 1 time in total |
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| Anonymous |
Posted: 26-06-2004 18:41 Post subject: |
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| Spook wrote: |
Comparing the actions of the Victorian police with those searching for Jack’s namesake nearly a century later in Yorkshire I have to say I think I’d prefer the old boys on my side. It’s also quite interesting to compare the attitudes to the victims in both cases - our capacity for empathy seems to have nose-dived in the period between the two. Depressing really. |
Didn't they catch the yorkshire ripper with a large dose of luck too. Wasn't he buying chips in a fish and chip shop that two coppers where getting their tea at when one of them noticed a hammer in his back pocket or something?
Or have I got that mixed up with the fox? |
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Spookdaddy Cuckoo Joined: 24 May 2006 Total posts: 3834 Location: Midwich Gender: Unknown |
Posted: 26-06-2004 18:56 Post subject: |
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| Hook Innsmouth wrote: |
Didn't they catch the yorkshire ripper with a large dose of luck too. Wasn't he buying chips in a fish and chip shop that two coppers where getting their tea at when one of them noticed a hammer in his back pocket or something?
Or have I got that mixed up with the fox? |
Yep. I was going to make that point but thought I'd probably gone on long enough as it was.
From memory I think he was actually picked up for soliciting the services of a prostitute when two coppers noticed his car parked on a bit of derelict ground. Sutcliffe gave a false name and then asked if he could take a leak before they took him to the station. One of the policemen went back to the scene later on a hunch - convinced that he had heard the noise of something being dropped at the scene while their suspect was supposedly relieving himself. Thats when he found the hammer.
There was a documentary a couple of years ago about the case. The policeman who had gone back and found the hammer was still a PC - that's what happens to your career when you show up your local detective squad. |
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Mighty_Emperor Divine Wind
Joined: 18 Aug 2002 Total posts: 19943 Location: Mongo Age: 42 Gender: Male |
Posted: 12-07-2004 14:41 Post subject: |
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Its an odd article as they don't really make a good case for why they changed their opinion (and I suspect it was a cheap addition for better impact) but the exhibition sounds interesting - a trip to the Lakes for this and the paradise Lost exhibition sounds attractive:
| Quote: | Portrait of a monster
Walter Sickert was Jack the Ripper? Ridiculous, thought Jonathan Jones - until he visited a new exhibition of his work
Monday July 12, 2004
The Guardian
Hilaire-Germain-Edgar Degas was a notoriously fastidious man. Acquaintances in the Paris art world speculated on what his problem might be. Writing to his artist friend Emile Bernard in 1888, Vincent van Gogh suggested that Degas was a compulsive voyeur. "He observes human animals who are stronger than himself screwing and fucking away and he paints them so well for the reason that he isn't all that keen on it himself." But Degas was something much worse than a voyeur. He was a serial killer.
I discovered this by chance during a holiday in Paris when I visited the Musée d'Orsay and saw an early work by the supposed genius of impressionist painting. In it, a group of men on horseback, in medieval costume, ride down naked women as if hunting animals.
The first of the Jack the Ripper murders took place on a summer night in 1888. The victim, Martha Tabran, was stabbed to death in London's Whitechapel. In the late 1880s, Degas took the boat train from Paris to London. That summer night in 1888, he needed to use a guidebook to find Whitechapel. Once he was there, it took the hunter no time at all to locate his prey. Jack the Ripper: case closed.
Clearly, there is a total lack of connection between Degas and Jack the Ripper. And yet the evidence offered above is real, and much more convincing than anything the crime writer Patricia Cornwell pins on Walter Richard Sickert - Degas's English disciple - in her book Portrait of a Killer: Jack the Ripper Case Closed. It would be nice to let Cornwell's bestseller sink into oblivion, but there's fat chance of that. "Only a genuine posthumous confession by someone else will now be enough to clear Sickert's name," wrote a reviewer. So ludicrous are the proportions assumed by this libel that an ambitious Sickert exhibition just opened at the Abbot Hall Art Gallery in Kendal has to include an essay in its catalogue, pointing out that there is "absolutely no reason" to link him with the Ripper.
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I went to see Walter Richard Sickert: The Human Canvas fully intending to clear Sickert's name. Cornwell's book is a mind-numbing compendium of character assassination, absurd overinterpretation - she claims to discern the mind of a psychopath in a childhood drawing Sickert did of a battle - and malicious selectivity. She explain his pretty pictures of Dieppe, from the late 1880s at the height of the Ripper's bloody season, only by saying these show the killer's "Dr Jekyll side". Groping through the book on the train to Cumbria, I was determined to show how cruelly this brilliant British painter has been calumniated. I left the exhibition half-convinced that Sickert really was Jack the Ripper.
In about 1896, Sickert portrayed himself as a monster. His head is towards you, out of the painting, and what he reveals is grisly. His skin is flaking, his cruel mouth hardly defined at all, his features at once too smooth and too mottled; it's like looking at a scarred face inside a brown stocking.
The great monsters of the modern world were invented in late-Victorian Britain. Jack the Ripper is one of them. The murders were real enough, but the faceless myth they generated was a cultural creation, of its moment. The Whitechapel deaths took place between the publication of Robert Louis Stevenson's The Strange Case of Dr Jekyll and Mr Hyde, in 1886, and that of Oscar Wilde's The Picture of Dorian Gray, in 1890 - both tales of men who act out violent fantasies on Londoners of a lower class than themselves, who become urban demons.
Look again at Sickert's 1890s self-image. It might be Dorian's portrait, just as it begins to go off. Sickert (1860-1942) was intimately involved in the Aesthetic movement, of which Dorian Gray was the symbol. He was a student of Wilde's rival, the American painter James McNeill Whistler, who recommended the young Sickert to Wilde in the early 1880s; he wrote for Aubrey Beardsley's Yellow Book, and his portrait of Beardsley, a tall thin figure mysteriously vanishing into a cemetery, hangs next to his own hideous image.
If this portrait makes you think of the Ripper (or Hyde, or Dorian, or Dracula, published in 1897), it's because they belong to the same cultural moment, when Victorians were falling over themselves to acknowledge their evil side. It may be even more precise than that: in 1895 aestheticism had come up against society's hypocritical limits when Wilde's libel case against the Marquess of Queensbury, who blackguarded him as homosexual, resulted in his own imprisonment. Sickert, like Beardsley, failed to support Wilde; Wilde still sent Sickert a signed copy of The Ballad of Reading Gaol. Perhaps the despair and horror in Sickert's painting is an explicit illustration of The Picture of Dorian Gray.
But this was only the beginning of Sickert's pictorial crimes - the experiment, you might say, of a fledgling killer. It was in the harsh new century about to begin that he would truly find his modus operandi. The Camden Town Murder paintings are brought together to chilling effect in this exhibition. In 1907 Emily Dimmock was found at her seedy north London lodgings, in bed, with her throat cut. The crime fascinated the art world because a picture dealer, Robert Wood, was arrested for the murder. In 1908 and 1909 Sickert made a series of paintings of women naked in bed, in sad low-rent London rooms, menaced either by a clothed male figure in the room with them or, most troubling of all, by you, its beholder.
So there was no confusion, Sickert called the pictures the Camden Town Murder Series. They are the first great British paintings of the 20th century, if you exclude those of American interloper John Singer Sargent. They are also enduringly horrible. The atmosphere of these Edwardian atrocities is far removed from the White-chapel grand guignol of the Ripper.
In a portrait from 1907, Sickert changes his identity from Dorian Gray to Crippen. A repressed creep in a bowler hat, he looks at us through round steel-framed spectacles. Sickert rented a number of rooms around Camden to paint his criminal fantasies. The atmosphere of these rooms is one of shabbiness, boredom and anonymity, of a London so grey it seems to rain indoors: iron bedframes, worn rugs and brown furnishings. In the same year, Joseph Conrad called London "a cruel devourer of the world's light". This is Sickert's city and time.
The man in his 1890s self-portrait meditates on terrible deeds. The 20th century suddenly made it all right to act these out - in painting. In 1907, Picasso painted his unbridled brothel fantasy Les Demoiselles d'Avignon; in Vienna, Egon Schiele was drawing pornography. Sickert at this point knew nothing of them, but he was their British equivalent. And he is nastier than either.
La Hollandaise (c1906) sits naked on a bed with white sheets and a steel frame, in front of a mirror reflecting the greenish interior. There are touches of green, grey and brick in Sickert's coarse painting of her skin; but what is most shocking is her face. She hasn't got one. It is a violent smear, a hole. In Paris, Picasso was replacing women's faces with African masks; more prosaically, the disfigurement of Sickert's nude has been interpreted as a portrayal of the consequences of syphilis. But Jack the Ripper removed the faces of his last known victims.
You don't need the title of the most infamous Camden Murder painting - L'Affaire de Camden Town (1909) - to tell you something is very wrong. The canvas is claustrophobically narrow. A woman lies on the bed, her vagina facing out of the painting in a way that recalls Courbet's The Origin of the World, turning her - mostly invisible - head to look up in dread at the figure who stands over her, a mutton-chopped bully with a red face and arms folded, his shadow on the wall. Sickert was asking for his unenviable posthumous reputation with this painting. It seems a true observation, rather than a melodramatic story.
More and more, in his later life, Sickert relied on facts. Photographic facts. He became fascinated by newspaper photographs, on which he based strange history paintings such as Miss Earhart's Arrival (1932), a picture of the crowd standing in the rain to greet Amelia Earhart after her pioneer flight across the Atlantic. This is Sickert's Britain: rain, coats, gloom. And she flew over an ocean for this? But there's something odd in this painting. You catch sight of Earhart's face - and it is a death's head, a goggled skull, pale and dead. What possessed Sickert to paint her like this?
Then you look again at the Camden Town Murder paintings. In Nuit d'Eté (c1906), a woman sprawls on a chilly bed in near-darkness, except for the wan light that illuminates her bare flesh. But her face - how can I tell you about that face? It made me think of the morgue photographs of Jack the Ripper's victims that I accidentally saw when I was 10 or so in my nan's News of the World. I don't think this is entirely accidental. Those photographs, reproduced in every Ripperology bestseller, are scary not only because of what they show but also in the slow-exposed Victorian quality of the image. Degas exposes a cruel fact about early photography in his photo-based painting of Princess Pauline: it makes everyone look dead. This is the scary quality in the face of the poor woman Sickert painted in Nuit d'Eté: her face is a deathly monochrome photograph, a blurred death-mask.
Sickert was a creep. But for some reason, so are all the best British modern painters. If he smashes people's faces, so does Francis Bacon. If he makes bodies look blotchy and sad, so does Lucian Freud. Both artists are deeply indebted to Sickert. This is a formidable exhibition of one of the few great British artists of modern times. I was glad to get out of there alive.
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· Walter Richard Sickert: The Human Canvas is at Abbott Hall Art Gallery, Kendal, until October 30. Details: 01539 722464. |
http://www.guardian.co.uk/arts/features/story/0,11710,1258953,00.html
The Abbott Hall Art Gallery:
www.abbothall.org.uk
Now if we had a NW Fort Soc we could have made it a day trip
Emps
Last edited by Mighty_Emperor on 12-07-2004 14:44; edited 1 time in total |
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| Anonymous |
Posted: 29-08-2004 18:45 Post subject: A new idea... |
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Just a thought but perhaps the only NATURAL progression for this topic and indeed this thread would be to merge this with the old one and then discuss "THEORIES" and how they might work rather than how they don't work because evidently that gives way to lots of poo-pooing for people and I think for the most part (something I'm equally guilty of since I don't hold much stock in it being a masonic plot and I tend to be equally dismissive about that avenue of thought since much of the evidence I've found is contrary to the evidence of those who believe it was...just an example but essentially that's generally it, right?)....I think for the most part there is a staggering amount of literature out there with regard to the topic...some people have read it all and some people have read some and some people have read non at all etc, but we all come into it with varying degree's of knowledge and perhaps varying degree's of opinion.
SO!!!!!!
The suggestion is to stick theories together and discuss the rudements of the theories themselves...how COULD they be possible and how COULD they fit. Let's face it, we're never going to solve the thing but I think it would be a lot more fun coming up with NEW and unexplored avenues of thought on the matter.
Who's with me?
In other words the possible theory that the killer was catholic as a starting point for one person and another person may add that the murders took place on days of saints and the persons killed were killed in such a manner as those saints and another person may contribute that Whitechapel was ancient sanctuary ground (chapel ground) and therefore the killer felt that only god could judge him (such is the law of sanctuary)...and another could contribute that perhaps the catholic was acting on behalf of the Vatican who just one year prior had innitiated a war on the masons with its "anti-masonic congress" which had been brought about because of infultration of masonic institutes by a journo who then informed the pope that their actions were satanic, and so a "disruptor" was sent...an agent of the vatican, a devout man...etc etc...
That sort of thinking...
Last edited by Guest on 29-08-2004 18:50; edited 1 time in total |
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| Anonymous |
Posted: 02-09-2004 23:10 Post subject: |
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I take it that's a no then.
Oh well. |
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| Anonymous |
Posted: 02-09-2004 23:18 Post subject: |
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New books out. Paul Begg Jack the Ripper : The Facts (looks good, although the title does give me the giggles! ). And due out soon is The Jack the Ripper Suspects: 70 Persons Cited by Investigators and Theorists" Stan Russo;Hardcover; £31.95 (that's Amazon price - it's been reduced believe it or not). Rather pricey, but I could think of at least 70 good reasons to buy it
Actually, I think the number of suspects is somewhere in the 300s. I remember reading that somewhere. Not bad for someone who only killed between 3-11 women, eh? |
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