Afternoon of Alterity - Nazareth College

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of the killing, “When investigators arrived they determined thatthere were 169 stab wounds and seven gunshot wounds. Blood fromthe victims was used to write the phrase ‘Death to Pigs’ on the wallsof the house” (4). Manson’s orders were always followed withoutquestion. His followers were so devout that the murders escalatedin violence. “Leno LaBianca was stabbed 26 times and his wife 41times” (4). Charles Manson is so fascinating because he was sucha powerful cult leader. He had the ability to control the minds ofhis followers and convince them to murder over and over again.Peterson writes that “as one of America’s most famous criminals, hereportedly receives more mail than any other prisoner in the country(about 60,000 a year). Fascination with the details of the murder andManson continues more than thirty years later and Manson becamean anti-hero and something of an icon in some corners of popularculture” (5). Charles Manson was such an icon that the “rock bandGuns N Roses recorded one of Manson’s songs, titled ‘Look at yourGame Girl,’ in the early 1990s” (5).Recently USA Today did an article entitled Why Do AmericansIdolize Serial Killers? The article stated that “if you log onto eBay, youwill find a variety of ‘murderabilia’ on sale for anywhere from fivedollars (for a lock of Charles Manson’s hair) to ten thousand dollars(for one of John Wayne Gacy’s clown paintings)” (USA Today 11).The article also raises the point that “despite the fact that the U.S.produces 85% of the world’s serial killers, Americans consistentlyrepresent them as ‘other’ than themselves - as loathsome, monstrous,utterly alien creatures. At the same time, these murderers are treatedas icons, celebrity performers and fetish figures” (11). This articlealso goes so far to say “entire industries revolve around them; theyentertain us in a variety of ways” (11).Jack Levin and James Alan Fox further outline the paradigm bysaying, “becoming a popular-culture celebrity is an important partof the motivation that inspires serial killers to continue committingemily mastrobattisto 75
murder. Once they are identified with a superstar moniker, theirfrequency of murder increases. No longer satisfied with obscurity,they seek to prove that they deserve the superstar status to whichthey have been assigned” (Fox and Levin, 1). This fame causes serialmurderers like Lawrence Bittaker and partner Roy Norris to murderfor media attention. These two murdered and tormented teenagegirls. “They dumped one mutilated body on a suburban lawn toencourage media coverage and pitched others off cliffs” (1). Theircelebrity did not end there. “After Bittaker was caught, he signedautographs from his prison cell, ‘Pliers Bittaker’ and Clifford Olsenwho raped and murdered 11 children, begged to be referred to as“Hannibal Lecter” (1). Serial murderers respect and admire otherserial killers. It is without question that Charles Manson’s fame hascaused many other murderers to want his celebrity. The murderisn’t even important; the importance is the media coverage andinstant stardom. Charles Manson will be remembered long afterany American Idol winner. What does that say about our culture?We value murder as entertainment and we have abolished thedichotomy between monster and hero. The paradigm has becomethat the biggest monster will become the greatest hero.Even more fascinating than a male serial killer is a female serialkiller. Dorothea Puente is a serial killer that rented out rooms todisabled tenants in her boarding house. Police eventually found thebodies of seven of those tenants buried on her property. Last yearher home was sold at auction for $215,000 to a married couple.(Lindelof, 1). The couple looked up the address of the home on thecomputer and “saw a little bit of the past, which intrigued us evenmore, ‘said Holmes. ‘My husband is an unpublished mystery writer.He was totally intrigued”(1). Although Dorothea Puente just passedaway last month, her fame is still evident. “She is mentioned in atleast ten books, including author Shane Bugbee’s ‘Cooking witha Serial Killer, Recipes from Dorothea Puente’” (Stanton, 1). The76 afternoons of alterity
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Afternoons of Alterity A Codex of t
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Table of ContentsFrom Medieval Mars
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From Medieval Marsh Monsters toFutu
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imagination, we must first attempt
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seed of monstrosity within themselv
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essence as a monster, it seems reas
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she bore two sons, one from the imp
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perhaps, anti-heroes) of the futuri
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to watch the murder and mutilation
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and modern audiences through their
Page 22 and 23:
Works Cited“Bushwhacked.” Firef
Page 24 and 25:
Projecting Otherness ontothe Disabl
Page 26 and 27:
in any systematic structuration. An
Page 28 and 29:
The idea of the monstrous’ vulner
Page 30 and 31: not us and are in the proximity of
Page 32: they want to be treated. The interv
Page 36: Monstrosity and theIrruption of Rea
Page 39 and 40: describing his fears of this place
Page 41 and 42: stained with sin” (Spearing 221).
Page 43: often and at will to show man somet
Page 46 and 47: What’s Love Got To Do With It?The
Page 48 and 49: story than as the beginning? What f
Page 50 and 51: It is textual content like this tha
Page 52 and 53: through the story as the Green Knig
Page 54 and 55: the first advocating voices for end
Page 56 and 57: “capable of seeing things objecti
Page 58 and 59: Darkness: The True Monster ofLitera
Page 60 and 61: the way they can make us feel, but
Page 62 and 63: not only closes out, extinguishes,
Page 64 and 65: and temptation, most especially for
Page 66 and 67: hours “led to the term ‘night
Page 68 and 69: specifically his relationship to da
Page 70 and 71: humanization of Grendel draws the r
Page 72 and 73: subconscious the message may be. Th
Page 74 and 75: Serial MonstrosityEmily Mastrobatti
Page 76 and 77: is clear that they are monsters and
Page 78 and 79: murderer that he once was. He has b
Page 82 and 83: ook “contains recipes from the bo
Page 84 and 85: asks Charles Manson to marry her, t
Page 86 and 87: Monstrous Mothers andObjectified Da
Page 88 and 89: and her sisters plot to kill their
Page 90 and 91: easons for “otherness.” On top
Page 92 and 93: The original ideas are still intact
Page 94 and 95: objectified creature. “Cultures o
Page 96 and 97: Works CitedAcker, P. Horror and the
Page 98 and 99: Grendel: A Manifestation ofMedieval
Page 100 and 101: ut never was his physicality hinted
Page 102 and 103: to wander in the darkness and the c
Page 104 and 105: Magic could not resurrect Grendel t
Page 106 and 107: Works CitedBeowulf. Trans. RM Liuzz
Page 108 and 109: The Monster Under the BedThe Creati
Page 110 and 111: to procreate but the accepted manif
Page 112 and 113: Cain had/killed his father’s son
Page 114 and 115: can, without a doubt, be placed int
Page 116 and 117: The vagina’s ability to function
Page 118: Ed. Barbara K. Gold, et all. Albany
Page 121 and 122: To understand precisely how states
Page 123 and 124: a strict delineation between each g
Page 125 and 126: monstrous and societal rules to fol
Page 127 and 128: Gawain is willing to accept his mis
Page 129 and 130: survive, challenge, and defeat. Esp
Page 131 and 132:
governmental standards, then are we
Page 134 and 135:
They Walk Among UsOccupational Viol
Page 136 and 137:
sports and regard our members of th
Page 138 and 139:
modern readers are not part of the
Page 140 and 141:
otherness and disdain for humanity.
Page 142 and 143:
are underpaid and for the most part
Page 144 and 145:
Home and Spatial IdentityPhysical t
Page 146 and 147:
closeness among the people that the
Page 148 and 149:
Into the dark gorge I ventured; the
Page 150 and 151:
the treasures that fill up their ho
Page 152 and 153:
threatened by the very existence of
Page 154 and 155:
and draped in damp, shaggy moss, an
Page 156 and 157:
individual. Home resides within the
Page 158:
Works CitedArmitage, Simon. Sir Gaw
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Afternoon of Alterity - Nazareth College

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