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Portrait of a Killer: Jack the Ripper--Case Closed
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From Publishers Weekly
Jack the Ripper was renowned artist Walter Sickert (1860-1942) according to Cornwell, in case anyone hasn't yet heard. The evidence Cornwell accumulates toward that conclusion in this brilliant, personal, gripping book is very strong, and will persuade many. In May 2001, Cornwell took a tour of Scotland Yard that interested her in the Ripper case, and in Sickert as a suspect. A look at Sickert's "violent" paintings sealed her interest, and she became determined to apply, for the first time ever, modern investigatory and forensic techniques to the crimes that horrified London more than 100 years ago. The book's narrative is complex, as Cornwell details her emotional involvement in the case; re-creates life in Victorian times, particularly in the late 1880s, and especially the cruel existence of the London poor; offers expertly observed scenarios of how, based on the evidence, the killings occurred and the subsequent investigations were conducted; explains what was found by the team of experts she hired; and gives a psycho-biography of Sickert. The book is filled with newsworthy revelations, including the successful use of DNA analysis to establish a link between an envelope mailed by the Ripper and two envelopes used by Sickert. There are also powerful comparisons made between Sickert's drawing style and that of the Ripper; between words and turns of phrases used by both men; and much other circumstantial evidence. Also newsworthy is Cornwell's conclusion that Sickert continued to kill long after the Ripper supposedly lay down his blade, reaping dozens of victims over his long life. Compassionate, intense, superbly argued, fluidly written and impossible to put down, this is the finest and most important true-crime book to date of the 21st century. Main selection of the BOMC, Literary Guild, Mystery Guild and Doubleday Book Club. Copyright 2002 Reed Business Information, Inc.
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From Library Journal
Can truth be stranger than Cornwell's fiction? Here, the best-selling novelist claims to uncover the identity of Jack the Ripper. Copyright 2002 Reed Business Information, Inc.
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Product details
Hardcover: 400 pages
Publisher: G.P. Putnam's Sons; 1 edition (November 11, 2002)
Language: English
ISBN-10: 0399149325
ISBN-13: 978-0399149320
Product Dimensions:
6.5 x 1.5 x 9.5 inches
Shipping Weight: 2 pounds (View shipping rates and policies)
Average Customer Review:
3.2 out of 5 stars
621 customer reviews
Amazon Best Sellers Rank:
#101,238 in Books (See Top 100 in Books)
Patricia Cornwell's book left me very unimpressed. I have read all her Kay Scarpetta novels, and I don't remember feeling that they were full of holes and fluff, like I felt with this book.Unfortunately, I feel that instead of doing the research first and making her conclusion based on that research, instead she came to her conclusion and built the research around it. Her psychological "profiling" seems completely fabricated. She takes quotes completely out of context. She refers to artwork and paintings of Sickert's that she doesn't include. The whole book seems like an essay that she had a word count to complete, and she's filling in with alot of fluff because she doesn't have enough meat or real evidence to make her case.As far as the much-ballyhooed DNA evidence, even that wouldn't hold up in court, much less the court of my armchair. Even if it conclusively proved that Sickert's DNA was on a letter that was signed "Jack the Ripper" that couldn't possibly prove that the letter writer was also the murderer.I'm very disappointed in the book as I thought it would have a much more scholarly feel to it. Probably only dedicated collectors of all things Ripper will want to read this as it probably does, at the very least, bring a few new things to light.
Patricia Cornwell's recently released Portrait of a Killer: Jack the Ripper Case Closed claims to have brought closure to the century old Jack the Ripper murders. She stakes her claim on the innumerable number of "coincidences" tying Jack the Ripper to Walter Sickert, a famous British painter. She applies modern forensics, psychological profiling, and DNA sampling to once and for all resolve the identity of Whitechapel's infamous butcher.Throughout the book, Cornwell's talents as a best-selling fiction writer are evident. Her descriptions of 19th century culture and forensic technology are extraordinarily vivid, with a rich, story-like detail throughout. Biographical sketches, the biting taunts of the Ripper letters, and eye-witness accounts are impressively presented and bring to life the circumstances surrounding the crimes. But little is offered that will supplant a host of other theories on the actual identity of Ripper. Cornwell's logic is faulty and at times self-contradicting. Oversights are common and alternative scenarios that point away from Sickert are either unmentioned or ignored. Contrary evidence is manipulated until it somehow points back to Sickert, and the validity of every point hinges on a profane number of conjectures and speculations, few of which are supported by a single scrap of evidence.
With Ms. Cornwell's considerable forensic skills highly advertised and on display, I was expecting much more. Thus, it is an understatement to say that I was disappointed in this fictionalize non-fictional hunt for Jack the Ripper.It seems to me it did not take highly touted forensic skills to rummage through history's dustbin. Do so in a very disjointed way; throw out a few rehashed random facts and theories, and then add a few of your own -- like Walter Sickle's paintings and a concocted theory about his missing testicle or "penile or anal fistula" -- and then like magic claim them to be the holy grail and the missing link to the Ripper's murders.To her credit, Ms. Cornwell does go through the motions of building a circumstantial case. She draws on paper watermarks, on graphology and handwriting analysis, mitochondrial DNA analysis, and then delves quite extensively into Walter Sickert's eccentricities.However, this all seems to have come together in a contrived way. Sickert had been waiting in the wings all along to save the storyline. Suddenly, Sickert was trotted out just as the story was about to fall apart due to lack of any semblance of convergence. It all came together so quickly, and in such a disconnected way it left the reader the impression it had been done as a last ditched plot-saving desperate act to find a neat ending -- as a way of pulling together almost by fiat, so many disparate threads that could never come together otherwise.Maybe I was expecting too much to think that with newer forensic techniques there would be a neater more conventionally linear scientific convergence of the existing evidence. In this version, there was no convergence at all. We simply were led down one primrose path after another: all to dead-ends; and then suddenly, as if a bolt from the blue, in walks old "one nut" Walter Sickert and his paintings to save the day for Ms. Cornwell's story and presumably her reputation.Two stars
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