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288 pages, Hardcover
First published September 26, 2023
As a librarian and a collector, I am always interested in works about collecting. Why do people identify with an object or experience, why do they ‘collect’ what they do? Having worked closely with collections of historical trials, murderabilia is an area that has long fascinated me as a category of collectible. Accordingly, I was excited to see this book – “Murderabilia: a history of crime in 100 objects” – at my local library. I was disappointed though in the coverage, perhaps I should have anticipated that superficiality with a “100 objects….” type book, which seem to be a thing these days in the coffee table / history book market.
To be fair, author Harold Schechter, an experienced historian of crime, does a great job summarizing the individual crimes but as a book about the subject of murderabilia (as the title suggests) it really doesn't engage with the concept of collecting, which lies at the heart of murderabilia as a genre. Schechter provides only a cursory and unfortunately incomplete introduction to this macabre collecting habit. One example, earlier Son of Sam laws that prevented criminals from profiting from their crimes kept a lot of this material underground. This changed with a case heard by the Supreme Court - but how did that case -the Simon and Schuster case (502 US 105 (1991)) - affect the market for these collectibles? Did that change who collected or how these artifacts are shared among collectors? Most notably though, the objects presented here have little physical context and, other than a short list of sources at the end of the book, no bibliographical context. Certainly many of the images are engaging - a picture of a vial of dirt from the “Slender Man” murders presented to introduce the crime – but there is very little about the origins of the images themselves. What is their individual provenance? How, or are, the images actually associated with the crime? Is the vial of dirt from the evidence locker, from a collector, from the family of a victim? Why did the person who saved this object do so? For a book ostensibly about objects, there is a lot about the crimes but practically nothing about the objects in the book.
Read it for the engaging essays about the crimes but readers shouldn't expect to come away with a better understanding of murderabilia as a class of collectibles nor how the particular selected artifacts presented here came to be collected.