Oderus Urungus: In Memoriam

We at Shock Totem love our music. We (singularly and collectively) love most genres. The metal world was shocked last week by the passing of a legend, Dave Brockie, aka Oderus Urungus of GWAR, and we felt it needed to be noted. We reached out to one of our extended family, Chris Seibert, a fantastic artist and a feral GWAR fanboy, to see if he could put it into perspective. —John

The crowd was anxious and outwardly violent, booing the opening bands with heckles and glass bottles, some of which still contained beer. I insisted on being at the front of the stage so I had the perfect view of the opening chaos. If what I had read on the Geo-Cities sites, and if what I could make out on grainy, bootleg VHS tapes was even remotely close to the truth—I knew I had to be in the thick of it. When the lights finally went low, the entire crowd rushed the stage. There’s a special feeling one gets when smashed between a metal bar and 700-some people; I came to know it as “bruised ribs.” The band took the stage and immediately dismembered some poor soul, his sacred fluids spraying me in the face. I cleared my eyes of blood and screamed for more. The sound they made was deafening bliss, with the guitarist in front of me having a bear trap for a head and a scrotum that hung 18 inches between his legs. The front man had, himself, an 18 inch penis (complete with eyes and lips) and a very real scrotum poorly hidden underneath, sheathed in panty hose. The rest of the night is a blur of ejaculate, dismemberment, rape (usually in that order,) culminating in a multi-song-spanning battle between the band and a giant Tyrannosaurus Rex.

The band I saw was, obviously, GWAR and while I was no stranger to the metal band prior to this first experience, no one can truly say they understand what GWAR is until you see them live. For the uninitiated, GWAR is a metal band (transcending many sub-genres, though mostly associated with thrash) which acts more of a collective than a band. This is because GWAR (under the umbrella known as the Slave Pit) is actually comprised of artists, writers, and filmmakers, as well as musicians…all working within the mythos that is GWAR to create the experience that is GWAR. While many members have come and gone (and come back again) throughout the years, the proverbial keystone of the whole affair, as well as founding member, was Dave Brockie, aka Orderus Urungus; lead singer, artist, Scumdog of the Universe. Sunday March 23 saw his passing at age 50 and for many of us bohabs (a term used to describe the core fans of the group,) this was our JFK event.

Most of my idols were dead before I was even born, so to loose one of the four living people that I admired and looked to for inspiration was exceptionally hard. Dave was an amazing artist who had found a way to live the “American Dream” by doing what he loved, middle-finger up the whole way. Some may look at his fine art, or listen to his lyrics, or even look at his alter-ego’s costume and refer to what they see as “tasteless” or “offensive” and it’s those people who Dave would contest are the problem with the world today. It’s his desire to teach us that inspires me the most.

When I cut my teeth on the larger world outside of my own, I noticed that much of society is censored; locked in the attic like some shameful accident child or disease-ridden family member, left to rot alone while everyone else continues the rest of their days in an ignorant bliss. The darker aspects of what it means to live among other human beings is rarely discussed, save for the nightly news which only presents us with marginalized tragedy so that the collective “we” can have villains to hate. It’s a convenient method for feeling better about one’s own demons, the discovery of people worse than ourselves and our own thoughts. That is, admittedly, a depressing way to look at the world, as well as exaggerated. I don’t truly believe that everyone does terrible things or that everyone is in some way responsible for the demons we willingly fail to see in our societies, but in a way, we are responsible and just as guilty. What Dave showed me was that it is okay to embrace the taboo concepts we hold as humans and re-purpose as something new. I like to think of it as “desensitizing to promote logical thought.” Once you take the emotion out of the equation, it’s possible to look at a topic and intelligently debate and discuss it.

Now, do I honestly believe that Dave Brockie intended for his various works to stand as modern transports for social engineering, promoting philosophical discussion to implement upgrades to the human condition? No, I do not. Certainly some of his body of work represents social commentary, but I don’t believe that was his intention for his various projects. Instead, I believe that’s what he inspires, at least what he inspired in me, and that is what a true artist does. Anyone can paint a picture or write a song or put on a show, but a true artist inspires others, both to interpret what they are feeling based on what the artist makes them experience and to go out and create something of their own. If humanity is a cancer on this Earth, then art is gonorrhea, splashing out of the creative holes of the infected and spreading to all who are open to such experiences. In this sense, Dave is the “King of Gonorrhea” for many of his fans.

While writing this I had a Dave Brockie playlist blasting and a song from his first band, Death Piggy, came on. I’ve heard these tunes a thousand times before but suddenly the words to “Whippin’ Round the Bay”struck me with new meaning. Many of his early songs were novelties at best, but in mourning a new depth presented it’s self as a lyrical irony:

“One thing/ one thing for sure/ gonna end up/ end up in the ground/ and one day, my flesh will rot away/and I’ll be found/ a thousand years from now/ and all the things/ I said and brought/ they’ll be bought/ they’ll be bought/ and all the things/ and all the wings I never wore”

I came to realize this song as a rare look into Dave Brockie the man, as opposed to Oderus Urungus who, for a majority of his life, dictated his song writing. Even my personal favorite project, The Dave Brockie Experience, focused more on funny ideas and inside jokes rather than individual inflection. It would be safe to say that the Brockie we are presented with is, in fact, the real Brockie. From my limited first hand experience with the man (at a GWAR-B-Q), as well as the various accounts I have heard throughout the years, Dave is just as funny and crazy as anyone familiar with GWAR could possibly imagine.

What hit me was that this song may be the only truly serious song he wrote. Where as in other songs that he wrote to subvert some aspect of society, this particular one actually addressed his own mortality. Sure, it’s a song (ultimately) about consumerism, but doesn’t that go hand in hand with who we are when we are alive and our legacy that we leave behind when we die? Now that he is gone, all we have is his legacy in the form of the art he created and helped create. There is comfort in this, but that comfort is cut with sadness, only because I know he had so much more to say.

A few years ago Dave started a blog. It is a very personal look into his life as much as it is an oral history of GWAR. For those who feel Dave was a shock-rock icon and low-brow hack, hiding behind the guise of art as an excuse to be offensive, I highly suggest you read this blog. In a way, it’s almost perverse that we yearn for that type of understanding of people we don’t (and will never) know. Does understanding the gears behind the clock face make you understand the time it reads any better? No, but for those willing to learn, new appreciations can be found. These types of projects bring out the humanity in gods, and in this case, the Brockie in Oderus. It is a shame that he never finished his story. Chronologically speaking, it ends around 1990, with a cliffhanger to boot.

After reading countless memories of Dave throughout the years in the days following his death, I decided to binge-read this blog, which I had all but forgotten about. It was this action that halted the process of mourning and introduced the aspect of celebration. Reading his own life, in his own words, was very surreal but revitalizing at the same time. My frame of mind during mourning reflected the attitude of “he checked out too early, he still had so much more to give,” while my mindset after reading GWAR, ME, AND THE ONRUSHING GRIP OF DEATH was “damn, if only I can achieve and give so much during my stay on this mudball…”. Grieving is very selfish, especially when your only relation with the deceased is indirect. Why should our sentiments be “he had so much more to give” when we were already given way more than we collectively deserve? Dave Brockie may have been a boob but he certainly was no tit whose only purpose in life was to feed us until we are full.

So what is left in Dave’s wake? Well, some amazing music. It is important to remember that GWAR isn’t just Dave Brockie. GWAR is a collaborative effort among many talented people. In 2011, GWAR lost another talented Scumdog, Corey Smoot. His proficiency with the guitar, and the song writing process as a whole, was second to none. GWAR overcame the loss and muscled on with one of their strongest albums to date, Battle Maxiumus. GWAR’s drummer Brad Roberts and rhythm guitarist Mike Dirks have been in the band longer than should be considered healthy for any normal human being, and I have no doubt that they will make sure the band continues. It would be unfair to say that Dave Brockie is what made GWAR what GWAR is. GWAR is a collective effort, first and foremost. Dave has even stated in interviews that since the band is costumed, GWAR could technically continue long after it’s members quit or pass as long as someone were still interested in the characters and their story. Some could argue that the Misfits without Danzig or the Dead Kennedy’s without Jello simply aren’t the bands that they once were and this is true. But when it comes to GWAR, this is an idea as much as it is a band. At it’s heart, the power of GWAR lies in the stories they tell. Will there ever be another Oderus Urungus, let alone Dave Brockie? Absolutely not, nor should there be, but I hope the idea doesn’t die with Dave.

Dave Brockie’s passing is certainly a loss to the metal world, whether you loved or hated him, but his bravery and creativity will stand the test of time long after all of us join him in whatever may come after this mortal candle burns the last of it’s wick. Dave, I raise my bottle of Jagermeister in your memory and thank you for all you have taught me about what it truly means to be an artist, and how to have a sense of humor.

Oh, and if you see The Master, kick him in the balls for me.

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Come Together

Image created by Guy FrancisWe are all aware of the publishing sea change that has been occurring over the past several years. Through e-books and POD publishing, authors have been bypassing the traditional publishing houses in droves, even when the traditional publishers were willing to put their books out.

The logic is irrefutable. A self published book allows an author to make more money on less books sold while retaining all of the creative control. Provided the numbers are good (that puts the burden on the author to promote and distribute their own books, no easy task), why wouldn’t you go this route? It only makes sense, especially when book readers are abandoning the brick and mortar stores for the Internet. It’s leveled the playing field considerably.

The days of big-name writers looking down their collective noses at so-called “vanity presses” is essentially over. Those authors are self-publishing as well, if only to keep formerly out of print works available to their fans.

While this revolution is undoubtedly a good thing in many ways, it has its downside, most notably the lack of quality. When anyone with a computer and an Internet connection can publish their own books, the inevitable result is a market glutted with thousands of titles that are not worth reading at all. Poor layout, poor artwork, and just plain poor writing is abundant.

Like them or not, the traditional print publishers all had standards, whether low or high, and all of them used editors. Very few authors, no matter how talented, can put out a really good book in the absence of a good editor, a fact which almost every published author will attest to.

It’s even difficult to put complete faith in online reviews anymore, as the recent Todd Rutherford scandal illustrated. How do you know that those glowing five-star reviews were not bought, either in cash or in the nefarious review-trading parasitism that is all too common in the small press? I’ve read bad books that have a string of great reviews, and I’ll bet you have too. So how do we sort through the massive amounts of bad books and find the good ones?

The book you’re looking for is right THERE!

One possible solution is author collectives. These are loose organizations of authors and publishers who are all about maintaining standards of quality, not helping out friends. Ideally, if a book isn’t good, it doesn’t get the recommendation of the collective. Of course “good” is still a subjective term. That aforementioned parasitism can infect a collective as surely as an individual review. I’m wary of any organization where all that is required to get in is to pay a fee.

Even if you find a reliable collective, there is no guarantee that you will like all of the books it recommends, but it still sounds like a far more reliable method for choosing your next beach read than random chance or counting five star reviews.

But big-name writers are getting in on these. I was first made aware of this phenomenon through Killer Thrillers, an author collective that includes David Morrell, one of my all time favorite authors (and a fellow New Mexican). If you haven’t read him, you should. And although I’m not well read in the thriller genre, if Morrell recommends them, I can too.

Awesome Indies is another site I ran across that looks interesting, although I’m not familiar with any of the authors listed. It’s arranged by category, which is convenient, but sadly there is only one horror book listed. I checked out the preview of it, and while we haven’t stumbled upon a new Joe R. Lansdale, it’s pretty good. I’ve certainly read far worse.

I searched around some, but could not find a collective that is specifically horror oriented. If anyone knows of one, please point it out. If one does not exist, perhaps it’s time to start one, but I’m only interested if it’s going to reward good writing. We don’t need another parasitic clique of the sort that the small press is infamous for.

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Red River Blues

Quick, name a vicious fish from the Amazon River that kills humans.

Pffft! You said, “Piranha,” didn’t you? Don’t lie, you did.

Well, I don’t know if the piranha just has a poor press agent (or a good one, depending on the fishy creds we’re trying to establish), but under most circumstances, piranhas don’t kill.

That’s not to say that they aren’t dangerous. Those teeth certainly are sharp, and people occasionally lose fingers and toes to piranhas. Most attacks occur when there is a lot of other food such as fish entrails floating about, but their reputation as a fearless killer is a myth.

The piranha is a scavenger, mainly eating off of things that have already died. They only rarely attack live prey, and almost never kill.

But wait a minute, you say, didn’t Teddy Roosevelt witness an entire cow being devoured in “under a minute”? He did indeed, but that was a setup, with purposely starved fish. Despite their reputation from the movies, you don’t have much to fear from these sharp-toothed fish unless you are wading through chum.

But there is another fish in the Amazon River that poses a serious risk to humans, especially to guys.

Meet the pacu.

Chris, pictured here, is now known around the village as Christine

Now you might already be getting an uneasy feeling just from the sheer size of that thing. While the pacu are related to the piranha, they are much larger, reaching up to three feet in length and 55 pounds. You could feed a large family with just one of these monsters.

Teddy Roosevelt also wrote about the pacu in his book Through the Brazilian Wilderness, but only to pronounce them “delicious eating.” You would think he would have mentioned the teeth.

[ We’re the pacu! We’re the pacu! We’re the pacu! Chomp, chomp, chomp! ]

And as weird and disturbing as that mouth full of human-like molars looks, what they do with those teeth is even worse. Although the pacu is not native to Papua New Guinea, it was released there in the 90’s as a food source and has since been dubbed the “ball cutter,” which is every bit as bad as it sounds.

While the pacu mainly use their teeth for cracking seeds and nuts, it’s apparently not too selective about which nuts to crack.

At least two fishermen in Papua New Guinea have been castrated by the pacu since it’s introduction and subsequently bled to death.

There is even an unsubstantiated report that a 24-inch pacu actually jumped out of it’s aquarium in Fort Worth, Texas, in order to bite its owner on the testicles. These fish apparently zero in on the crotch like an ornery three-year-old. Losing a finger doesn’t sound so bad now, does it?

The pacu are sold by pet stores as a “vegetarian piranha,” but they can quickly outgrow a home aquarium. Some unprepared owners have been known to release their fish into lakes and streams when they grow too large for their tanks.

When the pacu recently made headlines after having been found in an Illinois lake, biologists were quick to point out that it is a tropical fish and could not possibly survive the winter.

More ominously, for US swimmers, pacus have been found in 19 states, including warmer states like Florida, Texas, and California, where it’s chances of establishing a large population would presumably be much better.

It sounds like shrinkage could actually be desirable if you’re swimming with a fish like that.

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The Crow’s Caw Reviews The Wicked…Plus an Essay and a Contest

The almighty Jassen Bailey has given The Wicked a great review over at The Crow’s Caw.

“This is one of the coolest paperback I’ve ever laid eyes on. This is the total package.”

You can read the review here.

More than that, however, Jassen has allowed James to guest blog about The Wicked, specifically the excellent characterization found within the book. It’s a wonderfully insightful read.

And if that’s not cool enough, they’re giving away two copies of The Wicked and one copy of James’s fantastic collection, People Are Strange. All you have to do is go to the comments section and post your top 10 favorite horror novels and movies from the 80s. Couldn’t be easier!

Again, you can find the review, essay, and contest here. Dig it!

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Tales of Grand Illusion

Recently, a writer friend on Facebook posted about how he hated the “who you know” model for advancing his writing career, but he acknowledged that most of his opportunities came from people he knew. I can relate.

It’s not just in writing, the whole world revolves on a “who you know” axis. Every job I’ve ever gotten has been because of who I knew, whether directly or indirectly. Friends and contacts are an invaluable resource that you can and should be using to further your writing.

There is social media, like Facebook and Twitter, but there are other methods as well. We here at Shock Totem have a variety of ways that we try to aid writers in developing their talent on our message board. There are two very popular flash contests that we host regularly, as well as the underused Writer’s Workshop section for critiques, submission calls, etc. And we are happy to provide them.

We want to see writers improve and succeed, particularly horror writers, since that’s what we’re all about. There are a whole lot of fantastic writers slogging away in the trenches, and we’re doing what we can to lift up those whose work we deem to be noteworthy.

But as I replied to my friend, “who you know” has a darker side as well.

While we can and should be promoting our writer friends, there is a fine line between encouragement and enabling. If your friend has written and published a great book, buy it, and encourage others to do so. But if your friend has written and published a book that is rife with spelling and grammatical errors or just poor writing, you’re not helping them by promoting it as a “must read”. In fact, you’re harming them.

The whole idea of promotion is to widen your circle, so that not only your friends and family buy your books out of a sense of obligation, but also their friends and so on, until people who have no clue who you are are tweeting about how much they enjoyed your book. But if people buy a book because someone hyped it on Amazon or Facebook, only to discover that the book is bad, how likely are they to buy another book based on that person’s recommendation?

In these days of self-publishing, when anyone can write a short story one day and offer it for sale the next, a lot of sub-par writing is being published, promoted and praised. Writing is a difficult and laborious process, you don’t go from joker to genius overnight. Take your time; get a real, honest critique from someone who not only knows good writing from bad, but also isn’t afraid to tell you which camp you’re in.

Even literary giants started by writing poorly. But in the days when getting a book published was difficult, they had knowledgeable editors who were not afraid to tell them that their story needed work. Nowadays, if your only editors are your friends, how can you be sure that they are giving you an honest and educated opinion?

If you’re a writer, seek out someone who isn’t afraid to tell you that your story stinks, and can offer helpful suggestions to make it better. And if you’re an enabler, promoting or endorsing sub-par writing because the writer is a “nice person” or you want them to promote your book, knock it off. You’re operating on the dark side.

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Dance the Night Away

I’m by no means an expert on 16th century France, but I’d imagine it would involve an unhygienic population, rampant disease, chickens running everywhere, cheese and wine. Now that I think about it, it’s probably not that different from modern day France, only with less chickens and more antibiotics.

What I wouldn’t have thought of was Martha and the Vandellas. I’ll bet you didn’t either. But in 1518 in Strasbourg, a woman named Frau Troffea began dancing in the streets. Not for just a few hours, either. According to reports, she danced for four to six days, stopping only when she collapsed from exhaustion. That’s one serious case of boogie fever.

Worse yet, others began to join her. After a week there were thirty three other dancers and after a month, an unbelievable four hundred people had joined in the involuntary rave. Don’t think of it as college night at the pub, these people were writhing and foaming at the mouth, screaming or making animal noises and rolling in the dirt. Most of the people who were afflicted died of exhaustion, starvation or stroke.

Disturbingly, this was not an isolated incident. Outbreaks of dancing mania were reported throughout Europe as early as the 7th century and continued through the 17th century. That’s over a thousand years of sporadic outbreaks of dancing leading to death. Let that sink in for a moment.

A German account from 1278 featured 200 people dancing on a bridge so frenetically that it collapsed, killing many participants. Survivors were treated at a nearly chapel dedicated to St. Vitus, giving rise to the name St. Vitus’ Dance for the strange phenomenon. Other theories regarding the origin of dancing mania include epilepsy, pagan rituals, ergot poisoning and collective mass hysteria, although all of these explanations are problematic.

An Italian variant was known as tarantism, as victims were supposed to have been bitten by a tarantula wolf spider. Tarantism is also unique in that those afflicted were not out of control. They usually followed a pattern of dancing throughout the day, but stopped at midday to rest and bathe, only to resume dancing until sunset. They then stopped again to eat a light meal and sleep until sunrise, a pattern that could go on for weeks. Cases of tarantism in southern Italy have been reported up through 1959, although tests on spiders in the region have virtually disproved the theory that spiders were responsible.

The bottom line is, no one quite knows what caused the dancing plagues or why they stopped. If you’ve ever been to a rave, you might be tempted to say they are still with us, they just result in fewer deaths.

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The Door to Hell

Most Shock Totem readers are likely familiar with a little slice of hell on earth known as Centralia, Pennsylvania. This is the coal mining town that was featured in the video game series and film Silent Hill. It was also a missed opportunity for the Shock Totem staff when we visited last August, as our host, John Boden, refused to take us there. There’s still a bit of bad blood over that incident, but that’s a bit off the subject. =P

It all began in 1962, when some sanitation workers were burning trash right next to an exposed vein of high quality anthracite coal. The surface flames were quickly extinguished, but the fire continued to burn in the coal deposits under the town, resisting all efforts to contain it and finally forcing the evacuation of almost all of the town’s inhabitants by 1981.

Of course, this was the height of the Cold War, so naturally if Americans were lighting the earth on fire, the Russians would have to top us, right?

Well, they did a fine job.

In 1971, Soviet geologists were doing exploratory drilling in the Karakum Desert, near the town of Darvaza, in present day Turkmenistan. They unexpectedly hit a large underground cavern filled with natural gas, resulting in the collapse of the drilling rig. Because of concerns that the poisonous fumes would pose a danger to the population of Darvaza, the geologists decided to burn off the gas.

What they didn’t account for was the large quantity of gas in the chamber and lower reserves. The crater, with a diameter of 230 feet (70 meters), is still burning today. Local residents refer to it as The Door to Hell.

I’m not sure if anyone has tried to lower a microphone into it to actually record the cries of the damned, but I don’t think it would go well if they did. This thing is massive and HOT!

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Robots Have Hearts (and Will Serve Yours for Dinner)

Ryan here…

So I’m getting really sick of this whole “Inevitable Zombie Apocalypse” thing. Sure, it’s gonna happen. We’ve established this by asking your mom through scientific data. But isn’t it time we stop getting drunk at 2 A.M. and ask each other where would be the best place to go once we realized the dead were rising with a taste for brains? Besides, there’s something a little more sexy immediate to worry about, and it’s already on everyone’s mind.

Here’s a hint. Not this guy:


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A Night to Remember

One of the hallmarks of speculative fiction is an attempt to predict the future. From science fiction to alternate histories to apocalyptic or post-apocalyptic fiction, an attempt to map out future events is a constant and takes many forms. Dystopian novels such as Nineteen Eighty-Four or Brave New World were intentionally trying to portray future events and technology. With prediction as a goal, you would expect them to get at least some things right.

(By the way, I’m still waiting for those killer view-screens, but only if they are one way.)

Of course, many books are written for simple entertainment, not to predict future events; but in hindsight we can always pick up similarities between old novels and current events that can be passed off as coincidence.

And then there are times when the coincidences can get downright creepy.

The sinking of the RMS Titanic was an appalling disaster. One thousand five hundred and seventeen lives were lost, more than two-thirds of the people on board. It has spawned a large number of literary and film versions, but none of them are as interesting as the first one, titled Futility, or the Wreck of the Titan, by Morgan Robertson.

In his book, Robinson writes of an 800-foot British luxury liner named Titan. Titan has a three-thousand passenger capacity and is considered to be a crowning achievement of maritime technology and virtually unsinkable. Because of this presumed invulnerability, only the minimum number of lifeboats required by law are on board, with a capacity far below the number of passengers and crew. On an icy April night in the North Atlantic, 400 miles from Newfoundland, Titan strikes an iceberg. The accident happens right around midnight while traveling at 25 knots (too fast for conditions). Titan sinks, killing most people aboard.

Sound familiar? It should. It’s the same basic plot that has been used for every other movie or book based on the Titanic disaster, from the Third Reich to that other guy. You know, the one that did The Terminator? The big difference is Robinson’s book was published in 1898, fourteen years before the RMS Titanic was even built, yet the similarities between the book and the actual events are so spot on that you could read the book and think it was a fictionalized account.

In your face, Philip K. Dick!

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Through the Dollhouse, Darkly

With a sharp mind and a keen knack for realism, as well as the ability to recall the most minute of details, Frances Glessner Lee should have been destined for greatness. The wealthy young heiress should have been a force to contend with, in the history of law enforcement and forensic sciences, and to some extent, she is.

However, being a woman during the depression era, she was denied a formal education based on her gender. It was not until she was in her fifties that a friend, Dr. George Burgess Magrath, was elected to the position of Medical Examiner of Suffolk County, MA. One of his new duties was to report on the probable causes and circumstances surrounding unexplained deaths.

During conversations with Magrath, Lee was fascinated by the details and descriptions of unsolved cases, and she came to the conclusion that there was a need for training in the field of murder investigation.

The focus of the period seemed to be mainly through police science and eschewed most medical approaches. In fact, there were only a few states that required their coroners even possess a medical degree. Lee hatched a plan. She funded and set up a Department of Legal Medicine and based it out of Harvard University. She gave seminars and lectures and began a curious and helpful hobby—building dollhouses.

These were no ordinary dollhouses. They were re-creations of crimes scenes, full of death and mayhem. The attention to detail, astounding. The tiny wooden cupboards were stocked with miniature food packages, the lights worked, minuscule pencils had lead tips and could be used to write with, they were fully functioning houses on a smaller scale.

Then the dolls were added, and the tone of the pieces changed. A doll-sized bed splashed with blood as the victim sprawls across it. Another lays face up in a basin tub as tap water pours into her open mouth drowning her. A doll lays on a kitchen floor, before a small stove with a smaller pie cooling on its top, a knife planted in her back. A doll of a man lays face down in front of a re-created liquor store. The meticulous details, all executed by the wrinkled hands of this sad genius. Lee dubbed these models, these perfect re-creations of actual crime scenes, “The Nutshell Studies of Unexplained Death,” after a popular police saying.

Lee continued to work and assist the law enforcement community until she died in 1962 at the age of 83. She was in the midst of a final and very personal model. She called it “The Swedish Porch,” and it was a delicate and accurate model of a room in her own house where she liked to sit and reflect. This model had no dolly corpses or blood stains, no foul play or dark deeds, just closure.

This final model went unfinished.

There is a book available about this fascinating woman and her work, entitled “The Nutshell Studies of Unexplained Death,” by Corrine May Botz, and was published by The Monacelli Press.

You can find that book here.

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