Rachel Monroe's 'Savage Appetites' examines the complicated reasons women love true crime
, out August 20, Monroe dissects why women find themselves drawn to crime through the stories of four obsessive women who fulfill distinct archetypes: Frances Glessner Lee, the Detective, who created crime scene dollhouses to train homicide investigators and Alisa Statman, the Victim, a Manson-murder enthusiast who wormed her way into the Tate family to become an advocate for their daughter Sharon.
I was interested in both the roles that women play in the stories but then also in real life. Another data point that struck me really early on was how many women were, for example, entering forensic science. That profession is overwhelmingly female and that’s something you wouldn’t expect because it’s a STEM field. I knew that women were drawn to [crime] both as fictional stories, as real-life stories, and as a profession, but it seemed like the narrative hadn’t caught up in terms of reality.
Or just their general anxiety validated. Thinking about my own life it wasn’t so much that I turned to true crime in my life when I was fearing crime, it was when my life felt out of control or dangerous in other ways, like economically precarious or in a relationship way. I think that’s because they provoke a similar feeling of fear or anxiety or being out of control, but the danger is externalized. It’s one individual person, it’s a bad guy, and then the bad guy is dealt with.
I think so much of it is allowing people to be complex. I think that reporters too can fall into the trap of the innocent victim. I read a lot about this really pernicious idea that if a person isn’t “innocent” then somehow they deserved what happened to them. And I think that when we as reporters insist on this unreal, kind of sanitized, idealized presentation of victims, we think that we’re doing them a favor but it actually does a huge disservice to that victim and to every victim.
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