From the Chronicles of Evil website: Not everyone can (or would even want to) spend their time examining, in minute detail, the life story of an infamous serial murderer. Christine Falco, webmaster of edmundkemperstories.com, is however, doing just that – curating a fascinating collection of rarely seen documents, pictures, videos and stories, which serve to take visitors on a deep dive into the world of Edmund Kemper, also known as the “Coed Killer”, a serial murderer, rapist and necrophiliac who is currently serving eight concurrent life sentences, at the California Medical Facility in Vacaville, California.
Emerson Murray has written the book “Murder Capital of the world”, which tells the story of the three serial killers who were active in Santa Cruz in the late 1960s and early 1970s: John Linley Frazier, Herbert Mullin and Edmund Kemper. As the book is about to be released, we asked Emerson a few questions:
EKS: How did you get the idea to write the book “Murder Capital of the world”, and why was it important for you to write it?
EM: I had been collecting information and pictures for thirty years. I am from Santa Cruz and Herbert Mullin murdered one of my dad’s friends, Jim Gianera. My dad had a picture of the two of them hiking on his wall for years and we just always knew what had happened to Jim. As kids, we knew Mullin was in jail, but he became a sort of boogie man to us. He had killed women and kids and even a priest and he was kind of like Michael Myers from Halloween, just killing indiscriminately. As I said, we knew he was in prison, but just talking about the crimes would freak us out. When the Night Stalker came along, he sort of erased our fear of Mullin. My grandmother worked at the post office and swiped a wanted poster for us. I was around 12, but I remember being out under the streetlight with the neighbors and the Night Stalker had killed people in Los Angeles before and he had just struck in San Francisco, so by our computations there was a 99.99% chance that our block in Ben Lomond was going to be next!
More recently, there were a few triggers to turn my interest into action. In the early 2000’s, the BBC had done three episodes of a series called Born to Kill on the Santa Cruz killers. Well, they did one episode each with no interest in discussing how the three crossed over and what local law enforcement and the community went through. That got the idea really started as a project. Years later, a friend and I started talking about how someone needed to make a movie about this time period in Santa Cruz history, something like David Fincher’s Zodiac. It was a dream bigger than us. Finally, my wife and I went to see Mickey Aluffi speak about the crimes in 2019. Mickey was a detective at the time with the Santa Cruz County Sheriff’s Office. Well, once the talk got started, I looked around and most of the audience was in their 70’s and 80’s. I got pretty scared that these stories would be disappearing in the not too distant future. The next day at work, I just decided I had to do it and made my first call that night.
EKS: What is the concept behind the book?
EM: “Murder Capital of the world” is part true crime and part local history. It tells the impact of the John Linley Frazier, Herbert Mullin, and Edmund Kemper crimes on our community and local law enforcement. The community was already pretty tense. The Manson Family crimes had occurred recently and the older folks were seeing the hippies as a real threat. UCSC opened in 1965 adding to these tensions. There were changes in welfare laws and there were communes in the San Lorenzo Valley. The Zodiac murders didn’t help. The Zodiac killer wrote that he was going to attack a school bus and shoot the kids as they exited. So, local law enforcement was following school buses. It was just a hot time period in this area. In the midst of all this, John Linley Frazier murdered four members of the Ohta Family and Dorothy Cadwallader. That was the beginning.
The story is told through quotes. I fill in the gaps as a sort of narrator. I have a previously published book, a biography of the professional wrestler Bruiser Brody, for which I used this style to tell the story. I find it a fantastic tool for getting across stories with multiple points of view as well as stories where there were few eyewitnesses. Authors who tell you what happened when a killer and victim were alone are pulling from sources. I’d rather read the original sources themselves.
EKS: What was your research process? Was it easy to access people and documents?
EM: I think most researchers start with the internet; finding what is already out there. After I scoured online resources, I started to formulate my questions and see where the gaps were. With this book, I talked to my parents and their friends who gave me names and phone numbers. I’m a firm believer in letters and phone calls. Sure, it’s old fashioned but a lot of the people I talked to are older and not online. Additionally, in the interest of sensitivity, I wanted to send letters to people if the subject I wanted to talk about was personally related. I felt more comfortable calling someone directly if the person was retired law enforcement or attached to the crimes in an official capacity.
As the letters went out and phone calls started coming back, it was interesting who was willing to talk and who was not. Everyone has a different sensitivity to these horrible incidents and I really tried to be respectful. I would write two of the exact same letters and one person was happy, sometimes excited, to talk to me and another was hurt that I would even bring up the subject. We live in a time where language is very powerful and this subject matter is as dark as it gets. I really tried to tip-toe very carefully.
At every point of contact, I asked for documents and pictures. Many had been “borrowed” and never returned by authors and filmmakers before me. Stolen. However, I did manage to find a lot.
I must say that I am extremely thankful to the people who spent their time talking with me and sharing documents and pictures with me.
EKS: What new information about the Kemper case have you learned that marked you?
EM: Page 186. The eyeball.
EKS: Which deceased person involved in the Kemper case would you have liked to talk to, and why?
EM: Without a doubt, his mother. The public has always had only one real source of information on Kemper’s mother: Kemper! Consequently, it is a venomous, loving, hateful, confused portrait that we are left with. I talked with her co-workers, read and listened to interviews with her friends and Kemper’s sisters. I even found quotes from Clarnell herself from after Kemper had killed his grandparents. Consequently, I feel like a more developed, nuanced, picture of her emerges in the book. But she would have been an awfully interesting person to talk with.
EKS: Your book sheds new light on many of the events in the Kemper case. Is there any part of his story that remains mysterious to you? If so, what?
EM: “Mysterious” is a great word. I feel like I understand the events and have a pretty good picture of Kemper’s life, but after he was arrested and started to talk with law enforcement, his attorneys, and mental health professionals, his stories started changing. I feel like it was a result of his insanity plea. He admitted necrophilia immediately, but somewhere along the way stories about cannibalism started. They were detailed and explicit, but the stakes were high during that time period and he had a lot to gain by embellishing stories. So, the absolute truth regarding the nights he was alone with the bodies of his victims, is what remains mysterious and out of reach for all of us.
Ed Kemper, 6’9”, 280 pounds, is an American serial killer nicknamed “the Ogre of Santa Cruz”. Cannibal and necrophiliac, he has been convicted of eight murders including that of his own mother. It is with him that the term serial killer and the methods of profiling were first used.
Writer Thomas Mosdi (author of the Succubes book series) and illustrator David Jouvent (The Dragons of the Red City) retrace the journey of the serial killer who inspired the character of Hannibal Lecter in The Silence of the Lambs, in a graphic novel that is both exciting and terrifying.
I was really looking forward to reading Ed Kemper – Dans la peau d’un serial killer (Under a serial killer’s skin) to see how this story that Kemper followers know so well would be told. Not being a comic book reader, I really liked this graphic novel, which is well told and beautifully drawn and colorized.
Indeed, the drawings are superb and present the facts realistically without overdoing it. The California of the 1970s is credibly represented with warm colors and images that evoke well this seaside resort that is Santa Cruz. The attention to detail in the boxes is impressive. David Jouvent is very good at drawing the Kemper character, his face, his stature. The general treatment is not particularly gory, we can feel the respect for the victims and their families.
As for the narrative thread, it is skillfully constructed around an incident that occurred during Kemper’s trial in 1973 when a doctor administered Methedrine, a methamphetamine drug that made Kemper delirious for several days and made him see his life with great lucidity and realize the horror of his crimes. [see this post for details about this incident].
This narrative structure allows to tell the story entirely from Kemper’s point of view through a narration, as if we were in his head and could hear his thoughts, his inner voice, helping us to better understand his psychological journey. The story takes a non-linear look back at key moments in Kemper’s life, such as the abuse at the hands of his mother, the murder of his grandmother, his stay at the Atascadero psychiatric hospital and the kidnapping of Mary Ann Pesce and Anita Luchessa. The story also allows us to go into Kemper’s delirium and to rub shoulders with his demons and fantasies (severed heads, zombie victims, his mother as a snake, etc.).
This graphic novel is aimed at an informed audience who, ideally, already knows a little bit about Ed Kemper’s story. For readers less familiar with his case, it may be difficult to realize the magnitude of his crimes, and to differentiate between his fantasies and reality. The crimes are not shown, nor is the trial. Some victims, such as Rosalind Thorpe, Alice Liu and Sara Hallett, are mentioned in passing without telling what happened to them.
Only one regret: it would have been nice, for a few of the flashback scenes, to insert dialogue between Kemper and other characters, like with his mother for example, to see Kemper in action and not just in reflection.
In short, a graphic novel that I enjoyed thoroughly but I know won’t please everyone. Some people may find this kind of book unhealthy, but I believe that it’s relevant to look into a criminal’s mind and dark soul to try to understand what motivates someone to commit such extreme acts.
**Version française de la critique**
Présentation de l’éditeur :
Ed Kemper, 2m10, 130 kilos, est un serial killer américain surnommé « l’Ogre de Santa Cruz ». Cannibale et nécrophile, il a été condamné pour huit meurtres dont celui de sa propre mère. C’est avec lui que l’on a utilisé pour la première fois le terme de tueur en série et les méthodes du profiling.
Le scénariste Thomas Mosdi (auteur des Succubes) et le dessinateur David Jouvent (Les dragons de la cité rouge) retracent le parcours du tueur en série qui a inspiré le personnage d’Hannibal Lecter dans Le Silence des Agneaux, dans une Bd à la fois passionnante et terrifiante.
J’avais très hâte de lire Ed Kemper – Dans la peau d’un serial killer pour voir comment serait racontée cette histoire que les amateurs de Kemper connaissent bien. N’étant pas une lectrice de bande dessinée, j’ai beaucoup aimé cette Bd, qui est bien racontée et superbement dessinée et colorée.
En effet, les dessins sont magnifiques et présentent les faits de façon réaliste sans en faire trop. La Californie des années 1970 est représentée de façon crédible avec des couleurs chaudes et des images qui évoquent bien cette station balnéaire qu’est Santa Cruz. L’attention portée aux détails dans les cases impressionne. David Jouvent réussit particulièrement bien le personnage de Kemper, son visage, sa stature. Le traitement général n’est pas particulièrement gore, on sent le respect pour les victimes et leurs familles.
Pour ce qui est de la trame narrative, elle est habilement construite autour d’un incident qui s’est produit pendant le procès de Kemper en 1973 alors qu’un médecin lui a administré du Methedrine, une drogue méthamphétamine qui a fait délirer Kemper pendant plusieurs jours et lui a fait voir sa vie avec une grande lucidité et réaliser toute l’horreur de ses crimes. [voir ce post en anglais pour les détails sur cet incident.]
Cette structure narrative permet de raconter l’histoire entièrement du point de vue de Kemper par une narration, comme si on était dans sa tête et que l’on entendait ses pensées, sa voix intérieure, nous aidant ainsi à mieux comprendre son cheminement psychologique. L’on fait ainsi des retours en arrière non linéaires où l’on revisite les moments clés de l’existence de Kemper, tels l’abus aux mains de sa mère, le meurtre de sa grand-mère, son séjour à l’hôpital psychiatrique d’Atascadero et le kidnapping de Mary Ann Pesce et Anita Luchessa. Cela permet aussi d’aller dans le délire de Kemper et de côtoyer ses démons et fantasmes (têtes coupées, victimes zombies, sa mère en serpent, etc.)
Cette Bd s’adresse à un public averti qui, idéalement, connaît déjà un peu l’histoire d’Ed Kemper. Pour les lecteurs moins familiers avec son histoire, il peut être difficile de se rendre compte de l’ampleur de ses crimes, et de faire la différence entre ses fantasmes et la réalité. Les crimes ne sont pas montrés, ni le procès. On évoque au passage certaines victimes, comme Rosalind Thorpe, Alice Liu et Sara Hallett, sans raconter ce qui leur est arrivé.
Un seul regret : il aurait été bien, pour quelques-unes des scènes de flashbacks, d’insérer des dialogues entre Kemper et d’autres personnages, comme avec sa mère par exemple, pour voir Kemper en action et pas seulement en réflexion.
Bref, une Bd que j’ai beaucoup appréciée mais qui, je le sais, ne plaira pas à tout le monde. Certaines personnes peuvent trouver ce genre de livre malsain, mais je crois qu’il est pertinent d’étudier l’esprit et le côté sombre de l’âme d’un criminel pour essayer de comprendre ce qui motive une personne à commettre des actes aussi extrêmes.
Sources: All images were taken from the following Facebook pages: David Jouvent’s personal page and Ed Kemper Chronicles / English title is our translation.
David Jouvent is the illustrator of the graphic novel Ed Kemper – Dans la peau d’un serial killer (Under a serial killer’s skin), published in French in September 2020. We asked him a few questions about the creation of this unique work.
EKS: Why did you create an album about Ed Kemper? Where did you get the idea? What was your inspiration?
DJ: The idea originally came from Jean-Luc Istin who, in 2009, had created a collection on serial killers for Soleil. He came across my work while viewing the book of my colorist Axel Gonzalbo. As he was looking for someone to draw a one-shot on Kemper… and as I had set up a project with Thomas Mosdi… things happened very naturally. To put it in context, at the time, Big Ed was totally unknown to the general public. Only a handful of insiders knew about him and there were very few articles on the net and even less pictures!! This obviously changed dramatically with the success of the Mindhunter series. My references in terms of serial killers came from Thomas Harris’ work, Psycho (by Hitchcock) and Chris Carter’s Millenium series (which I liked very much) with Lance Henriksen where there was a lot of talk about serial killers in season 1.
EKS: How was the collaboration between Thomas, Axel and you during the creation of the album?
DJ: First of all, we exchanged a lot of documentation of all kinds… I wanted to make sure that the places and atmospheres of the times fit together perfectly. For me, it is essential to be credible in my visuals, so that the reader has no doubt when he sees a telephone or inadequate vegetation (the vegetation in California is not the same as in Alaska!) As an anecdote, I had pushed the vice to the point of reproducing in detail the broken headlight of his car or the exact plate number! (laughs) Without forgetting the sticker of the university where his mother, Clarnell, worked…
EKS: You made some narrative choices for the script, such as excluding the trial and the murders of his grandfather, Rosalind Thorpe, Alice Liu and Sara Hallett (they are mentioned, but not shown). How did you decide what was to be shown or not shown?
DJ: The important thing (and the concept) was to speak from Ed’s point of view, how he saw things, so there was no room for the representation of the victims! If only out of respect for their families. Exit all that is gore, we were not there to make vulgar sensationalism. Just to put ourselves in this man’s skin for a moment, and try to catch a glimpse of his motivations and feelings. If this can give some kind of explanation to his (incomprehensible) actions, because we all ask ourselves this question: “how can one reach such extremes?”.
EKS: The structure of the narrative is in flashbacks with as a starting point the moment when Kemper is delirious in prison following an injection of medication that makes him revisit the events of his past. This allows you to tell the story from Kemper’s point of view and walk through his narrative. How did you come to structure the story in this way?
DJ: Indeed, this anecdote was blessed bread!! It’s more of a question to ask my screenwriter (laughs)!
EKS: For the drawings and colors, what were your aesthetic inspirations?
DJ: The idea was to give an atmosphere reminiscent of California and the 1970’s… warm colors, in a dominant sepia.
EKS: Are you working on a new project right now? If so, can you tell us a few words about it?
DJ: I have a fantasy western project based on Native American legends… but, the context is not very favorable at the moment… more to follow.
EKS: Thanks David!
**Version française de l’entrevue avec David Jouvent**
David Jouvent est le dessinateur de la bande dessinée Ed Kemper – Dans la peau d’un serial killer, parue en français en septembre 2020. Nous lui avons posé quelques questions au sujet de la création de cette œuvre unique.
EKS : Pourquoi avoir créé un album sur Ed Kemper? D’où t’es venue l’idée? Quelle a été ton inspiration?
DJ : L’idée provient au départ de Jean-Luc Istin qui, en 2009, avait créé une collection sur les tueurs en série chez Soleil. Il était tombé sur mon travail en visionnant le book de mon coloriste Axel Gonzalbo. Comme il cherchait quelqu’un pour dessiner un one-shot sur Kemper… et que j’avais monté un projet avec Thomas Mosdi… les choses se sont faites très naturellement. Pour remettre dans le contexte, à l’époque, Big Ed était totalement inconnu du grand public. Seule une poignée d’initiés connaissait et l’on trouvait très peu d’articles sur le net et encore moins de photos !!! Cela a évidemment fortement changé avec le succès de la série Mindhunter. Mes références en termes de tueurs en série étaient issues de l’œuvre de Thomas Harris, Psychose (de Hitchcock) et la série Millenium (que j’affectionnais beaucoup) de Chris Carter avec Lance Henriksen où il était énormément question de tueurs en série dans la saison 1 !
EKS : Comment s’est déroulée la collaboration entre Thomas, Axel et toi pendant la création de l’album?
DJ : Nous nous sommes d’abord beaucoup échangés de la documentation de toutes sortes… je tenais à ce que les lieux et ambiances des époques collent parfaitement. Pour moi, il est essentiel d’être crédible dans mes visuels, que le lecteur n’ait pas de doute en voyant un téléphone ou une végétation inadéquate (la végétation de la Californie n’étant pas la même qu’en Alaska !) Pour anecdote, j’avais poussé le vice jusqu’à reproduire dans le détail le phare cassé de sa voiture ou le numéro de plaque exact ! (rires) Sans oublier l’autocollant de l’université où travaillait sa mère, Clarnell…
EKS : Vous avez fait certains choix narratifs pour le scénario, comme par exemple, vous avez exclus le procès ainsi que les meurtres de son grand-père, Rosalind Thorpe, Alice Liu et Sara Hallett (ils sont mentionnés, mais pas montrés). Comment avez-vous choisi ce qui allait être montré ou non?
DJ : L’important (et le concept) était de parler du point de vue d’Ed, c’est sa vision des choses, donc, la représentation des victimes n’y avait pas sa place ! Ne serait-ce que par respect pour leurs familles. Exit tout ce qui est gore, nous n’étions pas là pour faire du sensationnalisme vulgaire. Juste se mettre dans la peau de cet homme un moment, et tâcher d’entrevoir ses motivations et ressentis. Si cela peut donner une forme d’explication à ses actes (incompréhensibles), car on se pose tous cette question : “comment peut-on arriver à de telles extrêmes ?”
EKS : La structure du récit est en flashbacks avec comme point de départ, le moment où Kemper délire en prison suite à une injection de médicaments qui le fait revisiter les événements de son passé. Cela vous permet de raconter l’histoire du point de vue de Kemper et de vous promener dans son récit. Comment en êtes-vous venus à structurer le récit ainsi?
DJ : Effectivement, cette anecdote était du pain béni !!! C’est plus une question à poser à mon scénariste (rires) !
EKS : Pour les dessins et les couleurs, quelles ont été vos inspirations esthétiques?
DJ : L’idée était de donner une ambiance qui rappelle la Californie et les années 1970… des couleurs chaudes, dans une dominante sépia.
EKS : Travailles-tu sur un nouveau projet de BD en ce moment? Si oui, peux-tu nous en dire quelques mots?
DJ : J’ai un projet de western fantastique basé sur des légendes amérindiennes… mais, le contexte n’est pas très propice en ce moment… à suivre.
EKS : Merci David!
Sources: All photos were taken from the following Facebook pages: David Jouvent’s personal page and Ed Kemper Chronicles/ English title is our translation.
HLN’s Very Scary People recently dedicated an episode to Ed Kemper’s case (S02E08). It features an unseen interview recorded in June 1979 with Kemper commenting on some of his favorite books that he read for the Vacaville Blind Project, such as “Charlotte’s Web”, “Stuart Little” and “Trumpet of the Swan”. We also see him in action as he is recording the “Star Wars” book, imitating C-3PO: Behave yourself, R2! You’re going to get us into trouble!
Stéphane Bourgoin, whose books about murderers have sold millions, says he invented much of his experience, including training with FBI
An online investigation has exposed French author Stéphane Bourgoin, whose books about serial killers have sold millions of copies in France, as a serial liar.
Bourgoin is the author of more than 40 books and is widely viewed as a leading expert on murderers, having hosted a number of French television documentaries on the subject. He has claimed to have interviewed more than 70 serial killers, trained at the FBI’s base in Quantico, Virginia, and that his own wife was murdered in 1976, by a man who confessed to a dozen murders on his arrest two years later.
But in January, anonymous collective the 4ème Oeil Corporation accused him of lying about his past, and Bourgoin has now admitted to the French press that the wife never existed. He also acknowledged that he never trained with the FBI, never interviewed Charles Manson, met far fewer killers than he has previously claimed, and never worked as a professional footballer – another claim he had made.
“My lies have weighed me down,” he told Paris Match last week in his first interview about the accusations. “I have arrived at the balance-sheet time.”
The wife he had said was murdered never existed, he admitted, saying that she was drawn from a young woman called Susan Bickrest, who he briefly met in a Florida bar. In 1975, 24-year-old Bickrest was murdered by the serial killer Gerald Stano, who later admitted to killing 41 women and was executed in 1998.
“It was bullshit that I took on,” Bourgoin told Le Parisien. “I didn’t want people to know the real identity of someone who was not my partner, but someone who I had met five or six times in Daytona Beach, and who I liked.”
Bourgoin told Le Figaro that he felt he needed psychological counselling, and that “all these lies are absolutely ridiculous, because if we objectively take stock of my work, I think it was enough in itself”. He said he had exaggerated and lied about his life because he had always felt he was not really loved.
“I am profoundly and sincerely sorry. I am ashamed of what I did, it’s absolutely ridiculous,” he said.
Here at edmundkemperstories.com, we have regularly posted excerpts from L’Ogre de Santa Cruz, Mr. Bourgoin’s book about Ed Kemper. As we know for a fact that Mr. Bourgoin interviewed Kemper in 1991, as seen in videos available on YouTube, and that his book is heavily based on said interview, we will continue to post excerpts from the book here on our blog, as we consider it a credible source. That being said, Mr. Bourgoin has claimed that he has more than 400 hours of interview with Kemper. We don’t believe that to be true. We don’t think that the California Medical Facility (CMF) would have given such a long access to one of their inmates, especially since Kemper at that time was working full time at the CMF, and when you do the math, that would mean 10 weeks X 40 hours/week…
“Three months after I was out, I was back into the fantasy bay. – My first date was an absolute disaster. It wasn’t her fault, you know. And I didn’t blame her even then. I’m saying – it was a terrible tragedy but boy was it – she never talked to me again, it was awful. Wasn’t sexual or [gr…] I was just such a dork, taking her to a John Wayne movie and at Denny’s. It was terrible. I’d never been on a date! At 16 that was cool, you know?! I’d never been on a date! You know? I was locked up since I was 15, but I can’t tell her that, ‘Oh gee, don’t mind me,’ you know. She got kinda hung up on my looks or whatever, I mean, she’s a gorgeous young lady, pure class, and she saw something there that wasn’t there, and boy, did she find out quick.”
Ed Kemper about his first date after his release from atascadero in 1969
Source: The Killing of America (documentary directed by Leonard Schrader)