
From the mailbag:
Dear Editor:I've been thoroughly enjoying your paper since I moved to Seattle eighteen years ago. Until today. Today I had the less than satisfactory experience of reading Charles Mudede's "If She Did It." I am used to sarcasm and facetiousness in your paper—if fact I quite enjoy that tone, but if Mudede's intent was to illustrate the absurdity of the prosecution's case against Amanda Knox, then he fell far short of the mark. If this wasn't his intent, then I must assume that this article, or, work of fiction, was just a little ego piece, and not representative of the fine insight into complicated matters that I look forward to in your paper.
Now, I am not a prude, nor do I object to pornography—it has its place, but it's place is not on the 49 bus while reading my weekly paper. This story crossed a boundary from speculation of what might have occurred in a tragic and painful incident, to a titillating, voyeuristic piece of minor and bad porn. Did we really need to be subjected to the details of Mudede's vivid imagination of catty girl-fight taunts gone bad? Did your paper really find it necessary to print, "Guede inserts his hand…"? Isn't it better to set the scene of a tense situation gone bad and let the reader fill in the tawdry details as they see fit? Did you have to spell it out for us? Is it appropriate even for a progressive, cutting edge paper? I don't think so.
While I have enjoyed Mudede's writing in the past and especially appreciate his insight into the weirdness of life in his police reports reporting, I will be hesitant to read a full length article in by him in the future. I don't need his nasty imagination in my head. Also, the number one rule of writing was violated—his story would have been stronger without the lurid imagined details. Editing = removing.
Sincerely,
Patricia Auburn
Even though we don't get many old-fashioned letters to the editor anymore—now that readers can comment on all stories online—we've been getting a lot of letters like this about Mudede's piece of Knox fiction this week. A lot of the commenters agree with this letter, calling the story "irresponsible and cruel," "so exploitative," "crap," "some of the worst junk i have ever read," "disgusting and absurd," "shit reporting," and so on. One commenters asks, "Why did the Stranger print this?"
First off, the story is not "shit reporting"—it's not reporting at all, it's fiction, which means it's made up. Why did The Stranger print this blood-soaked, nearly pornographic piece of fiction if it had no "journalistic" value? Because there is a limit to what journalism can do, and this murder trial exposed that limit. The reportable facts alone have yet to reveal what happened that night. Last week on Slog we all read the prosecution's time line of events on the day Meredith Kercher was killed—who was seen where when, who shut off their cell phones when, etc.—and even though the court ended up buying that time line, it has lots of gaps in it, a lot of unexplained stuff, and obviously no information about what these people were saying to each other. That's pretty crucial information to not have. Moreover, the prosecution admitted that they had no motive for the crime, telling the court, "We live in an age of violence with no motive. We don’t know what sparks these things.”
The point of "If She Did It" isn't to gross you out (the actual description of the killing goes fairly quickly and is taken from the prosecution's version of events—and the reason Guede slides his hand into Kercher's pants is because Guede's DNA was found inside Kercher's body). The point of the experiment is to try to imagine a sequence of human interactions that's plausible, using the prosecution's time line as a framework. What might have Knox said to Kercher before and during the crime? What might have Kercher said back? How did things escalate? A lot of unexplained things in the prosecution's time line—like why Knox and Sollecito were seen standing outside the cottage looking suspicious before the crime—are explained by circumstances that Mudede invented that nevertheless don't contradict the prosecution's time line. Of course, that time line could be wrong; the dialogue and invented interactions are almost certainly wrong, as they are made up. Whether Mudede succeeded or not in creating a believable narrative is up for debate. But to say the "story would have been stronger without the lurid imagined details" misses the whole point of the experiment.
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