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Jack the Ripper: a Norotious Serial Killer Inside the archives at New Scotland Yard

Cover Image: Doran, Lorna. Ripper Silhouette. Digital image. Wales Online. N.p., 26 Oct. 2016. Web. 20 May 2018.<https://www.walesonline.co.uk/news/wales-news/grisly-story-pontardawe-ripper-who-12711509>.

Alexis Taylor ; Ms. Barklow ; Monsters & Misfits M4

Within the archives of Scotland Yard, then known as the London Metropolitan Police, lies informative research, police notes, and newspaper articles regarding the Ripper’s investigation.

Left image: Special Constables Warrant Card, 1887. Digital image. JTR Forums. N.p., n.d. Web. 20 May 2018. <https://www.jtrforums.com/showthread.php?p=271388>. Right: "Illustrated Police News." THE BRITISH LIBRARY - The World's Knowledge. The British Library Board. Web. 21 Oct. 2011. <http://www.bl.uk/learning/images/21cc/crime/large7577.html>.

Some grotesque descriptions may not be suitable for the faint of heart.

The London Tribune

9th November, 1888

Whitechapel Resident, Mary Kelly, Found Mutilated at 13 Miller Court: Victim of Jack the Ripper, Metropolitan Confirms. Who is He?

After a month and ten days since the double murder of Miss Elizabeth Stride and Catherine Eddowes, Whitechapel has experienced another Ripper attack. The victim, Miss Mary Kelly, was discovered by the Metropolitan Police in her apartment at 13 Miller Court. Her body, skinned and mutilated more intensely than prior victims, was identified by Kelly’s lover, Joseph Barnett, with her eyes and ears as the only distinguishable features (Jones, n.d.) The Ripper’s signature throat slitting, as well as a missing heart, was inflicted upon Kelly. Beneath her head rested her dislocated uterus and kidney, while a pile of entrails lay beside the bloodstained bed. Like other victims, the Ripper sliced Kelly’s neck while she was laid down, as the bloodstains were pooled under her (Schachner, 2013).

Jack the Ripper’s reign of terror has gradually escalated in brutality with each victim, yet the police continue to struggle to discover sufficient evidence. Recently, a string of false letters claiming to be Jack has muddled the case into hysteria, with Constable George Lusk having received half of Eddowes’ supposed kidney, infected with Bright’s disease, by a fanatical medical student (Schachner, 2013). The only tangible, verified evidence has been the scrawled message on Goulston St, “The Juwes are the men that will not be blame for nothing,” which, given the similarity of juives, has influenced theories of the Ripper being French (Jones, n.d.)

Yet the theory with the most support is one of the shochet, a Jewish slaughter man, whose ritual of examining the internal organs of animals, as to ensure kosher meat, correlates with Jack’s dexterity in the removal of organs, despite the disadvantage of nighttime darkness (Knight, 2017). The city of Whitechapel itself is home to numerous slaughterhouses, each of which require a sense of direction to navigate throughout London, and irregular hours that keep workers up until the early hours of dawn. When taking into consideration the lack of East End’s industrialization, hundreds of unemployed citizens are prone to alcoholism and prostitution, giving the Ripper ideal conditions to attack (Rubenstein, 2000).

While the notion of the Ripper being a man of medicine has intrigued the Metropolitan Police, with Coroner Wynne Baxter’s revelation of an American doctor offering $20 per human womb, this theory has less merit due to the impoverished state of Whitechapel, and the Ripper’s grammatical errors implying a lack of formal education (Jones, n.d.).

Amidst this convoluted web of theories remains the central question since the emergence of Jack the Ripper: who are they, and why have they inflicted such terror upon Whitechapel? Although it may potentially be never addressed, Jack has left an indelible mark in this modernized, 19th century.

Endnotes: For this news article, I wanted to focus more on details related to the case, as well as a few mentions of theories, as to make the news article more informative, rather than opinions or analysis on ideology or cultural effects of the Ripper. For my sources, THE HUNT FOR Jack the Ripper, www.jack-the-ripper.org, and www.casebook.org provided me with the gruesome case details, as well as the second sketch of Mary Kelly and fifth letter image, while Was Jack the Ripper a Slaughterman? Human-Animal Violence and the World's Most Infamous Serial Killer gave me insight into the theory of slaughter man, as well as the poverty of Whitechapel at the time. This news article, unlike my informative essay, is more focused on physical evidence, as a newspaper at the time would report about case details and leads or theories on a serial killer.

For images, the paper is courtesy of: Newspaper Print. Digital image. Yale Books. N.p., 22 Sept. 2017. Web. 20 May 2018. <https://yalebooksblog.co.uk/2017/09/22/jack-ripper-vs-wavaw-john-bennett/>.

Slaughterhouse. Digital image. Getty Images. De Agostini Picture Library, n.d. Web. 20 May 2018. <https://www.gettyimages.co.uk/detail/illustration/hogs-evisceration-in-slaughterhouse-in-chicago-united-stock-graphic/940015710>.

The final siholuette is from: Ripper Silhouette. Digital image. Pinterest. N.p., n.d. Web. 20 May 2018. <https://www.pinterest.com/pin/485051822338493907/.>.

Personal Journal of Jack the Ripper:

September 29, 1888

Dearest Diary,

During the evening of tomorrow, I shall strike upon Whitechapel’s vile creatures of the night, the harlots, and cleanse this impoverished city of filth once more. The Metropolitan and London Police have failed to gain sufficient leads, aside from the Leather Apron found beside Miss Chapman’s mutilated body, courtesy of yours truly. Clueless fools! Had they any semblance of intelligence, they would not share every case development with the media. Granted, I rather enjoy the endearing nicknames I have received; Jack the Ripper has made me infamous. Oh, how they flatter me with their impersonating letters! Perhaps tomorrow, there will be a gift of gratitude for my lackeys. Another womb, maybe, for Dr. Philips, who has such faith in me, he believes me to be a man of medicine! After all, I am getting predictable with all this throat slitting...

With tomorrow lies the prospect of bloodshed,

Jack the Ripper

September 30, 1888

Dearest Diary,

I have returned from tonight’s slaughters a national sensation. Vengeance has been executed, in the form of Miss Elizabeth Stride and Catherine Eddowes, all within the hour. Unfortunately, Miss Stride did not receive proper attention, as an...interruption, left only her throat slit. Yet Miss Eddowes, the lucky vixen, was tenderly mutilated, an abstract painting I created; of course, her uterus and kidney were consolation prizes. Feeling emboldened, I have left a few clues for the police to fret over: a bloodstained apron, and words of warning, The Juwes are the men that will not be blame for nothing. Let Whitechapel quarrel over their Anti-Semitic foolery, all these theories have merely solidified my anonymity. Previously, I was a nobody; now, I am a slaughter man, medical man, nobility, Jewish, French, and cannibal. I am everything and nothing, I am the destroyer of inferior creatures. My reign of terror will be forever ingrained in the spirit of Whitechapel.

Many thanks to my endearing followers,

Jack the Ripper

Endnotes: Although personal writings by the Ripper were never discovered, aside from the scrawled message on the walls of Goulston Street (The Juwes are the men that will not be blame for nothing), this leaves much room for interpretation regarding his personality. By writing a few journal entries, this serves as an attempt to gain insight into the Ripper’s mentality, and include a demented, snarky twist on his identity. This emphasizes not only Jack’s anonymity, but also how easily the media sensationalized and theorized his character. I used the sources of Jack-the-Ripper.org (Jones, n.d.), casebook.org (Schachner, 2013.), The Hunt for Jack the Ripper (Rubenstein, 4), and Jack-the-Ripper-tour.com (Jones, n.d.) for case information, as well as the second photo, to guide my interpretation of his perspective.

Jack the Ripper’s Influence on Society and Culture in Victorian England

Throughout history, the allure of Jack the Ripper has transformed a notorious serial killer into a fascinating case study. Whether in literature or reexamining old evidence, the enigmatic Whitechapel murderer has remained relevant 130 years after the last known victim, Mary Kelly. Yet beneath the Ripper’s brutal attacks and media sensationalism lies the cultural implications of the killing spree, ones which illuminated the harsh living conditions and perspective of East End citizens. With new reforms and significant media involvement, Jack the Ripper’s reign of terror challenged the traditional ideologies and national identity of Victorian England.

Image source:Godliman, Darrell. UK - Manchester - John Rylands Library. Digital image. Flickr. N.p., 24 Oct. 2010. Web. 20 May 2018. <https://www.flickr.com/photos/darrellg/5184555378>.

With the emergence of the Ripper’s killing spree ensued an awakening of provocative thoughts in the conservative Victorian Era. During the late nineteenth century, women often resorted to prostitution to alleviate poverty, as there were few social institutions to assist widows or poverty. However, prostitutes were considered inferior and immoral, with their blatant disregard for chastity posing a threat to the private, intimate lives of Victorians (Kinsler, n.d.). Rather than address the impetuses behind a woman relinquishing her sense of purity, one that was revered by society, they were portrayed as sinful, despite being victims of poverty. In regards to this social context, it is no wonder the Ripper’s removal of uteruses appalled society, while also highlighting the repressed sexuality of Victorian England. Moreover, it justifies the lack of sympathy towards the victims, whose mutilated bodies were often viewed as the Ripper’s signature, rather than individuals who once had lives and families. This signature resulted in an entire literature movement, with Gothic “Ripperature” portraying Whitechapel as a ghetto of human trafficking, poverty, and anti-Semitism, encompassed in sin. Through fictional portrayal, Whitechapel was not merely the city where the Ripper inflicted terror, but the persuasive force towards the murders (Irwin, 2014). Through this literature, authors were able to express their fascination and morbidity towards the Ripper, while it also led to greater discussions of sexuality, a previously taboo subject. In this sense, Jack the Ripper’s tangible murders brought about as much shock as they did discussion on cultural expectations.

Image source: Jack the Ripper. Engraving.1888. Encyclopædia Britannica Online. Web. 20 Oct. 2011. <http://www.britannica.com/EBchecked/media/113997/Latest-Incidents-in-Connection-with-the-Doings-of-Jack-the>.

The media phenomenon and idolization regarding the Ripper, signified a lack of acknowledgment towards victims, which demeaned the injustice imposed upon them. Considering the controversy of the Ripper’s removal of organs, the murders mark one of the first police cases of mass media attention. In addition to the release of a letter prior to the double murder of Elizabeth Stride and Catherine Eddowes, the influx of false letters signified the hinderance of media sensationalism in determining the identity of the Ripper (Jones, n.d.). In this sense, the idolization of the Ripper among newspapers and journalists implies a lack of morality among society, as widespread desire to imitate the serial killer made it difficult to determine which evidence was legitimate. In particular, the emergence of conspiracy theories surrounding the Ripper’s identity added numerous layers of confusion. On one hand, the Ripper was a Jewish Shochet, predisposed to the desensitized, onerous labor of slaughtering animals (Knight & Watson, 2017). Conversely, after Queen Victoria’s royal pardon to accomplices of the Ripper, social dissent intensified, with questions of the killer being of noble lineage (Kinsler, n.d.). Uniting these theories is the paranoia ingrained in society during the reign of the Ripper, as his anonymous identity made everyone a suspect, especially in the destitute conditions of Whitechapel.

Image source:Blanchard, Jerrold William. London c13856 06. Digital image. N.p., n.d. Web. 20 May 2018. <https://www.naomiclifford.com/child-stripping-and-child-stealing-in-the-regency/jerrold-william-blanchard-london-c13856-06/>.

Due to the Ripper’s brutal slaughters attracting national press coverage, the impoverished conditions of Whitechapel were scrutinized, which influenced the expansion of liberalism and social reforms throughout Great Britain. Prior to the Ripper, England’s age of imperialism marked a surge in nationalist sentiment, with numerous citizens elevating the status of Englishmen as refined and superior to foreigners. This ideology exacerbated xenophobia, and the continuation of the Jewish as scapegoats, which connects to theories of the Ripper being a shochet or foreign born; in a nationalist perspective, the English considered themselves too civilized to commit such savage murders (Jones, 2013). The Ripper, while idolized for their brutality, was still a source of shame towards Great Britain, one that liberal and radical political groups sought to address through social reform. Historically, the murders occurred during a time of emerging ideological movements throughout England, such as the Suffragettes and educational reforms. As the Metropolitan Police continued to search for the Ripper, middle and upper class citizens advocated for homeless shelters for women, street lighting at night, and a complete renovation of what they considered the ghettos of East End London (Jones, 2013). Yet these reforms, while tending to the destitute citizens in need of welfare, were primarily the result of an attack on nationalistic, British superiority. Nevertheless, the Ripper served as an impetus towards social reform and research, such as Charles Booth’s, on the correlation between crime rates and poverty (Jones, 2013).

Image source:With the Vigilance Committee in the East-End: A Suspicious Character. Photograph. Illustrated London News 1888. 1995. Web. 21 Oct. 2011. <http://www.iln.org.uk/iln_years/year/images/1888/iln1888rip10.JPG>.

Despite the Ripper’s infamy being due to anonymity and ruthless slaughters, the social and ideological implications left indelible marks upon social reform initiatives in Victorian England. Through analyzing the effects of Jack the Ripper on a conservative, nationalistic society, and the transformation towards a more progressive nation, the Ripper appears more dimensional than their anonymous, murderous persona that society has scrutinized.

Endnotes: For this informative essay, I wanted to focus on the social, cultural, and ideological implications of Jack the Ripper’s murder spree, as this aspect tends to be overshadowed by the graphic details of the victims mutilated bodies, as well as theories regarding the killer’s identity. For sources, I relied primarily upon Murder, Media and Mythology: The Impact the Media's Reporting of the Whitechapel Murders had on National Identity, Social Reform and the Myth of Jack the Ripper, which served as the framework for the historical context. I also used Victorian Culture and Society: Jack the Ripper as Victorian Entertainment for information on traditional Victorian beliefs, and Not of This Earth: Jack the Ripper and the Development of Gothic Whitechapel for Ripperature information. Other sources, jack-the-ripper.org and Jack the Ripper: Connections to Slaughterhouses and Human-Animal Violence were used briefly to select information on theories and case details.

Delving deeper into the archives: Creative and Literary Pieces regarding the Whitechapel Murderer

A Burial of Bricks

A Short, Gothic Literature Story

Footsteps echo against the cobblestone streets of Whitechapel. Men’s shoes, his shoes. It was pitch black when Jack the Ripper brutally slaughtered me, Mary Kelly, to the point of mutilation, but I could recall his footsteps anywhere. There is something about fear, the realization of one’s final breaths, that sharpens the body’s senses, as if watchful of predatory threats. The hazy fog encompasses the Ripper in a protective shield, making him free to lurk amongst the city, unnoticed.

The slightest howl of the wind brings the bitterest chill to my bones. Or it would, had I been alive. As my phantom hovers over Jack, I cannot cease the influx of memories plaguing my thoughts, of my last moments alive. The sharp, searing pain of his butcher knife, slicing me open like one of his hogs down at the slaughterhouse, skinning me like a feral creature. The stinging of a thousand nerves exposed to bacteria ridden air is one I still occasionally experience as an apparition. Mutilating my appearance so I would be remembered as disfigured, stripped of any semblance of femininity. Although I suppose that’s what a harlot like me deserved for selling my morality and purity to the “gentlemen” of impoverished Whitechapel...

...Yet nobody listens to a harlot. We are immoral, impure by society’s critical lens, to the point where Jack’s acquired his own fanatical club of demented admirers. Letters from hell, letters with kidneys, letters of false accusations, letters that have confounded the Metropolitan Police so much, that it seems futile to continue the investigation. After all, his taste in victims is of the lowest quality, what good will it do to pity a deceased whore? Nearly all of us in Whitechapel are plagued by the epidemic of poverty. Its forceful grasp shows no mercy, not towards the shoeless children who endure 12 hour workdays at the textile factory, nor the widow selling her body for a morsel of bread. It does not matter that I sold my soul to prostitution after the death of my husband, or that I was once beautiful; the Ripper’s sinister charming of the media has demeaned my case of any sympathy. Mine, Catherine, Elizabeth, Annie, Mary Nichols...all cast aside for the Ripper’s allure.

However, Jack has not realized the gift he has granted me. I am free from the shackles of social judgment. It appears that spirits, contrary to Victorian Protestant ideology, remain grounded to Earth until they have accepted the fate of death. Only then, if judged worthy, may they enter the afterlife, or be sent to purgatory.

As Jack meanders around the city, I cannot stifle the hatred I possess. His walk is ever so confident, ever so relaxed, as if blissfully aware of the Met’s incompetency. While Abberline runs around like one of Jack’s decapitated chickens, analyzing every clue as if it will reveal his identity, the Ripper stops to admire a display of gilded pocket watches. I scoff, unafraid of him hearing me, for I am dead. His audacity stirs a sense of vengeance within me, one not entirely of selfish revenge. No, the Ripper will not have the comfort of peace, he will remain in a prison of paranoia for the remainder of his pathetic existence. I will be the vessel of his victims’ terror, their pain, their justice.

Following the Ripper, I am free to glide through dilapidated buildings with ease. Occasionally, I’ll sweep through people, just to experience the comfort of a warm, living body. Something I will never experience again. The wind continues its ruthless pursuit, causing Jack to flip his trench coat collar. Like a sinister Sherlock Holmes. A few more yards, surely, and he will reach his destination, where I can enact my plan.

I have followed the Ripper for nearly two hours, and while I am not yet fatigued, the slightest occurrences remind me of my death. We pass a butcher shop, and I am reminded of the knife he used to slice my throat. A mortician, where my body was further prodded. The pub where I had drunk away my sorrows over not making rent that night. Everything is a torment.

Finally, we cross a bridge with decaying wood-this entire city is in shambles-when the Ripper enters a vine covered house. Willow trees surround the estate, and cast an eerie aura over the home. Yet it still seems too tranquil for the Ripper.

As he fumbles for his key, I decide to examine my surroundings, looking for potential escapes in the house, as well as any weapons. Alas, all I discover are some bricks from what used to be a neighboring property, yet appears demolished. Quietly, I gather the bricks in an old wheelbarrow, yet not until the Ripper finally stumbles into his house. Nothing like a spontaneously moving wheelbarrow spilling with bricks to scare him into running.

Awaiting an opportune moment, I grow impatient as I gaze through a broken window, observing the Ripper prepare some tea like any other English gentleman. Oh, how us British hide behind stereotypes to mimic normalcy, when in reality, we’ll abandon screaming newborns in the pouring rain without a second thought, as they are merely another mouth to feed. Or alternatively, idolize notorious serial killers.

Finally, the Ripper descends down a flight of stairs, leading to a basement. How ideal of him, assisting in his own demise without a single complaint. Wasting no time, I scurry to the entrance, which the fool left unlocked. As I roll the wheelbarrow past the family room, I cannot help but feel a surge of envy towards its welcoming, warm nature, with pale green walls, decorative framed photos, and various knickknacks evoking a friendliness unseen in my previous flat, which has since become a bloodbath crime scene. However, the beginning to peel wallpaper reveals that it is all a façade, one of normalcy, for Jack.

Abruptly, I am drawn out of my thoughts by a thump, thump, thump of footsteps, the Ripper’s footsteps. I frantically gather the bricks, and just as the basement door creaks open, I am met with the mortified face of the Ripper as levitating bricks cascade down the stairs, colliding with his body and surging him backwards. Each brick piles upon him, each one a source of justice for every victim. Flashbacks appear as rapidly as each brick crushes Jack’s body, memories of fear as he sliced me open, invading my body with his malicious hands, slashing my face and neck to the bone. By the time I run out of bricks, the doorframe to the basement is effectively sealed, with no possibility of the Ripper having the strength or escape to crawl out.

For a fleeting moment, I consider knocking over a candle, to watch him burn like my exposed nerves. Yet I am suddenly uplifted, tingling with peace. Breathing, ironically, a sigh of relief, having achieved justice, I am content to let the afterlife take me away...

Endnotes: For this piece, I wanted to add elements of Gothic literature, as the Ripper inspired numerous authors to compose pieces known as Ripperature. Common components of Gothic Literature included a supernatural element, which is why I chose Mary Kelly’s ghost as the narrator, an ominous setting, and characters with strong opinions. For sources, I used Not of This Earth: Jack the Ripper and the Development of Gothic Whitechapel as the framework for Gothic Literature (Irwin, 2014). For basic case information, I relied on casebook.org (Schachner, 2013). Finally, in order to fully comprehend the culture of Victorian England, and social stigmas, I used Victorian Culture and Society: Jack the Ripper as Victorian Entertainment (Kinsler, n.d.) My goal was to emphasize the perspective of one of the Ripper’s most brutally attacked victims, Mary Kelly, and give her a voice, as the victims, being prostitutes, often were disregarded. This is also why I include no dialogue from the Ripper. Also, I wanted the ending to add a sense of hope, a conclusion, unlike the reality of the case.

For images: Cobblestone Street. Digital image. Pinterest. N.p., n.d. Web. 20 May 2018. <https://www.pinterest.com/pin/555631672752491443/>.

Third image: Apparition in Cemetery. Digital image. Pixabay. N.p., n.d. Web. 20 May 2018. <https://pixabay.com/en/spirit-cemetery-church-haunted-1887125/>.

Fourth image: London Impoverished Street. Digital image. Pinterest. N.p., n.d. Web. 20 May 2018. <https://www.pinterest.com/pin/157977899404485400/, and the fifth from https://exemplore.com/paranormal/The-Colour-of-Ghosts.>.

The Facades of the Ripper

First image source: French Ornamental Crown. Digital image. Graphics Fairy. N.p., n.d. Web. 20 May 2018. <https://thegraphicsfairy.com/free-antique-clip-art-french-ornament-with-crown/>. ; Second: French Letter. Digital image. Pinterest. N.p., n.d. Web. 20 May 2018. <https://www.pinterest.com/helenaschrijft/hand-written/>. ; Third:Medical Tools. Digital image. Pinterest. N.p., n.d. Web. 20 May 2018. <https://www.pinterest.com/chris5078/victorian-research/>.

An anonymous force of stealth,

I cleanse Whitechapel of its blight.

My patients, harlots in poor health,

to glisten streets red in plain sight.

...

Apron bloodstained, I, the shochet,

slaughter little lambs with delight.

Tonight leads vixens to tophet,

to glisten streets red in plain sight.

...

Foreign land for a French bourgeois,

misspelled words, this English is trite.

Impure bodies my knife shall gnaw,

to glisten streets red in plain sight.

...

Loyal lackeys, my noble reign,

is too beloved to cause affright.

A knife of crystal, filth is slain,

to glisten streets red in plain sight.

...

Toil on, yet still destitute,

my working class hardships I spite.

Hence, lewd women I execute,

to glisten streets red in plain sight.

...

An anonymous force of stealth,

to glisten streets red in plain sight.

Endnotes: This poem, in the form of a Kryielle, is intended to convey the Ripper’s elusive identity, and the various theories surrounding them. Each quatrain contains a different perspective of the Ripper, with the first being a medical man, the second as a Jewish slaughter man, or Shochet, the third being a foreigner, the fourth being of royalty, and the final simply being an average citizen. The couplet serves to tie up the piece, while the refrain adds coherence to each possible identity. The Ripper, having never been caught, inspired dozens of theories, and created a media sensation. For resources, I used Jack the Ripper: Connections to Slaughterhouses and Human-Animal Violence, jack-the-ripper-tour.com/generalnews/the-french-connection/, and The Hunt for Jack the Ripper to guide my understanding of each perspective. However, I did not include in-text citations, as each line is of my own thought and imagination, rather than facts or borrowed ideas.

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Alexis Taylor
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