Текст книги "The Red Tree"

Автор книги: Caitlin Rebekah Kiernan

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Текущая страница: 14 (всего у книги 19 страниц)

CHAPTER SEVEN

July 21, 2008 (8:47 p.m.)

Excerpt from ms. pages 108-14, The Red Treeby Dr. Charles L. Harvey:

Some authorities on the subject of criminology, in general, and, in particular, serial killers, consider there to be only two well-documented cases of “authentic” mass murderers dating from the 1920s. Earle Leonard Nelson, popularly dubbed “the Gorilla Killer” and “the Dark Strangler,” was a necrophile who killed more than twenty people (including an infant) between early 1926 and June of 1927. The notorious cannibal and pedophile Albert Hamilton Fish (also known, variously, as “the werewolf of Wysteria,” the “Gray Man,” and “the Brooklyn Vampire”) may have been far more prolific, if one trusts Fish’s own outrageous claims, which would place the number of children he murdered and/or sexually assaulted near four hundred by the time he was arrested in September 1930.

However, I have found no book on the phenomenon of serial killers that records the events at the Wight Farm between 1922 and 1925, even though they were reported at the time in local papers and are easy enough to verify by recourse to police and court records. And yet there seems to be a sort of cultural amnesia at work regarding the affair, and I have been unable to locate printed references to the bizarre murders committed by Joseph Fearing Olney (1888–1926) published any later than April 1927. The final accounts concern his suicide by hanging while awaiting trial for the killings, and the general consensus seems to have been that by taking his own life, Olney, in effect, confessed to the crimes and proved his guilt beyond any reasonable doubt. What follows here is merely an overview of the case, and the reader is referred to Appendix C for a much more complete account. [Of course, keep in mind Harvey never got around to writing those appendices. – SC]

Born in Peace Dale, RI, to the recently widowed wife of a Presbyterian minister, it is difficult to learn much about Joseph Olney’s life prior to his arrest by police in Foster on December 12, 1925. However, we do know that he was an exemplary student hoping to pursue a career in medicine, and that he briefly attended college in Boston before he was forced to leave school for financial reasons. Afterwards, Olney returned home to Peace Dale, where he worked in the same mill that had employed his paternal grandfather, and he remained with his mother until her death in 1918. Olney received only a very modest inheritance, primarily his parents’ small house on High Street.

In the winter of 1919, at the age of thirty-one, Joseph Olney sold the house and took a train west, first to Denver, then on to San Francisco, and then south to Los Angeles, living in cheap boardinghouses and occasionally working at odd jobs. An examination of his personal effects shortly after his arrest indicated that he’d spent part of this time attempting to write an obviously autobiographical novel about the life of a bright young man condemned by circumstance to follow in his father’s unremarkable footsteps. It is unclear whether any portion of this manuscript survived at the time of Olney’s arrest, and the title is not known. But he did manage to finish and sell two short stories during his years in California, both crime tales placed with the successful pulp magazine Black Mask(“Midnight in Salinas,” March 1920; “The Gun in the Drawer,” August 1920). He’d written several other stories in this vein, none of which were to see publication.

During his time in Los Angeles, Olney had what was apparently his first and only romantic relationship. His frequent letters to family members back east report his having met a twenty-four-year-old stenographer and would-be painter named Bettina Hirsch, whom he described as “a beautiful, talented, and educated woman who, like me, finds herself at odds with the world.” There was even talk of marriage, before Hirsch apparently took her own life on Christmas day in 1920. Her body was discovered by a roommate, after she used a straight razor to open both her wrists. The degree to which Olney was affected by his girlfriend’s death is evident in a number of surviving poems and letters he wrote at this time, and in the fact that it abruptly ended his infatuation with California.

There’s a handwritten notation in the right margin here, beside the above paragraph. I’m pausing to mention this if only because, all in all, Harvey’s typescript is surprisingly clean and generally free of such marks. The note reads, simply, “No death certificate on file w/LA Co. Office of Coroner.” I assume this means that Harvey made an inquiry himself, though I suppose it’s possible he learned of the missing death certificate from another source. At any rate, he continues:

He [Olney] returned to New England in 1921, having, with the help of a maternal aunt, managed to find employment as an office clerk for the Ocean State Stone and Monument Company, then operating the granite quarry which would, decades later, flood and become known as Ramswool Pond. And it is at this point that his involvement with the “Red Tree” begins. Joseph Olney was living in a rooming house in Moosup Valley when he heard tales of the locally infamous tree from coworkers. He appears to have first visited it himself just after Easter in ’21, and, thereafter, returned to the site almost weekly; he also began collecting and writing down the history and folklore associated with the tree and the strange occurrences on the Wight Farm. Many of his papers are deposited in the collection of the Foster Preservation Society, and I have had the opportunity to read most of them. To his credit, Olney carefully interviewed dozens of residents of Moosup Valley, Coventry, Vaughn Hollow, et al., regarding the oak, using techniques not dissimilar from those now employed by professional anthropologists and folklorists. He speaks, in his journal, of desiring to write a book detailing the history of the tree, and, here, his mood seems generally upbeat, despite the fact that he must still have been mourning the loss of Bettina Hirsch. There is evidence that he may even have written query letters to publishers in Manhattan, gauging the potential interest in such a volume.

Then, during the summer of 1921, his disposition suddenly changes, and his writings on the tree become darker and less organized. This period seems to have been triggered by a series of nightmares wherein he encountered the “ghost of my dear lost Bettina” at the tree and “in which she led me beneath the rind of the earth, into a fantastic and moldering rat’s maze of catacombs accessed by a secret doorway below the Indian altar stone.” Olney wrote of witnessing “grisly, unspeakable acts performed underground by demonic beings, and, somehow, Bettina was a willing party to it all, and she wished nothing so much as to initiate me into that ghoulish clique.” Still, he continued his research, and his visits to the tree, though it was noted that his work had begun to suffer, and his supervisors complained that he “seemed always distracted, his mind rarely on the job.” Fortunately, most of Olney’s research and writings on the tree are extant (having been seized as evidence for the prosecution).

Though I will not here detour into the grisly details of each murder that Joseph Fearing Olney is alleged to have committed beginning in May of 1922, I will provide a brief summation, as the case has received so little attention. It is important to note that less than one month before the date of the first murder, Olney purchased a used 1915 Model T Ford from a farmer on Cucumber Hill Road, having borrowed $175 from a relative. The automobile would allow him the freedom of movement needed (so the State would argue) to seek his victims from towns a safe distance from his room in Moosup Valley. Olney, it seems, killed by the maxim “Don’t shit where you eat.”

On Saturday, May 14th, a seventeen-year-old girl named Ellen Whitford vanished from her home in Tuckertown, west of Peace Dale. Four days later, fishermen discovered her mutilated and decapitated body floating in the Saugatucket River. A scar allowed the girl’s parents to identify the nude body. The next headless corpse was also found in the Saugatucket, only two weeks later, on May 29th, however this one remained unidentified for several months, until the woman was determined to have been a mill worker from Peace Dale. A third body was found on Saturday, June 17th, caught in a logjam on a bend of the Chipuxet River, east of Kingston Station, just north of the Great Swamp. By this time, newspapers as far away as Boston and New York were carrying stories of “the Rhode Island headhunter,” and after the discovery of the fourth victim – Siobhan Mary Dunlevy, also a Peace Dale mill worker, also found in the Chipuxet River – the killings (or at least the discovery of corpses) halted until the fifth body turned up in September. The badly decomposed remains of twenty-three-year-old Mary Wojtowicz, the daughter of Polish immigrants, was discovered in the weeds at the northern end of Saugatucket Pond. Identification was facilitated by a birthmark on the woman’s left ankle.

For almost a year no additional bodies were discovered, and we know from Olney’s journals, that he killed no one else until the next spring, when “the South County ripper” resumed his activities on the anniversary of the death of Ellen Whitford. Between May and August, six bodies were found, all decapitated and having suffered other mutilations, all of the victims women between the ages of nineteen and twenty-one, and all but one of them mill workers. In each instance, the bodies had been dumped into a river or pond after the murder, and none were found nearer to the rooming house in Moosup Valley where Olney was still living than that of Joanne Leslie Smith, recovered from the Wood River near Barberville, a good fifteen miles to the southeast. At summer’s end, the waterways of southern Rhode Island once more stopped yielding these gruesome revelations.

I will pause here in my catalog of Olney’s victims to discuss his journals, which more than his suicide, surely stand as undeniable proof of his guilt. The man was exacting in his description of every one of the murders he perpetrated, describing such details as the time of day each girl was killed, the weather, the clothes she was wearing, and the place where he disposed of the body. Every victim’s name was provided, which, in many cases, allowed identifications that might otherwise have been impossible, given advanced decay and/or mutilation. In most cases, Joseph Olney even recorded snippets of his conversations with the victims, and graphic particulars of each death. However, what is most interesting to the problem of the “red tree” are the passages he wrote seeking to explain, to himself, his motives in these crimes, and what psychologists would now refer to as his “delusional architecture.”

The nightmares that he had begun to suffer after his first visit to the tree grew more intense, and, in his writings, Olney claims that it was in the dreams, during his sleeping reunions with Bettina Hirsch in a cavern he believed to exist beneath the oak, that he was instructed by “dire beings” to commit the murders. He writes, on November 5th, 1922, following the first series of slayings:

“I cannot say what they are, these bestial men and women I have glimpsed in that hole. I cannot be sure, even, if they are beast or human beings, but suspect an unholy amalgam of the two. At times, I think they look like dogs born of human mothers, and at others, the human offspring of wolves. Below a high ceiling formed of earth and stone and the knotted, dangling roots of that evil tree, these crossbreed demons caper and howl and dance about bonfires, singing songs in infernal tongues unknown to me. Their eyes burn like embers drawn from those same fires, and she [Hirsch] insists that I watch it all, in order to see and fully comprehend the horrors of her captivity. They have their turns at her, both the male and female horrors, raping her, slicing her flesh with their sharp teeth, torturing her in ways I cannot bring myself to write down even by the light of day. And she tells me, again and again, that her freedom may be gained in only one way, by my making certain sacrifices of flesh and blood to these monsters. In exchange for the fruits of my sins, in time they will release her, and we can walk together beneath the sun. They require only the heads and, occasionally, other organs of the poor wretches I am driven to slaughter. As I have said already, I do not deliver these foul offerings during the dreams, of course, but in my waking hours. All must be buried about the circumference of the great oak, at a depth of not more than three feet. From these shallow graves, the demons retrieve their prizes, and then, during the nightmares, I have watched what they do with my gifts. Bettina says I must not waver in my determination, that I must remain strong, if she is to be given back to the surface, like Persephone after her abduction to the underworld by Hades. I understand. I do understand. I tell her this always. But I can see the fear in her face, and I can see, too, that she is becoming like her jailors, that she is slowly taking on aspects of their terrible form. She says this is because they force her to join in their feasts, and so she has become a cannibal. I tell her I am doing their awful work as quickly as I dare, but that I must be cautious, lest I am found out. If I am caught, she will never be freed.”

Indeed, it is difficult, when reading Olney’s journals, not to feel great sympathy for this man, driven to commit murder dozens of times over by these nocturnal visions of his beloved’s torment and imprisonment. To pick up on his allusion to Greek mythology, this mad-man has become a latter-day Orpheus charged with freeing his Eurydice, though by means incalculably more horrendous than those set forth by Virgil and Plato. In his fractured mind, Joseph Olney was left to choose between, on the one hand, becoming a monster himself and, on the other, allowing the monstrosities from his deliriums to slowly transform his dead lover into one of their own. Albert Fish might have claimed that he was charged by God to kill children, but in Fish’s claims there is not this conviction that another’s damnation hangs in the balance. I am, obviously, not here arguing that Olney’s crimes (or those of any such killer) can be justified, only that, if these “confessions” are genuine, that I cannot view him as an unfeeling fiend. He writes, repeatedly, of the almost unendurable remorse he feels after each kill, and on two separate occasions, he went so far as to write out letters of confession that he’d intended to mail to newspapers, and another he considered sending to a Roman Catholic bishop, in which he asked that someone “well trained in the dark arts required when combating evil spirits” be sent to intercede on his and Hirsch’s behalves. At no point does Olney seem to derive any sort of gratification from his activities.

There’s what seems to me a fairly glaring contradiction in all this. First, we have Bettina Hirsch described as “a willing party to it all,” intent upon her former lover’s induction into this bacchanalia of the damned. But, thenwe have her beseeching Olney to commit multiple murders because “. her freedommay be gained in only one way. certain sacrifices of flesh and blood to these monsters. In exchange for the fruits of my sins, in time they will release her. ” (Though, Harvey alsosays that Olney wrote he was told to murder by the “dire beings” he imagined lived below the tree.) I have no idea whether Harvey recognized these contradictions or not, and I have even lessidea why I’m worrying over it all.

July 23, 2008 (11:32 a.m.)

The last two days, Monday and Tuesday. I don’t even see how I can hopeto write coherently about the last two days. They have come and gone, and they have changed everything, utterly, and yet, I understand, it is not a change of kind, but merely one of degree. Constance and I should have run. We should be far away from this place, but we’re not. We are here. I did try to get her to go. I tried even after she went back upstairs and locked herself in tight behind that attic door. But I’m getting ahead of myself, and, besides, maybe Constance knows something I’m too damn thick to fathom. It may be that it’s too late to leave, and it may be that it was too late weeks ago. Possibly, it was too late before I ever laid eyes on this house and the tree and Constance Hopkins, or even before Amanda’s death.

I find myself saying and writing things I would have found laughable only a few days ago. Maybe Constance knows all this stuff, already. She’s at the head of the class, the bright pupil, perhaps, and I’m sitting in the corner with my pointy hat, my nose pressed to a circle drawn upon the wall.

I am alone down here, in the stifling, insufferable heat (though a thunderstorm is brewing to the west, I think, and maybe there will be some relief there), and she’s upstairs. I am alone, but for my shabby, disordered thoughts and whatever mean comfort I can wring from the confidences I divulge to this typewriter, to the onionskin pages trapped in its carriage.

Thunder, just now. But I didn’t see any lightning.

What I’m going to write, this is how I remember it. This is the best I can do. It is, by necessity, a fictionalized recalling of the events. Of course, it’s been that way through this entire journal (and I must surely have said thatalready, at least once or twice or a hundred times). I cannot possibly remember even a third of the actual words, what was said and by whom and when, every single thing that was done and cannot now be undone. But that’s okay. That’s fine and dandy. I just have to get the point across, the broad strokes – the essential truthof it – putting some semblance of these things down here, so that they are held somewhere besides my mind (and, presumably, Constance’s mind, as well). My excuse for an “entry” yesterday, the long excerpt copied from Harvey’s manuscript, that was me avoiding this,sitting down to do the deed and then losing my nerve. But still needing, desperately, to type something,almost anything, even if it was something terrible that only made it that much more impossible to “look away” from what is happening here. At least, it forced me to not look away, all that shit I retyped about lunatic Joseph Olney and the women’s heads and limbs and livers and all that he buried around the oak. Looking back, it seems remarkably masochistic, but, then again, Amanda did always insist I am the sort who takes a grand, perverse pleasure in causing herself discomfort.

Start here. It’s as good a place as any.

Early Monday afternoon, day before yesterday.

I was reading a book I’d brought back from the library. My agent had called, an hour or so earlier, with the usual questions, which I’d avoided answering. But it had put me in a mood, because I’ve been trying so hard not to think about the fact that the novel isn’t getting written. I was sitting in the living room, on the sofa, sweating and drinking beer and reading  A Treasury of New England Folklore. I was reading, in particular, about something called the “Moodus Noises” in East Haddam, Connecticut. Strange sounds and earth tremors dating all the way back to the Indians, who had given the place where this was all supposedly happening a name meaning“place of bad noises.” Anyway, I was reading about the Moodus noises when Constance came downstairs.

I’d not seen her since our walk to the mailbox together, and that was on Saturday. So, here it was Monday, and I’d not seen her in almost two days. She’d stopped coming down for meals, or even to use the bathroom, unless it was while I was sleeping. And, probably, that’s exactly what she was doing, sneaking downstairs while I was asleep. Well, no, not sneaking. I should not say sneaking. Merely deliberately choosing to avoid contact. But she finally showed her face, paint-stained, as it always is now, and smiled, and she pretended there was nothing the least bit odd in shutting herself away like that since Saturday afternoon.

She looked like hell, truth be told. Her cinnamon-colored eyes were bloodshot, and she squinted like the sunlight hurt them. It was obvious – whatever else she’s doing up there – she’d not been sleeping. She had a strip of cloth in her hands, a rag, and she was wiping her hands with it, over and over, obsessively, but the rag was so thoroughly impregnated with paint I can’t imagine it was doing any good. She asked me for a cigarette, and I gave her one, lit it for her, and then Constance sat down on the floor, not far away from me. She took the Altoids tin from a pocket of her smock and set it on the edge of the coffee table, opened the lid and tapped ash into it. She asked what I was reading, and I think I showed her the cover of the library book. She might have nodded. I didn’t tell her about the Moodus noises.

I don’t remember the small talk, only that there were ten or fifteen minutes of nothing in particular being said. Nothing of substance or of consequence. And then, suddenly, she laughed, stubbed out her Camel, and snapped the lid of her ginger Altoids tin shut again.

“That day in Jamestown, on the way to Beavertail, when we stopped at McQuade’s because I had to pee,” she said and wiped at her paint-stained nose. “You acted like you didn’t remember having written that story. Why would you do that, Sarah? Why would you lie about something like that?” And it actually took me the better part of a minute to realize that she was talking about “Pony.”

“I wasn’t lying,” I said, finally, and she laughed again and shrugged.

“So. it was like some sort of a blackout? Like alcoholics have? You’re saying you did that, but you don’t remember doing that, so it was like a blackout.”

“I didn’t say that, either.”

“I know, later on, when I gave the story back to you, you pretended like you’d never said there wasn’t a new story. When I gave it back to you, in the kitchen.”

I took a deep breath, and lit a cigarette of my own. She stared at the floor instead of watching me. And it was so hot, on Monday afternoon. The mercury was somewhere in the nineties, and before she came downstairs, I’d been thinking about Constance in her garret, painting, and about an old Twilight Zonein which the Earth’s orbit had changed, bringing it nearer to the sun. There was a girl in that episode who was a painter, trapped in a deserted, doomed city that I think was meant to be New York, and, at the end of the episode, her paintings of the huge devouring sun were all melting, and someone – another woman – was screaming at her to please stop painting the sun. That’s what I’d been thinking about before Constance emerged from her garret; well, besides the mysterious underground noises in Connecticut. Oh, those were blamed on Ol’Hobbamock, too, by the way. Sometimes, the book said, they’d been felt as far away as Boston and Manhattan. Then, in the 1980s, a seismologist explained it all away. Micro-earthquakes. Something like that. Constance, where is ourscientist-errant on his white steed, microscope and slide rule in hand to combat the darkness pressing in about us?

“I don’t remember writing it,” I admitted.

“And so you thought Iwrote it, like maybe I was trying to make you think you were losing your mind.”

I set my book down, then, wanting so very badly to remain calm, but knowing full fucking well that there was only so long I could keep the anger at bay, only so long I could push down the things I wantedto say to her. It was so close to the surface, and had been since she’d first mentioned the story, that day out on Conanicut Island.

“Why would I do something like that to you?” she asked, sounding hurt, and I told her I had no idea, but pointed out that I’d never actually accused her of writing the story.

“No, but you thoughtit.”

“You don’t know what I thought.”

“Even if I could write, that doesn’t mean that I could write just like you,” she said, and tapped a fingernail against the lid of the Altoids tin.“I know that,” I replied, straining to keep my voice level, calm. I probably gritted my teeth. “Constance, no matter what I may have thought,I never saidthat you wrote the story. I don’t thinkyou wrote the story. Clearly,I did. That’s pretty inescapable. I just can’t rememberhaving done it.”

“So, you’re telling me you wrote a whole story during blackouts. Or is this missing time, like those people who say they’ve been abducted by space aliens talk about?”

“I don’t know whatthis is,” I said, truthfully. “But I don’tremember writing the story, and I havetried. I’ve tried hard, believe me.”

“Usually, I’m the crazy one,” she said, and pocketed her Altoids tin. “Maybe you should see a doctor, Sarah.”

“I don’t have the money to see a doctor. I don’t have insurance. Anyway, when all this started – my fits, I mean – I saw doctors then, and I spent a fortune doing it, and, in the end, they couldn’t tell me shit.”

She nodded, but it was a skeptical nod.

“I keep meaning to read the stuff Chuck Harvey wrote about the tree,” she said, changing the subject. “I suppose I’d better hurry, before you give it to that person at URI.”

And it occurred to me then that I’d forgotten all about the professor in Kingston who’d agreed to take the typescript off my hands. She’d never called back after the Fourth, and I’d never contacted her again. Maybe she was glad. Maybe she’d never wanted anything to do with it, and was only trying to be polite.

“No hurry,” I told Constance. “I don’t think I’ll be turning it over anytime soon. That woman never got back to me, and I never called her, either.”

“You found it in the basement?” Constance asked, even though I’d already told her that I had.

“Yes,” I said. “I probably mentioned that when we first talked about it.”

“People forget things,” she said, and there was no way for me to miss the fact that those three words were meant to cut me. Meant to leave a mark.

“Yes,” I replied. “Yes. People forget things.” Maybe I sounded as cool as a fucking cucumber, and maybe she could hear that I was losing the battle with my anger. I don’t know. The way things turned out, it hardly matters.

“I’ve been thinking about that,” she said. “The basement. I’ve been thinking about it a lot. I mean, you haven’t been back down there since the day you found Harvey’s book, right? And me, I’ve neverbeen down those stairs. Isn’t that odd, Sarah, that I’ve been living here for almost a month, and I’ve never gone into the basement?”

“No,” I replied. “I don’t think it’s all that odd.” The anger was changing over to panic, now, and I found myself gripped by an urgent, almost overwhelming need to keep Constance from going down to the basement of the farmhouse. I’d started sweating, and my heart was racing. “There’s nothing down there. Just a lot of junk. Junk and dirt and spiders.”

“If I went, would you go with me, Sarah?”

“I’d rather not,” I said, and forced out a laugh.

“Why?” she asked. “Are you afraid? Are you afraid of the basement?”

I sat up, and here it was, the anger bubbling to the surface at last. I heard it in my voice. I felt it leaking from me, felt the release of letting out even the smallest fraction of it. “This isn’t grammar school, Sarah. This isn’t grade school, and we’re not on the fucking playground, making dares.”

“You’re scared,” she said with an awful sort of certainty, and her eyes were still on the floor. Only, I knew then that it wasn’t the floor she was staring at. It was the basement beneaththe floor that she was trying to see through the boards.

“Fine. I’m scared.”

Constance picked up the rag (she’d lain it beside her) and started wiping at her hands again.

“I’ve been thinking a lot about this,too,” she said. “That’s where it all began, down there,” and she stopped wiping her palms long enough to jab an index finger towards that enormous unseen vacuity below us. “That’s where it started, in the cellar. With you finding the typewriter, and then going back—”

“It’s not even half that simple,” I said, cutting her off, and she looked up, glaring at me. Her eyes were different, intent, focused,and they reminded me of something that I am reluctant to put down here. Something, I suppose, I am loath to acknowledge having seen in her face, or in any woman’s face. Many years ago, I was at the zoo in Birmingham, and there was this area devoted to local wildlife. The cages were all out of doors, but they were stillcages. Raccoons, foxes, bobcats, owls, possums, a black bear, and so forth. The animals native to northern Alabama. And almost all of them were pacing back in forth in their small enclosures, pacing restlessly, frantically even. Maybe it was nervous energy, or maybe they were stuck in a sort of in stinctual loop, looking for an escape route that must surely exist, somewhere, if only they kept looking. But there was this cougar, just lying in her cage, notpacing, but lying perfectly still. I stared in at her, and she stared back out at me. And I swear to fuck, if animals canhate, I saw hatred in her eyes. As if she understood the situation through and through – the iron bars, the futility of trying to find an exit, her captors, that I was of the same species as her captors, even that I was part of the conspiracy that had made her a prisoner. It gave me a shiver, that day, though it was a hot summer afternoon, gazing into the reddish eyes of that cat, knowing that the only thing in the world keeping the panther from tearing me apart were the bars.

There was the exact same malice in Constance’s eyes. I mean, exactlythe same. It didn’t help, either, realizing that her irises were so similar in color to the cat’s. She glared up from her place on the floor, and there were no iron bars in between us, restraining her, protecting me. But then it passed, the expression, that clarity of purpose or whatever, almost before I could be certain what I’d seen. Her eyes were only here yes again, sort of distant, distracted, far away, and she glanced back down and shook her head.