Violation: Justice, Race and Serial Murder in the Deep South. David Rose
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to him at least the legal opportunity to advance’, the abolition of slavery opened up a fearful vista in the mind of every Southerner. A war had been fought and lost to preserve white female honour. Though defeated, the white Southern male must fight still harder to protect it in time of peace. ‘Such,’ writes Cash, ‘is the explanation of the fact that from the beginning, they justified – and sincerely justified – violence towards the Negro as demanded in defence of women.’
Cash, of course, was white. African-Americans had noticed the effects of this rape complex long before his book was published in 1941. Towards the end of the nineteenth century, the black activist writers Ida B. Wells and W.E.B. du Bois revealed how spurious rape allegations were used time and again by Southern whites to justify the wave of lynching, then at its terrible peak. Du Bois began his campaign when he investigated the torture and killing of Sam Hose in 1897 near Newnan, Georgia, a small farming town between Atlanta and Columbus. Hose, a farm labourer, had killed his employer, Alfred Crawford, in the course of a fight that started when he complained that he had not been paid his wages. When Hose disappeared, the local newspapers claimed he had also raped Crawford’s wife, Mattie, described before her marriage as ‘one of the belles of Newnan’. As vigilantes mounted a state-wide manhunt, the Newnan Herald and Advertiser warned the authorities not to interfere with the summary justice that must surely follow. Hose, it said, must be ‘made to suffer the torments of the damned in expiation of his hellish crime’, to demonstrate to all ‘that there is protection in Georgia for women and children’.
After his arrest near Marshallville, seventy-five miles to the south-east, Hose was transported to Newnan, where his death was deliberately delayed in order to magnify its spectacle. In front of a crowd of four thousand, many of whom had arrived aboard special trains from Atlanta, the mob slowly tortured him by slicing off his ears, nose, fingers and genitals, then burnt him at the stake. Already covered in blood, he was heard to cry ‘Sweet Jesus’ as the smoke entered his nose, eyes and mouth, and the flames roasted his legs; in a final, desperate struggle to break the chain which bound his chest, he burst a blood vessel in his neck.
Although an attempt had been made to get Mattie Crawford to identify Hose as her supposed rapist, she did not do so, and it seems improbable that she was raped at all. Du Bois commented: ‘Everyone that read the facts of the case knew perfectly well what had happened. The man wouldn’t pay him, so they got into a fight, and the man got killed – then, in order to rouse the neighbourhood to find this man, they brought in the charge of rape.’
The orator and writer Frederick Douglass, a former slave and arguably the greatest chronicler of the black experience of Emancipation and its aftermath, saw how the effects of bogus rape claims spread far beyond the places and people they directly involved. In the last speech of his life, delivered in Washington in January 1894, he argued that white propaganda about rape by blacks had become a device to justify their continued subjugation. ‘A white man has but to blacken his face and commit a crime, to have some negro lynched in his stead. An abandoned woman has only to start the cry that she has been insulted by a black man, to have him arrested and summarily murdered by the mob.’ Douglass quoted the recent words of Frances Willard, leader of the Women’s Christian Temperance Union: ‘The coloured race multiplies like locusts in Egypt. The safety of women, of childhood, of the home, is menaced in a thousand localities at this moment, so that men dare not go beyond the sight of their own roof tree.’
The truth, Douglass pointed out, was that when most of the South’s white men had been away at the war, their women went unmolested. There was simply no substance to this ‘horrible and hell-black charge of rape as the peculiar crime of the coloured people of the South’. But its unchallenged prevalence in white society had terrible consequences, not only for the victims of lynch mobs but for black people as a whole: ‘This charge … is not merely against the individual culprit, as would be the case with an individual culprit of any other race, but it is in large measure a charge against the coloured race as such. It throws over every coloured man a mantle of odium.’ It underpinned the exclusion of blacks from politics and the right to vote, and the racial segregation of the so-called ‘Jim Crow’ laws then being enforced throughout the South. The fear of rape had become the ‘justification for Southern barbarism’. Douglass ended by quoting the former Senator, John T. Ingalls. There need be no ‘Negro problem’, he said. ‘Let the nation try justice, and the problem will be solved.’
Another perspective emerges from Portrait in Georgia, a short and terrifying stanza by the black writer of the 1920s, Jean Toomer, in which he casts his erotic attraction for a white woman in the light of its likely consequence should his desire be fulfilled:
Hair – braided chestnut
Coiled like a lyncher’s rope
Eyes – faggots
Lips – old scars, or the first red blisters,
Breath – the last sweet scent of cane,
And her slim body, white as the ash
Of black flesh after flame.
The Southern rape complex could manifest itself with startling power when grounded in baseless fantasy. But even before Ferne Jackson’s murder, in the Columbus of the late 1970s, it was beginning to seem as if its racist account of African-American sexuality was a simple description of fact. On 30 November 1976 Katharina Wright, the nineteen-year-old bride of a military officer, who had lived in Columbus for only a fortnight, was raped, robbed and murdered by a man who entered her house on Broadway by posing as a gas company employee. The killer stole $480 in cash, and was said to have shot her as he left. The following September, just before the first stocking strangling, a mentally retarded black man named Johnny Lee Gates was convicted and sentenced to death for these crimes. (After many legal vicissitudes, his sentence was commuted to life without parole in 2003.)
Katharina Wright was German, and although the case attracted its share of news coverage, its impact was limited. Much more shocking to white Columbus was the killing of Jeannine Galloway on 15 July 1977, two months before the death of Ferne Jackson. In Galloway’s brutal slaying, it seemed that whites’ primordial fears had achieved realisation.
Galloway, aged twenty-three, was a blonde and beautiful virgin who still lived with her parents, and who devoted much of her leisure time to directing the choir at the St Mary’s Road United Methodist Church. A talented musician, she played the piano, organ, clarinet, saxophone and guitar, and was as happy playing jazz as Christian hymns. Her fiancé, Bobby Murray, met her when they were both students at the Columbus College music school. Before enrolling, he’d been on the road with a rock band; after taking advice from one of her friends, he cut his hair and shaved his beard in order to impress Jeannine. On trips with the college jazz big band, other musicians ‘would sneak a beer or smoke marijuana’, Bobby told the Ledger. ‘Partaking of neither, Jeannine would still be in the middle of the action. Somebody would say, “Have a drink. Have fun.” She’d get real quiet and tell them right quick, “I am having fun.” She got high on life.’
For years after her murder, the Columbus newspapers continued to run long feature articles about her, on significant anniversaries of her passing, or when some development occurred in the case of her killer, a young African-American criminal named William Anthony Brooks. In these memorials, her qualities came to be described as belonging more to heaven than earth. ‘She was just an angel, a bright and shining light who was just every father’s dream,’ her church’s Reverend Eric Sizemore told reporters after one legal milestone in 1983.
There is no way to mitigate the horror of her murder. Early in the morning of her death, Jeannine was putting out the garbage, chatting to her mother, who stayed inside the house. She bent down to leave the bin, then straightened and came face to face with William Anthony Brooks, a young African-American. He was holding a loaded pistol, which he used to force her into her own car and drive to an area of marshy wasteland behind a school two miles away.
‘She was continually asking me to let her go – to take her money and the car and let her go,’ Brooks told the police after his arrest, a month later, in Atlanta. Instead, he marched her into a wood: ‘I told her to take her clothes off and she said no, and I yelled at her to take her clothes