What’s up with our fascination with true crime?
Fans of the genre have no shortage of listening, reading, and visual material.
In books and movies, television series and podcasts, true crime has become a cultural phenomenon. Virginia Tech English Department Instructor Ingrid Johnson taught a course on the subject this spring, and more than 500 students enrolled.
The class explored the public’s fascination with the genre, as well as the broader societal implications of the fascination. Virginia Tech Magazine recently talked with Johnson about why crime has captured our attention.
Ingrid Johnson
Virginia Tech English Department instructor
Johnson teaches composition and literature classes, including Monsters, Madness, and the Macabre, as well as the department’s First-Year Experience course for new majors. Here are her true crime favorites.
- Book: "Killers of the Flower Moon" by David Grann
- Podcast: "Crime Junkie"
- Documentary: "The Central Park Five" (2012)
Read more from Ingrid Johnson.
Captivated by true crime?
Has the allure of gore captured your attention? Let us know! Share your favorite true crime books, articles, documentaries, or podcasts. Email vtmag@vt.edu, and we may feature your response online or in print.
What makes true crime narratives so popular?
There are various theories about why we are so fascinated with true crime. The Library of Congress argues that Americans are deeply interested in justice but also acknowledges that "there is a special fascination for cases that have not been conclusively solved."
Other scholars point to a primal human desire for violence that is sated by these stories. Also, because a majority of true crime consumers are women, there is speculation that there is a connection between general fears about safety and interest in the genre as a way to stay informed about potential dangers.
What are the landmarks in the growth of true crime as a genre?
People have been "addicted" to true crime for a very long time, mostly consuming stories through newspaper reports and serializations.
Jack the Ripper gripped London society – and the world – in the late 19th century. In the United States, Lizzie Borden’s trial created a media frenzy in 1892; similarly, Bonnie and Clyde, the Black Dahlia, and other cases were widely followed.
"In Cold Blood," written in 1966 by Truman Capote, is often identified as the first landmark true crime book, and it remains one of the most popular and controversial. Later, readers flocked to "Helter Skelter" by Vincent Bugliosi, about the Manson family, and ‘Wiseguy’ by Nicholas Pileggi, about the Mafia and Henry Hill.
And more recently, "Midnight in the Garden of Good and Evil" by John Berendt, "Killers of the Flower Moon" by David Grann, and "The Devil in the White City" by Erik Larson have captivated audiences.
What interested you in taking on this topic in the classroom?
I have always been interested in crime stories, whether they be in cozy British detective novels or in true crime television. As a researcher and educator, I find the popularity of this genre to be intriguing, as it almost runs counter to what we would expect.
These cases are not nice or comforting – instead, they are often violent, disturbing, and horrific. Prompting students to consider the ethical and social implications of studying true crime has been rewarding, as we seek to understand not only why the genre is so popular, but also what it means for our collective humanity.
How much should readers and viewers be concerned about liberties taken by authors and showrunners when it comes to considering true crime as nonfiction?
This is an ongoing conversation: How true does something have to be to qualify as "true crime"? In some instances, details are changed to protect victims or informants; sometimes, names and places are changed for legal reasons.
With "In Cold Blood" Capote fabricated entire elements of the case. Yet, many firmly believe that "just the facts" is the only way to appropriately construct true crime narratives.
Readers and viewers should consider carefully what they are consuming, particularly since this genre is focused on actual people whose lives have been affected by the cases being described.”