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Caroline FraserA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide includes discussion of graphic violence, illness or death, and child death.
Although the primary villain in Murderland is Ted Bundy, Fraser also suggests that industrial corporations like ASARCO and the Bunker Hill Mining Corporation enacted significant violence. Unlike Bundy’s murders, these companies enacted violence not out of a taste for it but out of corporate greed. Fraser’s depiction of the environmental toxins battle highlights moments when this greed directly affected children. In 1974, scientists collected blood samples from children living near the Bunker Hill smelter outside of Kellogg, Idaho. In the town of Deadwood Gulch, 15-month-old Arlene Yoss was found “to contain a higher concentration of lead than any other living human” (174). When Yoss’s father sued Bunker Hill to cover the costs of his daughter’s medical care, the company countersued, “calling him a ‘squatter,’ and implying that his family [was] poor, shiftless, trailer trash” (174) and brought the poisoning on themselves. The fact that the affected person was so young makes the Bunker Hill executives’ pursuit of profit over health even more difficult to comprehend.
Ultimately, the Bunker Hill executives decided that they could pay an “inflated $12,000 per child” (120) and still make a profit. Assigning a dollar value to the life of a child suggests that the executives’ greed was foundational to their worldview. Fraser evokes Yoss and the $12,000 figure at the end of the book, in a fiery close reading of articles written after the closure of the Bunker Hill smelter. She claims that “no one who’s writing Uncle Bunker’s obituary thinks to mention Arlene Yoss or her lead-poisoned siblings or infants smothered in Deadwood Gulch, the box canyon where you can cripple a kid for $12,000” (306). Her repeated invocation of Yoss’s tragic story emphasizes the effects of corporate greed, which casts the throwing away of vulnerable lives as justifiable for profit.
Ultimately, Fraser suggests that these corporations can get away with this type of greed because of the modern capitalist system. When the Environmental Protection Agency (EPA) and workers’ rights organizations protested Bunker Hill’s industrial processes, company executives “flatly [stated] that the smelter [could] never meet OSHA’s recommended standard” (223). Because the local government could not enforce these regulations, the company was allowed to continue operations. In a similar example, ASARCO, which had “promised repeatedly to move the most hazardous waste off the Ruston site to a facility in eastern Oregon” (386), instead “simply [shrugged] its shoulders and [walked] away” (386) by declaring bankruptcy when a recession hit. The example of ASARCO and Bunker Hill suggests that, despite the detrimental effects on communities and workers, corporate greed is often rewarded in the US.
Throughout Murderland, Fraser demonstrates the dangers of environmental toxins to people and the natural world, focusing primarily on the example of Ted Bundy. However, she is clear that this was a nationwide problem in the 1970s and 80s, when “the unwitting populace [breathed] [lead], [ate] it, drinks it, and [became] it” (47). Fraser argues that exposure to leaded gasoline and other sources of lead and mercury during these years drove “everyone mad, slowly, filling children’s teeth with lead” (52). These passages reflect Fraser’s belief that environmental toxins affected all US citizens. To support this argument, she uses the example of Charles Manson and Richard Ramirez, both of whom were exposed to toxic chemicals before their most violent sprees.
Charles Manson was incarcerated at the McNeil Island Corrections Center in the Puget Sound near Seattle from 1961 to 1966 after being arrested for human trafficking. Fraser notes that Manson was on McNeil Island “longer than [he] lived in any place in his life” (53) and writes that during his five-year incarceration on the island, “virtually everything Manson [ate] and [drank came] out of the earth, where particulates from the Ruston plume [had] been drifting down to the ground since 1890” (53). Fraser explicitly attributes Manson’s later violence to exposure to toxic chemicals while incarcerated on McNeil Island: “[L]ater studies on lead in soil [ranged] from a low of 19 parts per million (ppm) to a high of 190. Helter smelter” (53). In this passage, the phrase “helter smelter” is a play on the phrase helter skelter, which one of Manson’s followers wrote on a wall in blood during the Tate-LaBianca massacre in 1969. Fraser’s invocation of the phrase here suggests that the Manson cult’s violence may have begun with Manson’s exposure to toxic chemicals while incarcerated in the Pacific Northwest.
Fraser makes similar arguments about the serial killer Richard Ramirez, who was exposed to toxic chemicals in utero and as a child. While pregnant, Ramirez’s mother, Mercedes, worked with toxic chemicals in an El Paso, Texas factory with “no ventilation: no fans or suction or windows or masks” (65). As a result of this exposure, the pregnant Mercedes “often [became] dizzy” (65) and was ultimately forced to leave her job. As a child, Ramirez was raised “within the plume” (66) of a major ASARCO smelter in El Paso. In the parks and streets where Ramirez and his siblings played, “surface lead levels [were] somewhere between two hundred and six hundred ppm” (66). Like his mother, Ramirez had a negative reaction to this toxic exposure: “[He suffered] from petit mal seizures. He [was] diagnosed with epilepsy […] Sometimes he [saw] monsters” (66). The inclusion of this final detail foreshadows Ramirez’s violent murder spree, explicitly connecting it to his childhood exposure to toxic chemicals.
Throughout Murderland, geological features of the land and weather phenomena are an active, violent force, directly impacting residents’ lives. Fraser demonstrates Earth’s active, potentially violent nature, most often referring to a large, highly unstable area of the Pacific Northwest known as the Olympic-Wallowa Lineament (OWL), the most notable feature of which is the Cascade Range (formed by movement of the Cascadia subduction zone, a large fault off the coast that extends into Alaska). She compares the violence of natural phenomena to other types of violence, such as the sensationalized violence of serial killers and the structural violence of war, emphasizing how the foreboding nature of life in areas of great geological activity or extreme weather events links humans to the landscape.
Fraser aligns the violence of the Pacific Northwest’s geology and weather phenomena elsewhere with the violence of serial killers through ironic juxtaposition. For example, in Chapter 6, she juxtaposes a description of “the most violent tornado outbreak yet recorded in human history” (140) with a description of “another kind of outbreak” (140): Dennis Rader’s first killing spree in Wichita, Kansas. The repeated use of the word “outbreak” to describe human violence and environmental disasters suggests that the landscape is an actor as capable of violence as Dennis Rader. In addition, she contrasts the nonviolent actions of wildlife with the violent actions of humans, describing an investigator’s discovery of the hair of one of the women whom Ted Bundy killed in a bird’s nest near the body. She writes that the investigator was “haunted not only by the violence of the crimes but by the blond hair in the bird’s nest” (177). This contrasts the bird’s wise use of resources with Bundy’s violent actions.
In addition, Fraser compares the violence of nature to structural violence, such as the violence of war that marked the 1970s. Recalling a summer boating trip in the San Juan Islands off the coast of Washington, Fraser describes seeing “a pod of killer whales surfacing beside the boat” with dorsal fins cutting through the water “like knives.” Later on the same trip, “a ballistic missile submarine” (153) surfaced near the boat; Fraser writes that the ship looked “demonic, like a killer whale made out of metal” (153). In these passages, Fraser explicitly compares a natural predator, the killer whale, with objects of war, the knife and the submarine. This comparison suggests that animals of the Pacific Northwest inspire human weaponry, feeding into violence. The comparison is also a reminder that the structural violence of war does not happen in a vacuum, but alongside other types of violence. However, while the killer whales enact violence to survive, humans do so out of malice, greed, and fear.



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