Criminals shouldn’t be the focus of true crime: the victims should.
. The astonishing introduction reads: “My name is Chanel. I am a victim, I have no qualms with this word, only with the idea that is all that I am.Chanel Miller’s book demonstrates that she’s a gifted writer, as well as an artist, a close sister and a loving daughter and granddaughter. She’s warm and angry and sad and wise. I particularly like the part she wrote about the cyclists: “I sleep with two bicycles that I drew taped above my bed to remind myself there are heroes in this story.
It resonated with me particularly after the recent London Bridge attack, when we were all moved by thatTrue crime: “When you are assaulted, an identity is given to you. It threatens to swallow up everything you plan to do. And be. I became Emily Doe,” says Chanel Miller. Three years ago I had an idea for my own book – a novel. I knew it would begin with the headmaster of an English rural school being shot in the corridor. I saw two teenagers bravely grabbing him and dragging him into the library where they would barricade the door with books. Fiction would be a literal protection against violence.
But then what? Whose story should I tell – the teenagers trying to look after their badly injured headmaster? The drama teacher continuing the rehearsal of Macbeth in the relative safety of the school theatre? The little boy hiding, alone and terrified? The parents gathering, desperate for news, going on social media to find out what is happening to their children?
In the end I decided to tell all of their stories. The thing that mattered, I realised much later, was that I was writing the novel from the victims’ point of view, and not the perpetrator.Chanel’s book rightfully stormed up the bestseller lists, and she has been interviewed by Oprah and photographed with Barack Obama.
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