Monday, April 3, 2017

Wash It All Away




"Wash it all away. She stands on the cold tiles drawing the hottest water old pipes allow. Like a breaking dam, the shame washes over her. Her shoulders curl over and she covers herself. Ease inside. The hot water startles her delicate, torn skin and she covers her mouth to stop a scream. Humidity sucks the breath from her lungs. Lightheaded, she sinks further in, closing her eyes, water covering her ears. The water turns cold, she shuts it off and takes her blue robe from the hook behind the door. She picks up her crumpled clothes from the floor, holds them under the light, turning them over. She shakes out her coat and hangs it on the hook. It smells like him, smoky and strange. Her white underclothes are now a dark, ugly red. She had been stupid and vain; smearing on her makeup, believing she was pretty, smiling at herself in the mirror. She hurries down the dark hallway and out the back door. She opens the nearest trashcan, pushes her clothes deep inside, pulls newspapers and cans over the pile, hides what she has done."

Excerpt from Route 12, Marietta Miles

If you are a survivor of sexual assault you must know it was not your fault. You deserve help. You deserve justice. You deserve hope.

Nearly one in five women in America has been a victim of rape or attempted rape.  Every eight minutes Child Protective Services substantiates a sexual crime against a child. Over half of sexual assault victims are under the age of eighteen. A rape occurs nearly every two minutes.

April is Sexual Assault Awareness Month. In conjunction with the National Sexual Violence Resource Center, SAAM works to raise public awareness about sexual violence and educate communities on prevention. Sexual violence is a health and human rights tragedy.

On April 1st 2001, the United State nationally recognized Sexual Assault Awareness Month for the first time. In the years since, the organization has worked with employers to understand workplace culture’s role in preventing sexual violence, recognize the prevalence of sexual violence that occurs in the workplace and provide a safe process for those coming forward.


The organization has concentrated efforts on preventing sexual assault on university and college campuses. College campuses have seen an unprecedented increase in sexual assaults and harassment. In addition to serving the many survivors on campus with physical and mental support, the NSVRC has made strides in prevention with increased resources spent on campus safety.

In 2013, the SAAM drive focused on child sexual abuse prevention. Resources for adults, communities, schools and organizations helped with identifying risk factors, supporting healthy boundaries, and challenging negative messages.

It’s time for victims and survivors to emerge from the shadows, feel our support and experience a world where we are all free from the threat of violence.



“This month, we are once again reminded that we can change our culture for the better by standing together against the quiet tolerance of sexual assault and refusing to accept the unacceptable.”

Former President of the United States, Barrack Obama, 2015




For more information please visit www.nsvrc.org/saam for more information.

Sunday, April 2, 2017

"It's Not the House's Fault"



She looked like a little old lady. She acted like a little old lady, renting out rooms in her Sacramento Victorian to folks a little down on their luck, cooking for them and keeping an eye on things. 
Dorothea Puente
But as anyone who has ever read a newspaper or a murder mystery knows, appearances can be deceiving. Because Dorothea Puente liked her tenants’ government checks more than she liked them. And so she killed them. And kept cashing the checks, of course.
I got a tour of Dorothea’s former home yesterday as part of a Mystery Writers of America event about the case. The couple now owning the home just north of Sacramento’s downtown graciously opened it to a bunch of curious writers, who also got to listen to several of the investigators in the case discuss one of the nation’s most notorious female serial killers.
Retired Sacramento homicide detective John Cabrera stands in front of the room where Dorothea Puente would put tenants she drugged until they died. She then buried each victim in her yard.
Puente got away with her homicidal scheme from early 1986 until the autumn of 1988. That was when a social worker – who should be inducted into the Tenacious and Caring Public Servant Hall of Fame – got suspicious when one of her charges, a developmentally disabled man who lived in Puente’s boarding house, disappeared. She refused to believe the little old lady’s stories about Bert Montoya going to live elsewhere. She worried about suspicious digging in the yard and Puente’s ever-evolving excuses. She called police.
“She knew in her heart she was being lied to,” said John Cabrera, the lead Sacramento Police detective on the case.
An officer came to take a missing person report, and Dorothea’s other tenants said that Bert had gone to stay with relatives. Then one man called the officer over and whispered that Dorothea had ordered everyone to say that. He hadn’t seen Bert, or boarder Ben Fink, in months.
Cabrera was assigned the case. He, his partner and a parole officer showed up. They searched the house but found nothing. At that point the pill bottles full of the drug doxylamine and piles of paperwork meant nothing. But then they started digging. Cabrera thought he’d hit a tree root with his shovel and reached down. He pulled up a human femur.
When they started to move elsewhere in the yard, Dorothea knew her jig was up. She asked to go out for some air and get a cup of coffee because she was so rattled by the discovery. Because she’d voluntarily consented to the search of the yard and expressed shock at the body, investigators let her. Cabrera walked her down to a corner coffee shop and returned to almost immediately find a second body. He went after her, but she’d disappeared. She was found in Los Angeles several days later when an alert older man with Social Security income recognized her as the woman who had hit on him at a bar. He called authorities and Cabrera flew down to bring Dorothea back to the Capital. She was never a free woman again.
Within days of detectives first arriving at her house, authorities had gone over every inch of the small property and found seven bodies – six in the little backyard – and one in the front.
“It was scorched earth when we were done,” said Laura Santos, a former deputy coroner who helped excavate the crime scene.
One victim had been covered over with a shed. Another was under a cement patio. Bert Montoya was found with a plastic bag wrapped around his head.
Identification of the victims was difficult because of the bad condition of the bodies, said Santos, who led the effort to put names with the remains her office had pulled out of the ground. She finally was able to figure out who they were by using a list of Social Security recipients who’d had their checks sent to Puente’s address. She tracked down dozens of people, confirming that they were alive and living elsewhere or had died of natural causes. Those she couldn’t find became, after even more investigation, the confirmed victims of Dorothea Puente.
Panel moderator, author Robin Burcell, former homicide detective John Cabrera, former deputy district attorney and author William Wood (who's written a book on the case), and former deputy coroner Laura Santos.
But there was more. Puente had been convicted earlier in the 1980s of several counts of theft for drugging elderly men and then robbing them, said William Wood, a former deputy district attorney who prosecuted that case. Right before she was sent to prison for those crimes, she had a business partner named Ruth Munroe move in with her. Weeks later, Munroe – who had all the money in their partnership – was dead. The coroner’s office determined that her death was due to a drug overdose, but officials there were not convinced it was a suicide or accidental, Santos said. They officially ruled it “undetermined.” When the bodies started coming up in Puente’s yard in 1988, Munroe’s case was reopened, and her death was added to Puente’s grim tally.
In the meantime, Cabrera heard from a family who hadn’t seen their relative since he drove to California to pick up a woman when she got out of prison in late 1985. Dorothea Puente and Everson Gillmouth had been pen pals. They’d gotten phone call and written assurances in the ensuing years from Dorothea that the two were happy and engaged to be married – but they’d never actually spoken with Everson. Not once.
So Cabrera, who by now wouldn’t put anything past this little old lady, put out an alert for Gillmouth. Authorities in a county farther north in the Central Valley had found him stuffed in a box in the Sacramento River. He had remained unidentified until Gillmouth’s description was sent throughout the area.
Puente was ultimately charged with nine counts of murder. Prosecutors said at trial that they believed she served each victim a “nightcap” that was laced with a deadly dose of doxylamine. She had them lie down to “sleep it off” in the second bedroom of her upstairs apartment, where they never woke up. There they remained, in some cases for weeks, until she had the graves ready. Prosecutors pulled out the room’s putrefied carpet as evidence.
Puente was convicted of three counts of murder and the jury deadlocked on the other six. She was sentenced to life in prison without the possibility of parole. She died in prison in 2011. She was 82.
Yesterday, the only traces of Dorothea were in the newspaper clippings and photos out for display. Some of the floors have been redone and several walls added or changed, said owners Barbara Holmes and Tom Williams. The yard is hardscape, and has a lovely gazebo and numerous potted plants. 
More information on the Puente investigation and trial (and there is a lot more, believe me), can be found in these excellent books on the case. 
Disturbed Ground, By Carla Norton
The Bone Garden, by William P. Wood


Saturday, April 1, 2017

Switching Things Up

By
Scott D. Parker

Remember a few weeks ago when I mentioned how awesome it was to finish a book before the last day of the month in order to have a break? Well, I achieved that goal for March this past Tuesday. Not sure what happened here but I wrote the shortest of the three Calvin Carter books but actually took two days longer. I’ll just chalk that up to the mushy middle when I needed to right the ship and the story.

Anyway, I finished the story in my early morning pre-work session. I went to the day job floating on a cloud as I always do when I complete a novel. All day long, I didn’t think about writing at all. Ditto for Wednesday. I mean why would I? The next novel would be started until today, 1 April.
But something happened on Thursday. I got the itch. Not to write the next Carter book. No, I start those on the first day of each month. But I wanted to write something.

So I pulled out a novelette I had set aside late last year and re-read it. I made the corrections—implementing some writing techniques I’ve incorporated in writing three novels this year—and then I got to the part where I left off. Now, it was time for new content.

This novelette, however, has a different style than the Carter novels. A more pared down prose than the occasional flowery language I use when writing about the former actor turned railroad detective Calvin Carter. I had to remember the style and match it

I wrote nearly 2800 words over the past two days on that novelette. It was a great exercise, writing something completely different. It was still a western, but the style was different so it felt like a nice break, even though I still pounded the keys.

It made me wonder if other writers do this frequently. Cleanse the palette so to speak.

How about y’all? When y’all take a break, do you simply not write or do you write something completely different than the piece you just finished?

By the time this goes live, I will have started the fourth Calvin Carter novel. Unlike the previous three—in which I discovered the title along the way—a working title presented itself as I cast about for the plot. I immediately wrote it down and named the Scrivener file thusly: Calvin Carter and the Brides of Death. I’ll see if it holds.