A second copy of a book bound in the skin of a notorious 19th-century murderer is now on display at a Suffolk museum.However, Horrible Histories creator Terry Deary has told the Guardian that the volume is a “particularly sick” artefact which “shouldn’t be on display”.William Corder was convicted of murdering his lover, Maria Marten, in what became known as the Red Barn Murder of 1827.Corder was publicly executed the following year before being dissected. Some of his skin was used to bind a book about his trial which was passed to Moyse’s Hall Museum in Bury St Edmunds in the mid 1930s.However, a second copy of the book – believed to feature Corder’s skin on its spine and corners – was discovered last year on a bookshelf of the museum’s office, and is now on display alongside the original book. The second copy is believed to have been donated around 20 years ago.The case has spawned many film, radio and stage versions. “The murder continues to be interpreted and reinterpreted in popular culture to this day,” said Daniel Clarke, heritage officer at West Suffolk council.“The facts have been blurred into near obscurity” with nearly 200 years of the tale’s retelling, states themuseum’s website. Corder reportedly proposed meeting Marten at the Red Barn in Polstead, Suffolk, and eloping to Ipswich from there. He was later found guilty of murdering Marten at the barn.Deary, whose books have sold tens of millions of copies, said that the conviction was based on circumstantial evidence, and that Corder is a “very misunderstood man”. The displayed skin-bound books are “very disrespectful to Corder’s memory”.“I feel guilty because I have played Corder,” said Deary, who is also an actor. “I’ve got photographs of me threatening poor Maria Marten with a gun.”Deary has written a novel due to be released next year – titled Actually, I’m a Corpse – based on this experience, in which the hero plays Corder before realising “how badly the poor man’s been maligned”. He said that he would like to “restore Corder’s reputation”.Clarke said that the museum does not “deal with this as a salacious artefact but as a window into the past”. Items connected to the murder are positioned opposite a late 18th-century gibbet cage, used to display hanging corpses.skip past newsletter promotionSign up toBookmarksFree weekly newsletterDiscover new books and learn more about your favourite authors with our expert reviews, interviews and news stories. Literary delights delivered direct to youEnter your email addressSign upPrivacy Notice:Newsletters may contain info about charities, online ads, and content funded by outside parties. For more information see ourPrivacy Policy. We use Google reCaptcha to protect our website and the GooglePrivacy PolicyandTerms of Serviceapply.after newsletter promotionHarvard will remove binding made of human skin from 1800s bookRead moreTogether, the objects allow discussion and interpretation of the Bloody Code – laws that imposed the death penalty for many crimes – said Clarke.“Do we think all books bound in skin should be on display? That would be debated on a case-by-case basis,” said Clarke. “In this instance, it is a stark and emotive set of artefacts that give us the chance to discuss the anatomising of the criminal corpse. Uncomfortable history, yes, but if we are to learn from history we must first face it with honesty and openness.”Deary previously wrote six stories for the museum. However, he said that displaying the books is “just a step too far”, likening it to a “freak show”.“We’re buoyed that [Deary] continues to write about the murder within his books as it is hugely important to our understanding of the past,” said Clarke.
Book bound in the skin of a 19th-century Suffolk murderer goes on display
TruthLens AI Suggested Headline:
"Suffolk Museum Displays Second Book Bound in Skin of 19th-Century Murderer William Corder"
The Guardian
8.4
TruthLens AI Summary
A Suffolk museum has recently put on display a second copy of a controversial book bound in the skin of William Corder, a notorious murderer from the 19th century. Corder, who was convicted for the brutal murder of his lover, Maria Marten, in 1827, was executed the following year and subsequently dissected, with parts of his skin used to bind a book detailing his trial. The original book has been housed at Moyse’s Hall Museum in Bury St Edmunds since the mid-1930s, but the newly discovered copy, believed to have been donated around 20 years ago, features Corder's skin on its spine and corners. The case surrounding the Red Barn Murder has captivated public interest for nearly two centuries, inspiring numerous adaptations across various media. Daniel Clarke, a heritage officer at West Suffolk Council, noted the ongoing reinterpretation of the murder story in popular culture, highlighting how the facts have become obscured over time.
However, the display of the skin-bound books has sparked debate, particularly with commentary from Terry Deary, the creator of Horrible Histories, who described the artefacts as “particularly sick” and inappropriate for public exhibition. Deary, who has portrayed Corder in the past, expressed concern that the conviction was based on circumstantial evidence and argued that Corder deserves a more sympathetic portrayal. He is currently writing a novel that aims to restore Corder's reputation. Clarke defended the museum’s decision to display the artefacts, emphasizing that they provide a valuable opportunity to engage with uncomfortable aspects of history, such as the Bloody Code that mandated death penalties for many crimes. He acknowledged the importance of discussing the anatomization of criminal corpses while maintaining that each case involving human skin bindings should be evaluated individually. The museum seeks to foster an open dialogue about the past rather than sensationalize it, showcasing the artefacts alongside a late 18th-century gibbet cage to facilitate discussions about historical justice and morality.
TruthLens AI Analysis
The article highlights the display of a book bound in the skin of a 19th-century murderer, William Corder, which raises ethical questions about the exhibition of such artifacts. While it is a historical curiosity, reactions from figures like Terry Deary suggest a deeper commentary on morality and respect for historical figures, even those with dark pasts.
Ethical Considerations in Displaying Artifacts
The presence of Corder's skin-bound book in a museum prompts a debate about the appropriateness of displaying items linked to violent crimes. Terry Deary's assertion that it is a "particularly sick" artifact indicates a moral stance against sensationalism in history. The article implies that the display might not respect the legacy of individuals involved, including victims and perpetrators alike.
Cultural and Historical Context
Corder's case, known as the Red Barn Murder, has been retold through various cultural mediums over the years, suggesting a fascination with crime and its repercussions on society. This story’s ongoing reinterpretation reflects broader societal interests in criminal narratives and the human psyche. Daniel Clarke's comments underscore how historical narratives can become distorted over time, leading to potential misunderstandings of the individuals involved.
Public Reaction and Sentiment
Deary’s comments about feeling guilty for portraying Corder suggest an internal conflict regarding the glorification of violence and the impact of such portrayals on public perception. This sentiment may resonate with audiences who are concerned about how history is represented and the consequences of sensationalizing tragic events.
Potential Societal Impacts
The article could influence public opinion regarding how museums curate their collections, possibly prompting discussions on ethical standards in the display of historical artifacts. This might lead to calls for more sensitive approaches in handling similar cases, emphasizing the need for a balanced narrative that honors both victims and the complexities of human behavior.
Target Audience and Community Response
This article is likely to resonate more with communities interested in history, ethics, and the arts, particularly those who advocate for a respectful representation of historical events. The moral implications discussed may attract support from individuals who prioritize ethical considerations in cultural heritage.
Implications for Markets and Investments
While the article primarily focuses on cultural and ethical aspects, there may be indirect effects on museums and cultural institutions that could influence their funding and public support. A backlash against sensationalism in displays could affect visitor numbers and, consequently, revenues from ticket sales and donations.
Geopolitical Relevance
On a broader scale, the themes of morality and historical representation may connect to current discussions about how societies remember and interpret their pasts. This article does not have a direct impact on global power dynamics but reflects ongoing cultural dialogues relevant to today’s society.
Technology and AI Considerations
There is no clear indication that AI was employed in crafting this article. However, if AI tools were utilized, they might have contributed to structuring the narrative or selecting language that emphasizes ethical implications. Such technology could steer discussions towards more nuanced interpretations of historical events. The article is reliable in presenting factual information about the artifact and the reactions of individuals involved. It raises questions worth considering regarding ethics in historical exhibitions. The nuanced portrayal of opinions, particularly Deary’s, suggests a thoughtful approach to the subject matter.