The Evil That Men Do: FBI Profiler Roy Hazelwood's Journey Into the Minds of Sexual Predators Read Online Free PDF
Author: Stephen G. Michaud
where his mother set him up in a small television repair business.
When Harvey left Sing Sing, an optimistic prison counselor wrote that “he is beginning to understand himself, and is making great strides in overcoming his neurosis, although a great deal of work remains to be done with him.”
Indeed.
Socially isolated in Los Angeles, Glatman began seriously to connect with his paraphilias, primarily sexual bondage and a rope fetish. Searching for images to serve as raw material for his paraphilic fantasies, he found one source that was plentiful even in the straitlaced fifties—detective magazines.
Glatman later told investigators that he collected detective magazines, “sometimes for the words, sometimes for the covers,” which in those days invariably portrayed an ample-chested victim, often bound with ligatures and with a gag in her mouth, helpless and horror-struck, cringing under the menacing figure of a male.
Only after Hazelwood and his longtime colleague, Dr. Park Dietz, published a critical study of such periodicals in 1986 did the tone of these cover illustrations change.
Glatman set about making his fantasies real. He posed as a freelance detective-magazine photographer under the names Johnny Glynn and George Williams, and joined a lonely hearts club in pursuit of potential victims. With sure instincts for the vulnerable, and skills at manipulation, hepersuaded these women to disrobe for him, as well as to allow him to bind them for his “shoots.”
Glatman tied his knots and wrapped his ligatures with painstaking, exquisite care. Judging from the photographic evidence, it must have required considerable time. Only after the intricate work was completed to Glatman’s aberrant taste did he then murder his victims.
After he was caught, the Lonely Hearts Killer claimed to have raped his three known murder victims. However, Glatman also disclosed that he was impotent in the absence of bondage.
Hazelwood believes Glatman may have fabricated the rape story as a means of making his behavior more comprehensible to the policemen who interrogated him. In those days, even veteran police officers weren’t likely to understand how for some sexual offenders all that is required for sexual gratification is a rope, a camera, and a weapon.
Bob Keppel writes in his book,
Signature Killers,
that Glatman, again like Ted Bundy and many other sexual killers, kept a box full of trophies—photos of the victims and articles of their clothing to help him relive the killings.
Keppel also isolates Glatman’s sexual sadism. “Glatman first photographed each victim with a look of innocence on her face,” writes Keppel,
as if she were truly enjoying a modeling session. The next series represented a sadist’s view of a sexually terrorized victim with the impending horror of a slow and painful death etched across her face. The final frame depicted the victim’s position that Glatman himself had arranged after he strangled her.
After a three-day trial, Harvey Glatman was convicted of murder and sentenced to death. He discouraged his lawyers from filing appeals. “He told me that he couldn’t stand the other guys on death row,” Pierce Brooks, a legendary LosAngeles police detective who conducted many interviews with Glatman, recalled to me just before his death in the spring of 1998. “He said they were so stupid that he’d rather be executed than spend the rest of his life around them.”
Glatman was put to death in the San Quentin gas chamber in August of 1959.
Roy Hazelwood first learned of the Lonely Hearts Killer in military police training about a year later. It was an astonishing experience for the twenty-two-year-old soldier whose knowledge of the world was largely confined to tiny Spring Branch, Texas, where he grew up.
“Glatman just seemed to come out of nowhere,” Roy recalls. “I didn’t understand anything about him. I wanted to know why he took pictures of the victims. Why did he tie them in
When Harvey left Sing Sing, an optimistic prison counselor wrote that “he is beginning to understand himself, and is making great strides in overcoming his neurosis, although a great deal of work remains to be done with him.”
Indeed.
Socially isolated in Los Angeles, Glatman began seriously to connect with his paraphilias, primarily sexual bondage and a rope fetish. Searching for images to serve as raw material for his paraphilic fantasies, he found one source that was plentiful even in the straitlaced fifties—detective magazines.
Glatman later told investigators that he collected detective magazines, “sometimes for the words, sometimes for the covers,” which in those days invariably portrayed an ample-chested victim, often bound with ligatures and with a gag in her mouth, helpless and horror-struck, cringing under the menacing figure of a male.
Only after Hazelwood and his longtime colleague, Dr. Park Dietz, published a critical study of such periodicals in 1986 did the tone of these cover illustrations change.
Glatman set about making his fantasies real. He posed as a freelance detective-magazine photographer under the names Johnny Glynn and George Williams, and joined a lonely hearts club in pursuit of potential victims. With sure instincts for the vulnerable, and skills at manipulation, hepersuaded these women to disrobe for him, as well as to allow him to bind them for his “shoots.”
Glatman tied his knots and wrapped his ligatures with painstaking, exquisite care. Judging from the photographic evidence, it must have required considerable time. Only after the intricate work was completed to Glatman’s aberrant taste did he then murder his victims.
After he was caught, the Lonely Hearts Killer claimed to have raped his three known murder victims. However, Glatman also disclosed that he was impotent in the absence of bondage.
Hazelwood believes Glatman may have fabricated the rape story as a means of making his behavior more comprehensible to the policemen who interrogated him. In those days, even veteran police officers weren’t likely to understand how for some sexual offenders all that is required for sexual gratification is a rope, a camera, and a weapon.
Bob Keppel writes in his book,
Signature Killers,
that Glatman, again like Ted Bundy and many other sexual killers, kept a box full of trophies—photos of the victims and articles of their clothing to help him relive the killings.
Keppel also isolates Glatman’s sexual sadism. “Glatman first photographed each victim with a look of innocence on her face,” writes Keppel,
as if she were truly enjoying a modeling session. The next series represented a sadist’s view of a sexually terrorized victim with the impending horror of a slow and painful death etched across her face. The final frame depicted the victim’s position that Glatman himself had arranged after he strangled her.
After a three-day trial, Harvey Glatman was convicted of murder and sentenced to death. He discouraged his lawyers from filing appeals. “He told me that he couldn’t stand the other guys on death row,” Pierce Brooks, a legendary LosAngeles police detective who conducted many interviews with Glatman, recalled to me just before his death in the spring of 1998. “He said they were so stupid that he’d rather be executed than spend the rest of his life around them.”
Glatman was put to death in the San Quentin gas chamber in August of 1959.
Roy Hazelwood first learned of the Lonely Hearts Killer in military police training about a year later. It was an astonishing experience for the twenty-two-year-old soldier whose knowledge of the world was largely confined to tiny Spring Branch, Texas, where he grew up.
“Glatman just seemed to come out of nowhere,” Roy recalls. “I didn’t understand anything about him. I wanted to know why he took pictures of the victims. Why did he tie them in
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