Document 6446958

Dennis Russell
I
i'
r
I
i
L
tI
"Insider" Narratives of the O.J. Simpson Case:
A Klappean Analysis of Hero or Fool
Inthe aftermathof O.J. Simpson's acquittal inhis high-profile doublemurdertrial, questions aboundasto whetherjusticewas servedorwhether Simpson
got away with murder. This persistent public fascination with the case has resulted
in avirnral cottage industry ofworks aboutthe "Trial ofthe Century." Particularly
intriguing are the "insider" narratives of various participants and players in the
case. Each narrative provides its own idiosyncratic interpretation of an event in
contemporary history that remains poorly defined because more questions were
raised than were answered within the confines of an adversarial justice system. As
playwright David Mamet has observed, it is inherent in human perception to connect seemingly unrelated images to create a story, "because we need to make the
world make sense" (61). This urge to create narratives in an attempt to bring
order to the chaos of daily life is also reflected in Joan Didion's assertion that
people "live entirely . . . by the imposition of a narrative line upon disparate images. by the ' ideas' with which we have leamed to freeze the shifting phantasmagoria rvhich is our actual experience" (1 1).
Interestingly. a number ofthese "insider" Simpsonnarratives sidestep the
complex task of constructing areality that seeks to discoverhowNicole Brown
Simpson and Ronald Goldman came to meet such a gruesome end, and how O.J.
Simpson came to be tried and exonerated. Instead, many ofthese works involve
the authors in constructing a "reality" about themselves, in relation to the Simpson
case, that essentially portrays them as symbols ofheroism orvictimization, while
simultaneously characterizing other Simpson players as villains or fools. This method
t
I
I
'(eV-tZ)roqq8rau rleql qll^\ pue roJ $lro^t pue
asnec aql o1p.(o1 st euo,(rerre qclily\ ul ppom u-,(llJupllos pue lrrrds rueel azru
-olrde slmrues dnorE'epq.tnmeyq 'drqsraqureur dno.6 pw]ueruauguoc ',(lruuoguoc
s&\aqcse pue ruopeo4 uo selrJql leg] lurds elrl-Jerluo{ e 8ur,(poqrua 'auop 3ut
-pupls sezrsuqdue lrrrds luepuedapur oql 'luatualarqce lee.r8go elqudec sI Jo JoJ
pezruSocer sr uosredu reqleq.^ Jo sselpre8e:',(lpuoqtpuocun palol pue peldeccu
oq ol
eldoed qclq^\ ur ,Qnuo;uocJo plro,^^ e siseSSns fltltqeldaccu Ielcos
luu^\
'ecuorpnu Euururpe uuJo luo4 ut lcedut e,rtltsod e 8ut
Jo seoJeqJo ldecuoc eqJ
-do1e,r.ep pue uorsse;durr puer8 oql roJ euop sI Surq1f,ra,re qclq \ q'dtqsueru,troqs
';adsord pue eArAJns 8uor1s eq1
JO plJolr\ e ur e^rl o] luaes sreruro;red prpusldS
,(1uo pue 'suordureqcJo elpeq u sr eJrl qcq,r\ ur plJo,^A p uI aAII ol rBedde sJetruI^&
'sluulJes dnor8 ro'slrrrds luspuedepur',Qrpqeldecce prcosJo seoJeq's;etulo;
-:ed prpueyds 'sJouuuvr olut poprlrpqns oJe seoJoq'dde1;1 ol Eurproccy
sJe{pruslr\ou ozlJe}ceJuqc oi eErn
'suorlcuJlsqu pezrro8elec
aq] ]cagar (alctue
sB
sIIUo 1(ol^rnd uteu og) srroueu ue,tg '(63 'LZ-yI uosrepuv
pue a1n11) ecuerpnu 'elrle uer{} Jeq}BJ 'ssuur B o} uor}€ruJoJut SutuudurlJo stuac
-uoJ crlsrpurnoipue isuoqelrurl eceds pue eurrl'eurlpeepJo spueuap eqt,{q'lmd
a8rel ur 'paduqs sr suoquzrJelc€Jurlc crloqtu,(s qcns uo ecuerloJ s.erperu
Jo 'urBIIr,,\ 'oreq se qcns) sauo8elec
crloqu,(s 'puaqerduoc
o1 ,(sue
eql '(looJ
'ctlstldruts ut
sJe{etusmeu 8rnce1d,{q ecue}sxe,fterodrueluocgo se4xeldruoc eql olcruoJqoelperu
eq] qcq,^ ur s.(errr eqt ot firru1c Sur8uuq ur InJasn sr qceorddu uueddepl V 'looJ
ro 'utulpa 'oJeq 'sr 1eq1 ied.& JerlrrueJ uJo uorlcerlsqu elquzruSocal u olut uosred
eq] Sururo;suerl ,(q relcerer.lc eruprp-crlqnd u ea,recred o1 crlqnd eqt sdleq teqt
3utd,Q prcosJo rua1s.(s e sasn dduly 'seururp crlqnd ur sluedrcruedJo uorluurruu
-xe s.ddep>1urug lsrSolorcos sr (pnls sq1ro3 {Jo,trerueg Iecr}eJoaql or{J
're{eg LuoJ
Kqa.torutuV Sutcuoq pN Lu,I pue i>lcrusog e,(eg ,(q qtoq 'rutots aqt{o atE aqt
ul :pdntto?S puu pa1dn,r"ta1uJ q{ry o io {"to1q aruil.q aq1 :uosdutts uturo"tg
ap)tN iuos>1cu1-urqn5 uqsrul puu 'ssag arrruJ ',(a1oo3 upuerurv lq 2ruaru
-8pnt ot qsny V :uDrua.tol LnDqDIN izlrmoqsreq uuly ,(q utarytg acusnf pu
-lruU) aW puo asnS uosdu,r$ 'f'O aqJ :stqno1 alqDuosDay lorrduqg Ueqog
KqasnS uosdwtg 'f'O aqt uolaug s,[au"ro11y asualaq v :arusnf .tolqc"toag
aq1 iuaprcqreqdolsrrq3,lq dru a ru o 3 u1 iadeyoeprl elnurru-gg I e' A^al Ma rul
aq1 :uosdw$'f'O luosdurg'f'O,(q suoqsanfi motr'saSossary ffiof, 'soilaT
.tnof, ot asuodsay {yu :nof, lpJ ot tuDl11 :olcrue srq} roJ lurod lecoy eql eru teq}
se,\Ilerpu uosdurg ,,Jeprsur,,8ul,{\olloJ erI ur paJocsJepun sr uoqcrulsuoc rQqeer;o
a)nlln) tolndo4
ut
s)tpnts
9t
Russell
Fools, accordingto Klapp, fall into five categories: incompetents (clumsy,
rash, simple, weak) who illustrate ludicrous role failures; those who refuse to take
others seriously (status abuser, pretentious fool);nonconformists who ridicule others; ultraconformers who suffer comic rebuke because they have been too enthu-
siastic in complying with group standards; and generic fools who serve as outlets
for the aggression of others (68-91). Toward that end, each narrator in this study
portrays himself or herself as either hero or foo[, but they lack the self-reflexivity
that would allow them to interpret at least some oftheir actions as less than savory
(that is, as "villainous").
Under Klapp's theory, symbolic creation requires that a story be told,
sung, or printed. In relation to the Simpson case, the press obviously played a
major role in this process, characteizing various players in this public drama as
either heroes, villains, or fools in countless news stories, headlines, editorials, and
commentary pieces. However, what is fascinating aboutthis process withinthe
arena of the "insider" Simpson works is that, rather than applying the symbolic
creation of hero, villain, or fool to others involved in the case, the narrators primarily use the works to create their own symbolic realities. Admittedly, there are
moments in which certain narrators describe other players as villainous or foolish;
however, the cental thrustofthenarrativeshingesonsymbolic self-creation. Along
theway,villains are suMivided intothose symbolizingusurpers andabusers,threats
to order and status, villainous strangers, traitors and sneaks, and social undesirables (50-67).
THE SIMPSON AND RESNICK NARRATIVES
A logical starting point for examining the application of this Klappean
theory to these "insider" narratives is Simpson's 1995 bookl Want to Tell You,
which was published while he was in jail awaiting trial. The format ofthe book is
taped responses to letters Simpson received after his arrest. In declaring himself in
the book as "one hundred percent not guilty," Simpson never casts himself in the
role of villain-not even as a usurper or abuser in relation to the spousal-abuse
problems during his marriage withNicole. In fact, Simpson asserts that spousal-
withNicole, implying
that the advocates blew the incidents out of proportion because of his celebrity
status in an effort to gamer publicity for their cause. Eschewing the role of usurper
or abuser, Simpson states, "I don't believe any good can come out of deceit and
abuse groups have misrepresented the facts ofhis marriage
sFIl uro{ eEraua IIL,V\ eq }3r{} s}srsur uosduls 091 '6zI'61) Iooq sq pIrc oaph
aql qloq ur 'lcEJ uI 'c11qnd eql qlr^\ secerE poo8 olq Iceq SurDaB pue e8eur paral
-tsl sFI EuFolser qlvrr uoqudnccoerd s,uosdurrs ruo{ sa}eut8tro }cedse reu;oyad
prpuelds eqJ'qlutureus slr pue esecreprnu oql oluollularul os op ylmpuetsed
aqlur selc€lsqo eruocJalo seq aq';auumrE se'spto,t JeI{}o uI 'JosJopue lrnpord
e prm'ro1ce ue'pue8el IIBqlooJ u Sururoceq srq o1 'uturo;tleJ 'pu€l{Eo ut s}calord
oql ruo4: esrJ ser{crJ-o}-s8er sq sazrseqdura uosdtutg ,,'roturo3:rod ptpualds,, pue
..Jerrul1y\ se oJeq,, equo uorlBurquoc 3 sr uosdurrS 1eq1 srueddu 1r 'saltlerreu orrtl
eseql ot,ftoeqt ueodduy; e Eut,(oldtug 'oreqJo elor erl] ulJlestuq slsuc osle selul]
1e uosdrurg 'edeloepr,r eqt pue looq eql qloq ul 'osec equo ,fiu8elut eql pozlp
-redoelecggo s(reuoroc oql pue ecrlod fq ecuepra,ego Sutpueqslu aq] leq] puu
'sraprmu eql roJ rurq arue{ ol ecueprle pelueyd luetugede6 ecllod sele8uy so1
eql ieql suassu uosdrurg qclq \ ur'Mahnrul aq1 :uosdruS f O edeloepta. 9661
s.uosdung ur se8rsrua osp 1oqru,& unlcll-seJooJ eqryo tuetudole,tep eq1
'(86'V6'gg) reprnur Sutgrunuocgo elqedec uuut e,ttssesqo '3ut1
-loJ}rroc e sI 'f
'o
leor oq] tuql
:'['o
'f
Ieer aq] ],usr uorsr^olel uo eas ,(eq]
'o
oq] ]eq]
uorlou erp spulu ,srornleq] ur paceld ,{11enlcu sJo}ncoso:d aq} teql selelleq eq 'sq}
,{g 'se1um uosdrurg ,,'sJeef eser{} IIB ueeq eleq l uos.red oq} ueq} Jeqlo auootuos
tu.1 ,(1durr 01 'luu oqn\ ul\op JBel o] rft1 ol epueBe ue sBI{ uotlncaso.rd eq1,,
I
'repJnru ol dn Eurpuel lold relsrurs u elrl
lool ureql epuur,(lalureqllep pue sree,{
e^U isel aql ur serlrlrlcu srqJo II€ lool osec roprnu-olqnop eq] uI uounceso:d aql
1uq1 Sururclureu fq alor IooJ cuaue8 oql urJlosurq slsec rorlurg uosdurg
'(tt-St'ZL-gg),,rorunr lxou or{} ro {uol }xou oql roJ }re.t.r se,r,r prp.(11ec
-rsuq sserd eql leqrt\,, 'salrJ./v\ oq,,'lou Jo InJqlnJl se.,vr 1r Jaqloqn\ '8urruece-r e:e,tt
,(eql uorluuroJur eq] peluS4serrur Jeleu feqJ,, 'ruq lnoqe spooqesluJ paluuruas
-srp ,(1au4noJ leq] sserd passesqo-uorlelncJrc prre -s8urler'leuorlusues 'kep ,lq
(6peJepJnru,, syae; eq s.(us
uosdulg
'sse.rd aq]go spupq eq] ]e
uoqu
ruucrrr q8norql
IooJJo alor eqt,(e1d ol pecroJ ueaq seq oq so^erleq eq'eydiuexa roC 'sreqloJo
suotssa:88e pue po4uq eql .{q pelcrgge sr oq,& tur}orl Jo ..looJ cuoue8,, e seJlesturq
go a8eurr eq] eleeJc ol sldure$e ,(yprluesse uosdrurg 'nol lpJ ot tuol4 I uI 'GZ
'Ll-gD acuacorrur srq tdacce ra^o Ilrlv\ cryqnd eql ]eqt slqnop tnq 'pru^\roJ eruoc
ol srellDl Jo Jellq oql roJ sr ..uorlucrpurl Iulot,,Jo ecuuqc ,(po srq sfes e11 'uerplrqc
srqJo reqlotu aqt llq releu ppoc eq lurp puu 'ret1]oue IIDI plnoo uosrad euo,rtorl
puelsJopun l,uec aq luql Sunurulcord uosdurrg qlr.t\ 'sJepJnu aqi JoJ ,{lrpqudpc
Jo lulq B ureluoc lou seop elrlexeu srql',(pepuls '(g0I-tg1 '91) ,.poo8Jo pull
,(tre rlte8 01 llecap esn o1 8ur1p,Lr s.]eql uoueznreBro ro uosred ,(uelo snorcrdsns u,1
atnlln) n1ndo4
ut satpntq
Russell
ordeal with his dignity intact and a more spiritual person, and that this experience
ultimately will make him a better man. And in a controversial article published in
February 1998 in Esquire magazine, Simpson echoes that sentiment, saying that
"l believe in my heart I'm going to get it all back in spades. And maybe that's what
my life's mission is" (Farber 64).
Meanwhile, socialite Faye Resnick, a close friend of Nicole Brown
Simpson, simultaneously interprets her role in the Simpson saga as both the generic fool (victim) and hero of social acceptability. Resnick says her victimization
occurred at the hands of O.J. Simpson, the defense team, and a biased, sensational press. In l'{icole Brown Simpson: The Private Diary qf a L{b Interrupted, Resnick claims O.J. is a master manipulator whose public persona could
charm and persuade those in his orbit, including her. Eventually, she says, this
image of O.J. was dispelled once she saw how his public face "could transform
itself into aterri$ing, sweat-soaked mask of naked rage." According to Resnick,
this rage, more times than not, was used by Simpson to control whom he perceived as the "enemy"-*omen (6,112,1 14). Resnick writes that O.J. used her
by frequently calling her and complaining about Nicole, even when he and Nicole
were no longer a couple. Also, Resnick claims that Nicole told her that O.J. had
threatened to kill her. Because of these two factors, Resnick says she had a "constant feeling of doom" and feltthat her own lifb also was in danger. Resnick maintains that O.J. once said to a number ofpeople around him, "There are two people
I would like to kill: Denise Brown and Faye Resnick." She then says that O.J.
raised his hand to his throat and drew his finger acloss it (1994 207 -208; 1996:
208). Resnick also characterizes herself as a victim of Simpson's defense team,
saying it had floated "the astounding and absolutely groundless claim" that Nicole
was murdered because Resnick and Nicole had borrowed money from Colombian drug dealers (3-4). In addition, she claims in both of her books that the
defense team engaged in a campaign of smear tactics by labeling her a profiteer,
liar, and drug addict (1994 34;1996: 68). In fact, a major component of her
second book Shattered concerns itself with the idea that a press feeding frenzy
focused more on assaulting her lifestyle than on engaging in a search fbr the truth.
The press hounded her so much, she says, that she ended up "walking around
wearing hoods and scarves and sunglasses, and at one point I eventriedto cover
my face" (7 1,7 4,79, 83, 85).
Along with portraying herself as avictim, Resnick also attimes fits the
Klappean definition of hero of social acceptability. For example, in her 1994 book,
-JaAO Ar{} pue 'esnqsJo rua}}ud
eq]'fteqclnq eq],,
,^Aes
req] ueq^\.cuocr {c?lq,, e
lcr^uoc pFoly\ or.{ \ eldoed }snleJe \ strBclJeurv upcuIV }r{Snoril eq luql uo4cr^uoc
qlmr s(erruoc eH
eq] Icslq puu 'qcu'snorue3:&\oq Jelleru ou'ecrlsnf
..'IuepueJep
ll leql po^erleq eq esneceq Iurq uo ilol IBuorloluo pJBq e Iooi
>lees,, o] ,$np srq suzn
Ier4 eql ]pql seztspqdure uepruq 'ee4 oB ol JoJop.rnru e pamolle arreq ,(eu prrl
eqt Surmp epuu ,(leuosred aq solelsru eql lur11 ]qEnoqt eqt.{q po}uneq sr or{ luq}
slltupe rolncesord uosdrurg eq] qcrq,l.r ur.'4druayo3 rl7 s .uapJeq ;aqdolsrrq3 sr
enbruqcel urrlcrl-se-looJ aq 3ur,(oldrue;o seydurexe Ne8uor1s erllJo ouo
'(gg
t-Zg t '97) ,,re,raosleqrrr ecue8rllelut ou puq e,^ luql ]loJ feqi teqt
eIU o1 pe,rord 11,, luql Surppu 'eceJ uo pesBq peprnbce se,/{\ uosdurls }eq} uor}ou
eql le palcoqs se^r ,ftnieql teqt selou eqs (.'uorlenlrs elqrssodrur ue ur no,( slnd 11
'luetu8pnl:leg
ue^o r.uop
pue
11eq u
,(e1oo3
lou 1sn[s.11 'p1eq no,( ]eql uorlrsod uJo,^^oDI ]snl,{eq1 'no,t ,lou>l
erreq tuql eldoad eq1 'lerr} uo seuo 3q} oJ(o1y[aJe a,r\ oJoq
{3}.r} uo
nof
Surleq punoJe 8mruru s c'['O'e:u ile e \'I\ou pu] uo euo eq] ru.L,'s,(BS
ees 1 ,(urrr eq1,, 'qluruJegu s(lurJl eql ur elreceJ plno./t\ 1r usrcrlrJcJo
,o']1
Ia^al eql roJ perederd 1ou se,r,r ,ftnleqi ]eq] 8ur]p]s ,(e1oo3 epueurv uurueroJ ri]1.{\
'eruorpu.(s unlcrl-se-looJ equo sluewolo suruluoc osle noueru .uorn[er11
'(SS
t-f S I' Itl-0rl) 1t Permbe; eneq
lqnop ouo uele osnucoq ]mbce ol peq ,(eql luql tnq tqEnoql eydoed uurp
plno,la.
erou ecuopne VNC etp poolsrepun (eqi teqt pueluoc sro;nieql 'peleurureluoc
sea ecueplla eqiJo oruos leq1 suJecuoc pue lecueprrre pelueld uBuJqnC >lJeIAI
olllceleq leql sruecuoc isrye4 uellv JeArJp aursnourlJo ,(uoun6el sseulvrre,{e
eql qlrrvr sruelqord :slqnop elqeuoseor Iureles uo paseq yegrnbce ro; pe1on,,{eqt
teq) uode.r,{eq1 'esec oq} ur ecueprla oql Eurq8re,n pue uorle4senbesJo sq}uoru
oql Euunpue;o,.qofe3lo IIor{u plp e \,, urulururu ,(eql'uosdrursJo uorluJeuoxe
lctnb s.,ftnIaqlgo tusrcr]rJc crlqnd elrdseq 'srornIpr4-leurrurJc uosdturg eerq]
'uos1ce1-urqn6 eqsJeIAI puu 'ssag oIJJBJ ',(e1oo3 eprreurrvJo Jrotueru ar4l 'uuru
TDqDIAI ur sesrJu oSIe oruoJpu,(s (,firpquldeccu prcos) oJeq eqJ
-anl
SflAII\TUUYN .SUflAA\Y'I (INY,SUOUff
gHI
'GZt-lZD.;lesrnof
reyndodun eruooeq ol Surlyr,l puu-pelceDu eq ol Suryyrm oq ol oluq no,( ,qlrul
pql aoul L, :8rn1ou .uosdung 8rn1eEre1 esnqe
mpdodun ue 1e1
o1
EuluL
ere no,(gr
.1.g
psnodsyo suorp8elp req qlyrr c11qnd EqoE rn rusoreq soas
Ioruseu lropppu u1
pIrB elocrN uea^ leq selndsrp Suro8uo oril ur
66Jol€rperu,, E sBJIesJaq ol sJeJaJ oqs
atn11n3
tolndod ut satpng
Russe
ll
51
whelming evidence." Darden felt betrayed when Simpson was acquitted, adding
that he was "ashamed of ajury that needed just four hotrs to dismiss the lives of
two people and a year' s work" (9- I 1 ). Darden fleshes out the victim theme by
emphasizing his discouragement atbeing labeled anUncle Tom and atraitorto his
own race who allows himself to be used by white people. He claims that he became a "lightning rod" for the bigobry, insecurity, and misunderstanding of an entire
nation. Darden adds, "The civil rights movement and the sense ofblack solidarity
and pride that had saved me from a meaningless life of poverty and crime had
been reduced by (defense attorney) Johnnie Cochran to nothing more than the
taking oftwo sides, nothing more than a lawyer's trick, a smooth bit of strategy."
In fact, Darden felt so let down by the jury's decision that he decided to end his
law career and never prosecute a case again (1 1-12). Despite underscoring his
victimization in the Simpson affair, Darden ultimately trarsforms these experiences
into the image of the Klappean narrator as an independent spirit hero. FIe points
out that black prosecutors now have a term for the pressure they feel from those
in the community who criticize them for standing up and convicting black criminals, and it is named after him:the "DardenDilemma." Becausehewas outspoken
in his belief of Simpson's guilt and his condemnation ofthe predominately black
jury unable to convict a black celebrity, Darden said it will make it easier for his
children and their children to challenge the status quo and "to stand up for what is
right." Dardenconcludes his memoirby sayingthathe bearsthejury no illwill, but
does hold the justice system in contempt. And he claims to have reconciled his
anger toward Simpson, noting: "l will lose no more sleep over O.J. Simpson
because he will be judged again one day" (375-384).
Meanwhile, the bulkof Simpson defense attomey Robert Shapiro's memThe
on,
Searchfor Jusflce, consists of casting himself in the role of an independent spirithero who defiespubliccriticism inthename ofdoing hisjob onbehalfof
the system. Shapiro holds that the acquittal verdict was the right one based on the
concept ofreasonable doubt, rallying around William Blackstone's enunciation
more than two hundred years ago: "It is better that ten guilty persons escape than
one innocent suffer" (xiii-xix, 355). He says he decided at the beginning of the
case to devote all ofhis energy and resources to proving that reasonable doubts
existed, adding: "Im proud ofthe stance and positions I took. I knew that the case
would provide the pinnacle of my career as a criminal defense attorney, at any
rate, I suspected that it would be the last major criminal case I would try" (358).
Interestingly, both Darden (21 4, 222-24, 23 1) and Shapiro (1 49, 1 92-93, 225 -
'
6OZ-OOy' 86' Ll),,luacouul eql lclluoc ol Jelsee lI elulu
osle ellt ',fiyn8 eql lclluoc o1rolspe lI e{etu o,^A oIuI} fueng 'Ja}1ul eql Eutsee:cut
lnoqlrl\ JeuuoJ eqi Surcnps:go ,(e.u, ou sI oreql ]ng ']uecouut equo uollslluoc
erp ut euos pue ',QpnB eql;o 8uree4 eI{} ut ocl}snlgo se8eurecsnu ,(uetu ere aJeI{J,,
'sppe zlrly\oqsJecl 'ueloJq sr rue1s,(s ecrlsnieq]leq] uPatu ],useop luq] s.(es eq']sn[
-un setrr
uosdtutg eql e^elleq eldoed ,(ueur ieql EurEpalmoulce q8noqtly
lcrpre,t
'pJupuels
eq] uo se8urq leq] urels,(s aqlJo:o1ce1o;d ro uotd
elquuoseal
]qnop
zInoqsJeq 'enrlcedsrad pnp srLll tuo:g 'ure1s.{s ecqsnluecueury
-umqc e se selJes
er{Uo cr}rJc pup JosseJord.uel B sB ..Jeplslno,, uB su osp }nq 'tueel asue3top eq} JoJ
uedxe e1e11adde prie lsr8e1e4s leuollnlusuoc p su ,(1rcedec slq ut esec uosdurrS eql
'luqcl^ se IooJ eLIUo scllsuelc€Jurlc
ur ..Jeprsrrr.. uB sellesuml sequcsap zlt
^oqsJec
aqgo ouou saluJlsuourop 1nq'o'teq ltrrds luepuedepur ue se Iooq stqno1 alqn
-uosDay srq ur sa8reue zlraoqsJaq uely re,Ortel a1e11edde 'ortdeqg e41
(3gg),,,(eu.toi1u
esueJep Ieurrurrc eJo seprJ Jelseoc re11o: (ep-o1-(up aql opnlcul t,uop ]BI{} souo
'se8uelpqc ]uoJeJJIp pue A\au o] pr€MroJ 8uqoo1 tu,1 'turg,u.e1 roleur e ut reuged
eumu p sy 'anrlceds:ed ur 11 1nd o1 enutluoc eIU dleq 1pm ouII1,,'selllt\ eq,.'sfe1p,r
puu sleed qlr,tt eJuerJedxa reqlo,(uu e41,, :JotruIA\ se oJeI{Jo e8eurt ueeddepl
eql Surleerc'o1c:rc IInl sauoc orrdetlg 'ecueg ']IJo esnecaq u,tor8 seq pue ecue
-uedxe tlncgJrp e pernpue seq oq.,lt ouooruos seJlasuq ezlJalcercqc o18ur::e3:e.rd
puelsur 'slcadse eseq] uo 3ur11e.trp euri qcnu pueds 1(useop oldeqg 'rezrervrog
'(SSE+SS) ruq qll&\ ere uerplrqc pue eJI/( sq uor1,tt Surqrnlsrp (pepcqed spug
eq qclq^\'1aa4s e ssorce tuo{ rurrl lE,,fl1n9,, Suqnoqs ,(pr8ue eldoedgo ru:og eql
ut seruoc uago lueur8pnIsrqt'orrduqg o18urproccy.,'lueur8pnilue]suoc seruoc
luql qlrlvr prre,, 'auo8 sr ,(ce,rud qlr./y\ seruoc ler{} {ruouolnu oq} }eq} salou eH 'etuuu
slq ]no IIec leerls eq] uo s:elpuequed ue^a leql Surfes 'lerrl er{Uo q}euueuu er{l uI
,(ce,rrrdSo ssol oql sarrcep fldurrs orrdeqg 'prp uepreq ,(euope,rolloJ leql luexo
eql o1reeu eJer{,r\ou q8noqlp 'rur1cr,r. se IooJ eqi seJIesuH turud orrduqg seop
Jrorueru srr{Jo puo aql pJe \o},(pg 'edecso uec Jorilreu qcrq.^A urorJ '}ueruuedep
s1oo1 lueledtuocur ueeddeDl eql q so^lesuoq] pecuyd ,(lSurplrun ueru qloq 'ecrmls
-ur rulncrued srql u1 'Surql e qcns op plno^\ uerqcoJ eopr ou peq feqt Sulurrelc
qloq..'pJec ocBJ,, elrlelo.t eql SurcnpoJlur JoJ u€JqcoJ eruuqof etuplq (wt'gZ
artl!ln)
"to1ndo11 ut
satpus
ZE
Russell
5J
THE SIMPSON NIECE NARRATIVE
The most recent exarnple of an "insider" Simpson namative emerges from
Terri Baker, the niece of the former football legend. In her I 997 memo tr I'm Not
t
r
r
!..
Dancing Anymore, Baker describes what it was like to be a Simpson family
memberduring the tense periods ofO.J.'s criminal and civil trials. Bakerportrays
herself as a loyal family member, but one who increasingly comes to question the
veracity of her uncle's story. Although Baker never accuses Simpson of committing murder, she implies that her doubts about her uncle have grown.From a
Klappean perspective, Baker at first portrays herself and her family as fools (that
is, incompetents) who illustrate ludicrous role failures. According to Baker, the
family put O.J. on a "pedestal, like a living Heisman Trophy." Baker continues,
"O.J. Simpson had become the family deity. In their heart of hearts, I came to
believe my parents were afraid Uncle O.J. would shut us out ofhis life. Somewhere along the way, the self-esteem ofmy entire family had become inextricably
tied to my uncle's success. Without Uncle O.J., we feared, the Simpsons would
just be another bunch ofnobodies from the projects" (33-34). Baker's memoir is
replete with examples of Simpson's attitude of superiority over fellowfamily members, such as the time family members were too intimidated to ask O.J. for the use
ofhisBentleyto drive tothe courthouse duringthe criminal trial, eventhoughthere
wasn't room for everyone in Baker's Volkswagen (166). Baker's implication is
that Simpson at times played his family members as fools by treating them as
second-class citizens who were dependent upon his generosity and notoriety.
As the book unfolds, however, Baker relates the story of a victim tumed
hero of independent spirit. Wracked with the knowledge that the m{ority ofpeople
believeheruncle gotawaywith doublemurder, the pressure ofthe civil trial mount
ing, the press coverage ofthe Simpson family at full tilt, and her doubts about her
uncle increasing, Baker tums to alcohol and her life spins out of control. When her
drinking problem, whichwas hiddenfrom herfamily, results inthe loss ofherjob
and the diminishment of her health, Baker convinces her mother to check her into
a rehabilitation center (243-252). Two months later, Baker emerges from the
keatrnentprogram"frightenedbutdeterminedto getonwithmy life." She saysthe
recovery period had left her energized and refreshed, noting that she was excited
about putting into practice all the things she had learned "inside" (262-263).By
Jo uud erp uo uorluorc-JlosJo lc€ eql ur slsrxe 'enrlcadsred omllnc-mFdod u ruorg
ls€el l€'selrluuuu esoqlJo enp^ eql'pua1su1 'paxncco ueluploc pleuou puu
uosdturg uaorg elocrNJo srepJnu eq1{q.^A priu aoqJo ,$r1uer luareqoc e:eq}e8
-o] ecerd ol elrll op elorue sltpq pautumxo sellleupu,,JepIsuI,, aulu eqJ
NOISn'IJNOf,
'(ttd,,ssen8 ppoc I lnq'aptsut
1oB ,(aql ecuo pauedduq tuqzn urcuoc l,use^A I ' ' ' 'oJaql pareqle8 speoc oql
eq] JoJ ep8 eqt ol lno srlulslsse srg 8utpuos,, 'seluls Ja{Pg
Suoure;e11r1 eqtgo
lcrd
'sele8 elr4sa ueq8urlcog eLIUo eplqno palqruesse
,.puelecu:g }e snlg aIJI sem 11,,
sardno.6 apueg aqto Suuoof6oq aW uml pues sprarS .{lunces peq aq'ppmbcu srq
8ur*ro11og 1re[uo4 asuolor s(alclrnraqregu,(poqs luq]IuIBIc s(ra{Eg,{qpa1u4m1t
sr osp rosnqe prre redrnsngo 1oqur,(s e se uosdtuts '(OO) ..eloclN pellq a.teq tq8nu
oqrrr 'pauadduq e^uq tq8llu ]Eq r noqe 3uq143o pue$IrlJlasum{ 1noqe Suqpl sent
aq ,(q,u, peJepuo,^ i ' ' ' ' uorlu8ouelur srqJo sllulep eql qlI.^A pauJecuoc 'Euq1u1
ldeq tsnleq lel 6 ' ' ' porapmu ueeq lsnfpzq ]sotu oI{} po^ol eq uosrad eq} ueq,ry\
'ur1ec os eq eq plnoo aoH,, 'salu,l eqs ,,,1,;:au8 qlIA\ eruocJelo aq l,usl(r111, '8ut
-{uH} pup 'f 'O olcun 1e 8uqoo1 tdal L, 'gieap s.eJI^\ rerruoJ srq;o Euru:eal roge
,(1uoqs senSolouour peqrosqu-Jles s. 'f 'O fq pegqdruoxo se (qsgles 'uetreluoqlne
'.rossarddo se paugep) rosnqe puu red;nsn sr uosdrurg '[rooq] s,ddu1;18ut,(1ddy
'Iooq
't'o
s.re{eg
uI
urullr^
sezrloqu,(s
oqm
elcun
sr
eql
1r
"{1a1eurqn
GSO'tl puuruop pue3les{ur:o3 dn puels ot o^eq ot Suro8 sz,tr 1 'pelceds
-er eq ol polue,r\ ; 3; 'erou(ue ocuep l.uplnoJ I /(eul puu our roJ se,,tr
I ,(q11eequn moq pezrluar I 'u/(o rno ero3eq ,(euou srq:o'e8eur stq 'rearec
slq 'eJll srq lnoqe pourocuoc s,(u,m1u 'oror{l rurq Uol pue lulsepad e uo runl
1nd a16 't'O elcun qllr drqsuorleler rno ,(1:e1nc1ued-sea,r1 Jno 1E pelcaJJu
lEql senssr petuo{uoc lou peq e16 's:ee,( roJ Joqlo qc€o punol€ pecuEp
psq I puu (11tuu; ,(yr1 'tr o8ueqc ot op plnoo I olllrl s?,!\ e.reqt ',(qtluaqun
erar'r uta1s,(s (11ueJ (u lnoqe s8urql auros q8noqllu teqt ez\Ear o1 q8noue
a,rrlcelqo su,rt
1
'lueu8pnl {Lu pnolc ol loqorlB ou
se,ir\
oreqt 13q1 /(oN
:,(nuE
JaqJo sualqord ur-llrnq eql pue solcelsqo s(eJrl eruocJelo o] r(puer'1urds luep
olur ,(llenlxeulosJeq suuoJsusJl Jeleg 'rorueru JeqJo pue eql
-uedepurgo oJaq
B
alryln) tolndo4
ut satpUS
lrs
I?usse
ll
55
the narrators. The application of the Klappean theory to these participants in one
ofthe most public dramas ofthe twentieth century demonstrates the overwhelming pattern ofthe narrators' need to transform themselves into heroes or fools who
are oppressed by other players to the point of victimization. In some cases, the
narrators create an image in which both characteristics emerge. Although these
works provide idiosyncratic interpretations that underscore a nebulous reality, it is
the process ofthis textual self-creation that warrants further scholarly inquiry.
The narrators' acts of self-creation are particularly reflective ofa culture
of celebrity in which both the famous and the obscure recast life as a film, placing
themselves, as Richard Schickel says, in the roles of director-writer-star in one's
own manufactured drama (7). Within a celebrity-obsessed culture in which the
worst sin is to be "ordinary" ratherthan unique, narratives are being produced that
often cast the narrator in the unique role of hero or victim. This growing concern
with being bestowed with a public affirmation of uniqueness stems, according to
Leo Braudy, from the urge for fame for specific achievement being superseded by
a desire for public recognition for its own sake (584-598). According to Richard
Schickel, television is the primary catalyst for the American preoccupation with
celebrityhood because it broke down the barriers that formerly existed between
the well-known and the unknown. "This, of course," Schickel writes, "has something to do with the way it brings famous folk into our living room in psychically
manageable size. By that I mean that we see them not from the alienating distance
ofthe stage or lecture hall . . . nor are they projected tbr us on very large screens,
as they are in the movies, where scale helps to keep us humble before the image"
(10). Schickel argues that television has created a false illusion of intimacy with
celebrities, spearheading a culture in which styles, attitudes, and goals are problematically influenced by the mass-mediated icons of fam e (7-12). In this light,
we can see that by textually forging realities in which the o.J. Simpson "insiders"
emerge as symbols ofheroism or victimization, the narrators are seeking to perpetuate the perception of uniqueness-perhaps the major component ofthe cul-
ture ofcelebrity.
Dennis Russell
Associate Professor
Walter Cronkite School of Journalism and Telecommunication
Arizona State University
Tempe, Arizona 85287-1305
:
f
*
t
.
:
*
:
:
f
I
'966 I 'uoucnpord J'I'I ') pue H 'edeloapr,r elnulu 091 '$alMarul aq;'E661'ulto.tg'a1gt1 :uolsog'saol,t
-sanfi notr 'saSossaVy motr 's.Dtp7 .mo^ o7 sesuodsay tVy :nol ilaJ ot tuotl4 7 '1'g 'uosdtutg
'9661 'qoog reruel6 :IroI
uosdwts 'f'O aql
uolat.rg s,,(auto17y asuatag V :au1sn1 rctqcfias aL,lJ 'ueJJplA^\ey1'aso7
urIJe'I qlln'geqoX 'oldeqg
'9661
(qoog
o^og :sllrH ,(parrag 'uttory aqt{o a(g aqt u1 :paailoqs'lleB 'A euueol q1^\ ''166I (${oog e^oq :slllH ,(1.relag 'pa1dn.t
-ta1uJ afi7 oto {.torg a1o,t1t4 at11 :uosdwtg ut^otg apilN'JaIIEIA elrhl q1A\ 'e,(ug 'lcrusaX
'1661 'urn8ued :IroA
3u17cat1A uO 'pl^eq '10ue141
^\eN'ut11g
'2961<u2H-e74uer4 :1111'sgr13 pooltelSua'spol
puD'sulDlll'saooH 'uru6'dde1y
'1661 'lllH-/(?rDcl l :IroA /r\eN'pe
ql,
'oryary s,topol tolSur1today puo 3ury.rr14 s/naN'uosJopuy 'y sulSnoq pu? ''C ocnJg 'elrul
'+rS :966I 'qegannbsg.(espuorrC eg l.ueC no1 ueahtr t?qJ
seo6 tng 'aJI/A slq pellly uosdrurg '1 '6 >1qq1 ,(ehtr no1 :1re6 eql ur SurllsrrlA[,,'etlo3 'reqrug
'6t61 <re$nqcs pue uolurs :IJoA /(eN 'Mnqtv aLlql\l aLlJ 'ueq'uolplc
'wa1s{g
'9661 'JeNnqcS puu uorurs :IJoA
^\aN
,zlrrlr.oqsroq
aso3 uosdwts 'f'O aqJ :$qnoe alqouosaay.uuly
ailtsnf pulutlt)
aW puD
'96t
'sutllo3redreg /qoog uu8eg :ryo1 treylldwatuoS l,rl'JellslA ssel q1,l'reqdolsrrq3'uepruq
T
*r
I
'9661'qoog e^oq :sllrH,(1.raneg tqaw8pnf
ot qsnA :uowarcl wDpDW'uo$lc€I-urqng uqsJel4l pue .ssag erle3 ,epueury ,fa1oo3
v
n pJoJxO :IJoA /(eN 'tto7st11 s1J puo awDl :uwouay lo tzuatg aq1.oe1 ,,(pnurg
'986 I 'd
'1661 'uofursue;1
:IJoI
^\eN
.rrral .Jeleg
'atowtuV SurcuDO toN ut;
I'sso5 euul ftentr puu sso5 qleuuo) qlt/\r
#
OflIIJ
t
'.
atn11n3
f
nlndod
ut
SXUO&\
satpng
99