Grinder said:
Specifically I'm saying when the source does not footnote/cite their sources and there is absolutely no corroborating sources then it is questionable.
The writers research may not be fully stated on every point, although Burleigh made a pretty fair effort I thought, going chapter by chapter.
But to say there is "no corroborating sources" listed, seems different than saying they don't exist.
And, suppose the book sells millions of copies? The author must be accountable and respond to a million readers? Geez, what do you expect for your $9.99? A private lunch?
Of course it is questionable. Even with full citations it is questionable. The point of choosing the True Crime genre is to create a narrative that flows and serves a larger purpose, and the downside is that the reader, spending only $9.99, really does have limited access to how to solve the questions which naturally arise.
Even scholarly works with full citations cannot escape this - the few times I have done what amounts to exhaustive background by following-up on the author's citations/footnotes I've found they've been highly selective, too - and don't always provide the citation the footnote claimed!!!
In short, there are many reasons to question John Follain's narrative, mainly because as a narrative it is internally inconsistent. One does not need footnotes to spot this. The most glaring is that in his narrative he has Mignini at one point characterizing Amanda Knox as an actress and a liar, then one turns the page to find Mignini (in the narrative) arresting Lumumba merely on Knox's say-so!!
There are fewer reasons to question Dempsey's or Burleigh's narratives, but as True Crime formats - of course they are open to question. My judgement is that their narratives (all-be-they differing narratives, really!) have proven to be far-far more robust when compared with court documents and the like.
Corroborating sources for True Crime books do exist, either to confirm or deny; it's just that the author has not compiled them. What's compelling for me about John Follain is that his overall-narrative is to demonstrate that the PLE/PM were right to suspect Amanda Knox, and to a lesser extent Raffaele Sollecito. Whether that is factually true or not is open to question and YMMV.
Beyond that, Follain's narrative tends to demonstrate doubt in their guilt; regardless of the veracity of minutiae we can argue about endlessly. Even Barbie Latza Nadeau's ******* little book ends accepting their probable innocence, but that things like "the lamp" leave it open to question - as Nadeau has said ever since, "Amanda knows something she's not telling us."
That last point, "Amanda knows something she's not telling us," is Nadeau's way of compiling a narrative (in my view, a false one) that justifies keeping the questions coming - a la Vixen of this board. However, the purpose of Nadeau's narrative is not to solve the crime, it is to monetize her writing about it.....
..... a purpose that she alone of all the writers has been successful at.
There's an overall narrative, and that over-all narrative serves a purpose for each of the True Crime authors.
Certainly most on this board have enough background in the minutiae of the case to be able to spot the inaccuracies of any of them, as they arrive. But the True Crime genre is always questionable, it's just a matter of degree with each author.....
Grinder said:
If writers make a contention not easily verified I think the burden is on them to produce it.
Absolutely.