“Thanks a lot, society, for railroading my ass!”
On this date in 2002, the tragically, horrifically iconic serial killer Aileen Wuornos checked out at Florida’s Starke Prison (and into an afterlife as an Academy Award-winning role) with the appropriately bizarre last words,
“I’d just like to say I’m sailing with the rock, and I’ll be back like Independence Day, with Jesus June 6. Like the movie, big mother ship and all, I’ll be back.”
Her sensational FBI-bestowed reputation as America’s “first” female serial killer rests on exaggeration,* but there’s something of the larger-than-life about prostitute/manslayer Aileen Carol Wuornos.
Heck, Aileen herself sold rights to her story within weeks of her arrest. So did investigators who worked the case. A year before our day’s perp faced lethal injection, her surname titled “the world’s first opera about a lesbian prostitute serial killer survivor of child abuse who is now on death row.” (Here’s the opera’s home page.)
That’s not the sort of legacy usual for a seven-time murderer. But there wasn’t much usual about Aileen Wuornos.
Wuornos — “Lee,” to her friends — projects for all her trail of bodies an irrepressibly humanity; Charlize Theron played her in Monster as the most sympathetic serial killer ever put to celluloid, her crime spree a desperate and impossible cry after human love that her life’s many travails had warped but never drained.
Books and Films about Aileen Wuornos
* Or, if you like, a precision of definition not likely shared by the majority of her headline-reading public. What made Wuornos distinctive was killing strangers in a pattern over time; the stereotypical female multiple-murderer kills in a single spree, and/or for distinct pecuniary motives, and/or kills family members or other intimates.
Part of the Themed Set: Women Who Kill.