testify in court, I'd help him mentally prepare by acting as devil's advocate, pummeling him with questions that challenged his findings at the crime scene. I could also add anatomical facts that supported-or, sometimes, refuted-his interpretation of the victim's fatal injuries. Those conversations were where I first learned to think like a detective. I like to think that, at the same time, Brian was learning to think like a scientist.
Certainly, when it came to analyzing a crime scene and events that led to a murder, Brian was the undisputed expert. But once he realized that my formal training as a medical illustrator enabled me to figure out bullet trajectories and other injury patterns just by reading the autopsy reports, he knew my input was just as valuable as his. At the time, I had no idea that these late-night conversations were actually expanding my understanding of human anatomy and laying the groundwork for a future in forensic anthropology and law enforcement.
A few months before, I'd had my first experience as part of a law enforcement team. Brian had recommended me to do a drawing for an upcoming murder trial. This drawing became a pivotal piece of evidence, enabling prosecutors to demonstrate the pattern of a victim's stab wounds: The injured man was defending himself, not initiating an attack, as the murderer claimed. The D.A. won his case.
It was a heady experience for me, as well. To produce my drawing, I'd been given access to confidential information, and I even became involved with prosecution strategy. The excitement was intoxicating, and I found myself rethinking my current career as a medical illustrator, which began to seem humdrum and predictable by comparison. Brian knew how much I'd come to yearn for something new and exciting, which may have been why he recommended me for the facial reconstruction job.
Still, flattered though I was, I wanted to say no. An anatomical drawing for a trial was one thing. But a sculpture for an ongoing investigation? First of all, I wasn't trained in the technique. Second, this was serious stuff. If I got it wrong, I might ruin their last chance to crack the case.
I wanted to help, though, and I thought I could at least do a little liaison work. So I called Betty Pat Gatliff, a friend and medical illustrator who was also one of the world's best-known forensic sculptors. Her lectures at conferences had fascinated me for years. I'd hung on her every word as she described her work in helping to identify some of the twenty-eight victims of the serial killer John Wayne Gacy, as well as victims of the Green River Killer. One of her first success stories concerned a young Native American who had disappeared years before. Betty Pat produced a facial reconstruction that bore an incredible likeness to the victim and led to the man's positive identification. This brought her more referrals from medical examiners across the country.
On one referral, she actually used her knowledge of human skulls to uncover a flaw in the initial investigation. Skeletal remains and the victim's clothing had been discovered in a remote section of the Southwest, and the victim's bra, lace panties, and high-heeled pumps were collected along with the bones. Naturally, the detectives assumed the victim was female. But when Betty Pat was brought in to do one of her now-famous facial reconstructions, she realized that the skull may have actually belonged to a man. Further forensic anthropology analysis proved her right, and the detectives went on to identify the remains as those of a man who secretly cross-dressed and who had apparently been killed when a prospective lover discovered the deception.
Now, when I approached Betty Pat about the West Point case, she was just as pleasant as I'd remembered-but not very encouraging. “My plate is fuller than full,” she said apologetically. “I couldn't get to this case for at least a year. Why don't you take my course and do it yourself?”
Me? Attend a workshop on forensic sculpture? I was working full-time at a clinic specializing in sports medicine. How could I fit a whole other course of study into my schedule? Still, I was intrigued-and tempted. I haltingly told Betty Pat that I'd think about coming to her class, not realizing how much that conversation would change my life.
Looking back, I realize that, in many ways, my talk with Betty Pat was merely the next step in a journey I'd been on since childhood. For as long as I can remember, I have been blessed-or maybe cursed-with an insatiable curiosity about the human body. Call me crazy, but my idea of a good time is a pile of mysterious bones to analyze, the chance to dissect the bloody knee of a freshly delivered cadaver, or maybe a long session of photographing a partially decayed face-anything to satisfy my endless fascination with the form and function of our bones, muscles, and tendons.
As a girl growing up in Kokomo, Indiana, in the 1950s and 1960s, I was discouraged from choosing a career in science, as well as from engaging in other kinds of “boy stuff.” So my fascination with science made me feel like a misfit, though given my family history, it should have made sense: My dad,
My father's medical books especially fascinated me. I got his permission to take them off his library shelves-and became hooked. Looking through those books, I felt as though I had entered into another world. I spent hours admiring the full-color renderings of what I might see inside an arm, a leg, or an abdomen. Although he never expected me to make a career in science or medicine, Dad encouraged my interest in those books. I guess he was thrilled that he could share his passion for anatomy with at least one of his four kids.
One afternoon when I was about twelve, I was out in a trout stream near a vacation cabin we owned near Baldwin, Michigan. Suddenly, I caught sight of some bones sticking out of the sandy bank. At that point in my life, it took quite a lot for me to put down my fly rod voluntarily, especially when the trout were biting. But those bones were just too intriguing. I waded over to the bank and pulled a few out of the sand. Just below, under the water, I could see that more were deeply embedded in the black muck just below the surface of the streambed. I was sure that I had stumbled upon a deer's antlers, some ribs, and a pelvis. That was it. I knew I couldn't leave until I had found every single piece of that skeleton.
As I searched for the smooth butter-colored bones among the rocks and sticks at the bottom of the creek, I completely lost track of time. When I suddenly realized that it was starting to get dark, I knew my parents would be frantic. I stuffed all the bones that would fit into my wicker creel, the basket for carrying the fish I'd caught, and thrust the others into a sack I had improvised out of my rain poncho. I reached the path back to our cabin in record time, just as my dad showed up to look for me.
Before Dad could scold me for being late, I dumped the bones at his feet and breathlessly asked him to help me reassemble them, figuring that any doctor could put a skeleton together without thinking twice. But Dad had no idea where to start. He knew where every bone was located while
That was one time my dad couldn't help me. But he was wise enough to see that I had found something that was hugely important to me. Even though it was nearly twilight, Dad walked me back to my fishing spot and waited quietly on the bank while I finished doing my first-ever skeletal excavation. Then he offered moral support for the next two days, as I tried to put those bones back together in our backyard.
Of course, I couldn't do it. But I promised myself that someday, somehow, I
Deer bones from a trout stream were one thing, but I'll never forget the shock of my first encounter with a human cadaver. It was a dozen years later, and I'd enrolled in the medical illustration program at the Medical College of Georgia, where studying the innards of the human body was part of the program. As I walked into the brightly lit gross anatomy lab, I had to blink a bit to avoid the relentless glare of the overhead fluorescent lights. Everything was cold, clean, and sparkling-gleaming stainless steel fixtures, glass cabinets full of lab instruments, and a shiny-white tile floor. I shivered inside my new white lab coat, partly from the cold-the lab was kept air-conditioned to a chilly 68 degrees-and partly from excitement. There were about thirty-five of us, a mix of med students and illustrators, divided randomly into groups of five or six, and we were all nervous.
I was naively expecting to see the bodies laid out on gurneys in quiet repose, anticipating a funeral home kind of quiet in the lab. Instead, everyone was chattering as the sharp smell of formaldehyde assaulted us. A half-dozen stainless steel coffin-like boxes were scattered around the room, mounted on legs that brought them up to tabletop height.
I went to join my group, and as class began, the four lab instructors went from box to box, flipping back the lids to reveal the cadavers floating there in formalin. The intense smell scoured the lining of my nostrils, bringing tears to my eyes. I blinked and peered into our vat. There was our cadaver-a White woman who looked to be about sixty or seventy years old. She was nude, of course, but for some reason that surprised me. She lay face-up on the bottom of the vat, completely submerged in the cloudy fluid, her flaccid, wrinkled skin hanging in thick folds from her short, square frame. Her sagging flesh was light gray, and her long, wispy silver hair was floating just under the liquid's surface, drifting over her face. Her colorless lips were drawn back from her teeth in a deathly grimace and her eyes were open slightly, exposing ghostly white globes. Apparently her eyes had sunk back into the sockets after death, and her slightly closed lids hid the irises. It was a ghoulish sight, but my insatiable scientific curiosity overcame my initial squeamishness.
Around me, the room slowly filled with an uncomfortable silence as one by one the students stopped talking. We had all prepared for this day with such excitement-so proud of our new lab coats, our very own surgical gloves, the little dissection kits we had bought according to our printed instruction sheets-but now we realized how unprepared we really were.
As the conversation quieted, I could hear the low rumble of the exhaust fans sucking the heavy formalin fumes out of the air. Across the room, someone bumped into a stainless steel container and a half-opened lid crashed down. The sound bounced off the tile floor and echoed through the room like a gunshot. Everyone jumped and then laughed self-consciously.
Having opened the containers, the instructors then pulled back on huge stainless steel levers at each end of the vats to lift the bodies up out of the fluid, raising them to table height. I watched transfixed as my group's cadaver rose up slowly, horror movie style, to break through the surface of the oily liquid. Her hair fell back like a swimmer's would while rising out of a pool and then there she lay, stretched out on a perforated steel sheet, the formalin dripping off her body down into the vat. I had the feeling that her most intimate secrets were being revealed: the muted old surgical scar that marked her abdomen; the coarse, dark stubble running up and down her legs; her long, split, and dirty nails. When our instructors told us to flip our cadavers onto their stomachs, I was relieved that I wouldn't have to look into her face any longer, at least not for a while.
It took me a while to overcome the sense that I was trespassing, staring at this woman's most intimate bodily secrets. I was grateful when the instructor started giving instructions on how we were to begin our dissections. Now I didn't have to feel like some sleazy voyeur-I had a purpose for examining this woman's body.
My strongest reaction was that the cadavers were shockingly gray and stiff, so far from the lifelike multicolored tissue I'd expected to explore. During my childhood of hunting and fishing with Dad and my brothers, I had cleaned and dressed plenty of fish and game, and I'd been expecting our specimens in human dissection to be more like that freshly killed tissue-soft, pliable, brightly colored. Working on this washed-out corpse felt like abandoning color TV to watch in black and white. The cadavers' grayness did help with the queasiness of working on a human, though.
We started the dissection by removing the skin, which felt like cold, stiff, waterlogged shoe leather. It had simply not occurred to me that I would have to
Despite the medical touch added by the gloves, I felt as though I were violating this woman. To combat this sensation, my fellow students and I did what we could to depersonalize our cadavers. We didn't give them names, and we referred to each one as “the body” rather than as the “dead person.” When I became a forensic anthropologist, I would have to learn how to reverse this line of thought, remembering that each dead body was actually a person with a story to tell. But I wasn't so philosophical back then. Instead, I was consumed by my fascination with the human body. My only response to this dead woman was excitement at the prospect of all she was about to teach me.
My fellow students and I were totally silent as we took turns making the incisions on the woman's back that would allow us to open the skin as if opening a book: first a long cut down the backbone, then a right-angle cut across her shoulders, then another right-angle cut at the base of her spine, just above the crack in her buttocks, to make a giant letter “I.” The skin on her back was several layers thick, attached to the tissue underneath with hundreds of little fibers that we had to cut through.
Having spent so much time with my dad's textbooks, I expected to be able to look at a real body and see all the parts clearly, but I soon discovered this wasn't possible. Indeed, that's why medical illustrators are necessary. A medical illustration needs to show fully detailed anatomical structures, something that a surgeon might use to navigate an actual body. But neither the illustrator nor the surgeon ever really sees those complete structures, not all at once. We had to be able to see each layer of the body as we dissected it, then imagine what it all looked like when it was intact and in place.
That's why our instructors insisted that we cut into the body with the “I” shape they had chosen. They wanted us to be able to open the body, remove the organs, and then fold everything back exactly the way it was. If we just cut things out and discarded them as we went along, we'd never see the whole picture. Instead, we had to learn both the parts
