All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without the written permission of the publisher.
Published by Akashic Books
© 2008 Akashic Books
Series concept by Tim McLoughlin and Johnny Temple
Brooklyn map by Sohrab Habibion
ISBN-13: 978-1-933354-14-9
eISBN-13: 978-1-617750-47-2
Library of Congress Control Number: 2007939598
All rights reserved
First printing
Akashic Books
PO Box 1456
New York, NY 10009
[email protected]
www.akashicbooks.com
ALSO IN THE AKASHIC NOIR SERIES:
Baltimore Noir, edited by Laura Lippman
Bronx Noir, edited by S.J. Rozan
Brooklyn Noir, edited by Tim McLoughlin
Brooklyn Noir 2: The Classics, edited by Tim McLoughlin
Chicago Noir, edited by Neal Pollack
D.C. Noir, edited by George Pelecanos
Detroit Noir, edited by E.J. Olsen & John C. Hocking
Dublin Noir (Ireland), edited by Ken Bruen
Havana Noir (Cuba), edited by Achy Obejas
Las Vegas Noir, edited by Jarret Keene & Todd James Pierce
London Noir (England), edited by Cathi Unsworth
Los Angeles Noir, edited by Denise Hamilton
Manhattan Noir, edited by Lawrence Block
Miami Noir, edited by Les Standiford
New Orleans Noir, edited by Julie Smith
Queens Noir, edited by Robert Knightly
San Francisco Noir, edited by Peter Maravelis
Toronto Noir, edited by Janine Armin & Nathaniel G. Moore
Trinidad Noir, edited by Lisa Allen-Agostini & Jeanne Mason
Twin Cities Noir, edited by Julie Schaper & Steven Horwitz
Wall Street Noir, edited by Peter Spiegelman
FORTHCOMING:
Barcelona Noir (Spain), edited by Adriana Lopez & Carmen Ospina
D.C. Noir 2: The Classics, edited by George Pelecanos
Delhi Noir (India), edited by Hirsh Sawhney
Istanbul Noir (Turkey), edited by Mustafa Ziyalan & Amy Spangler
Lagos Noir (Nigeria), edited by Chris Abani
Manhattan Noir 2: The Classics, edited by Lawrence Block
Mexico City Noir (Mexico), edited by Paco I. Taibo II
Moscow Noir (Russia), edited by Natalia Smirnova & Julia Goumen
Paris Noir (France), edited by Aurélien Masson
Phoenix Noir, edited by Patrick Millikin
Portland Noir, edited by Kevin Sampsell
Richmond Noir, edited by Andrew Blossom,
Brian Castleberry & Tom De Haven
Rome Noir (Italy), edited by Chiara Stangalino & Maxim Jakubowski
San Francisco Noir 2: The Classics, edited by Peter Maravelis
Seattle Noir, edited by Curt Colbert
TABLE OF CONTENTS
Title Page
Copyright Page
Introduction
PART I: RING-A-LEVIO
CONSTANCE CASEY
A Spring Afternoon in the Meadow,
That “Long, Loud Scream” Prospect Park
CHRISTOPHER MUSELLA
Sweet Cherry: R.I.P. Sunset Park
ROBERT LEUCI
The Ghetto Never Sleeps, Mister
Policeman Atlantic Yards
THOMAS ADCOCK
The Morgue Boys Brownsville
PART II: JOHNNY-ON-THE-PONY
ERROL LOUIS
Fun-Time Monsters East Flatbush
ROBERT KNIGHTLY
Getting to Know Mad Dog Bushwick
DENNIS HAWKINS
True Confessions Brooklyn Heights
PATRICIA MULCAHY
The Body in the Doorway Fort Greene
PART III: DEATH STEP
TIM MCLOUGHLIN
Snapshots Kings County
Supreme Court
REED FARREL COLEMAN
No Roses for Bubbeh Coney Island
C.J. SULLIVAN
The Brooklyn Bogeyman Bensonhurst
KIM SYKES
Slaves in Brooklyn Weeksville
PART IV: SKELSIES
JESS KORMAN
The Creamflake Kid Crown Heights
DENISE BUFFA
Mommy Wears a Wire Borough Park
ROSEMARIE YU
Beef Kills East New York
AILEEN GALLAGHER
Sesame Street for Grown-ups Cobble Hill
About the Contributors
INTRODUCTION
STRANGER THAN FICTION
One sweltering evening a couple of years ago I was giving a reading at Tillie’s, a café in Fort Greene, Brooklyn. It was part of a summer-long blitz to help publicize the first Brooklyn Noir. The contributors and I did forty-two readings in New York City that summer, all but six in Brooklyn. Predictably, a lot of them are now a blur. This one, however, stands out vividly in my mind. Patricia Mulcahy, the proprietor of Tillie’s, welcomed me, and said, “I have a Brooklyn Noir story to tell you.” She then related the tale that is included in this volume, about the killing of “Bobby from Russia.”
“How does it end?” I asked.
“How does it end?” she said. “It’s a true story.”
I wound up at the Alibi Club that night, just down DeKalb from Tillie’s, drinking and scheming with Akashic’s publisher, Johnny Temple. We decided that at some point it would be interesting to do an anthology of true crime stories with the same mood and geographic structure as Brooklyn Noir. After all, it seemed as though every bar, bookstore, or library we read at had some connection to a sinister event. People were all too eager to point out back rooms or side streets where something had been heisted or someone had been whacked. What fun it would be to record those stories. What fun indeed.
As this book began to coalesce, the vibe of the project changed, in a small but steady way. It was insidious, like swimming in a deceptively gradual current.
There is a difference, as editor, between cheering the literary accomplishment of a fiction writer who has delivered a brilliant story about a serial killer or hit man, and reading the true account, however beautifully written, of a young woman raped, murdered, and forgotten. So this book, though it has its light moments (and thank God for those), is for me the darkest of the Brooklyn Noir series. These pieces remind us that crime is personal. It happens to us and to our neighbors. Sometimes it happens because we do nothing to prevent it. Life does not always offer the moral arc we so desperately crave in fiction. If it did, we’d have no need for myths and fables, religion or miracles.
Thomas Adcock was the first contributor to deliver a story, and I’m grateful that he then agreed to coedit the book; he brought aboard a posse of writers of which I could have only dreamed. Because the stories are about crime, about Brooklyn, and true, more than one ends in court proceedings. And because Brooklyn is the world’s largest small town, real life overlaps in ways that fiction does not. My own reminiscence of events in and around the courts, “Snapshots,” sits at the intersection of stories by Errol Louis, Dennis Hawkins, and Denise Buffa.
As with the two previous volumes, our emphasis is on the quality of the writing as well as the storytelling itself, and just as the earlier anthologies have done their bit to muddy the waters between genre and literary fiction, here we’ve done our best to blend reporting, personal essay, and memoir.
It’s been an interesting few years since Brooklyn Noir debuted. That book, as of this writing, has just entered its fifth printing, w
ith Brooklyn Noir 2: The Classics headed for its second. There are now more than twenty volumes of original fiction in the Akashic Noir Series, with another dozen in production. That’s four hundred or so stories that might not otherwise have been published, or for that matter written. No small feat given the paltry opportunities these days for publishing short fiction. So now let’s see what we can do for true crime.
Read this book. Enjoy it. Be horrified by it. Carry it with you always. And the next time you’re watching a particularly bizarre and salacious news item on the television set in your neighborhood pub, and the guy on the next stool says, “You can’t make this shit up,” smack him with it.
Tim McLoughlin
Brooklyn, New York
April 2008
PART I
RING-A-LEVIO
In which members of one group at one end of the block try to find and capture hiding members of an opposing group. A captured player is dragged into a chalk circle on the pavement at mid-block,by a hunter who holds him/her there long enough to holler, “Ring-a-Levio, 1-2-3!”
A SPRING AFTERNOON IN THE MEADOW, THAT “LONG, LOUD SCREAM”
BY CONSTANCE CASEY
Prospect Park
Who” is important in this story: a man and four teenaged boys.
“What” is easy to answer: a bike and a gun.
“When” is a sunny afternoon in June.
“Where,” in this case, is unusually significant.
Our location is Prospect Park, the green heart of Brooklyn. Of the five boroughs of the city of New York, Brooklyn is the one with the least green space per person. On a map, the park is a bit to the west of Brooklyn’s dead center.
On the afternoon of June 1, 1993, a forty-two-year-old drama teacher named Allyn Winslow rode his new trail bike to a boulder near the top of Prospect Park’s Quaker Hill, where he’d often gone for picnics with his wife and two children.
He may have stopped atop the hill to lean against the big rock and savor a friendly, familiar place. He may have noticed he was just up from the Quaker cemetery where fellow actor Montgomery Clift is buried. He may have paused to adjust his bike seat or take a drink from his water bottle.
There’s no way to know.
Four teenagers surrounded him suddenly and tried to steal his turquoise bike. Winslow resisted by attempting to fend them off with a tire pump, and when he got on his bike and rode away, one of the teens fired a .22 caliber revolver—three shots into Winslow’s back, one into his buttocks.
Winslow, who had run three New York City marathons, made it down the hill and into the park’s Long Meadow—a bit less than half a mile—where he fell to the ground and died.
Three of the gunshot wounds were superficial. The fourth bullet angled up through his right lung to sever his aorta, the vessel that carries blood from the heart to the rest of the body.
“I was trying to scare him,” said the shooter, sixteen-year-old Jerome Nisbett. This he told the police after his arrest a few days following the fatal shooting. His finger got stuck on the trigger and the gun just kept firing, he said.
At Nisbett’s trial, a police ballistics expert effectively rebutted that excuse: “In a revolver, the trigger has to be pulled one time for one shot to be fired, and then pulled again for the next shot to be fired.”
Winslow’s death generated enormous publicity, as well as understandable sorrow and sympathy among Brooklyn residents. Especially for those who used the park, the killing also generated considerable fear.
That a pack of African American boys, albeit a small pack, attacked a white man hit a raw, racial nerve. Although four years had elapsed between the crime at Quaker Hill in Prospect Park and the 1989 case of a white female jogger in Manhattan’s Central Park—in which a pack of five black youths out “wilding,” as it was called, raped their victim and then beat her nearly to death—memories were quickly revived.
Amidst high public emotion around Winslow’s death, arrests were made in a week and personally announced by the city’s first black mayor, David Dinkins.
That the four suspects were so young, said the mayor, “boggles the mind and crushes the heart.”
The murder of Winslow was a particular blow to those who lived on streets adjoining Prospect Park. Violent crime in their park had actually gone down in the 1980s and early ’90s, a brutal time elsewhere in the city, and Brooklynites had begun to relax—and to enjoy the woods and hills and water and lush green of Prospect Park.
Frederick Law Olmsted (1822–1903) designed both Central Park, opened in 1858, and Prospect Park. Although the former is better known to the world, landscape historians consider the latter to be Olmsted’s masterwork. When Prospect Park opened to the public in 1870, Olmsted wrote to a friend, “The park in all its upper parts in the East Woods, the Dairy District and the Nethermead, is thoroughly delightful, and I am prouder of it than of anything I have had to do with.”
Both parks hit their nadirs in the 1970s. With the city’s finances in disorder, park maintenance was down at the same time crime was up. The number of visits to Prospect Park hit an all-time low in 1979, a mark all the more dramatic when one considers that Brooklyn’s population in the late nineteenth century was roughly a quarter of what it was in the late twentieth.
The salvation of both parks came about through the creation of public-private institutions—in Brooklyn, the Prospect Park Alliance—that raised endowment funds from government, community groups, and private donors to keep them from falling into disrepair again.
In an early account of the Winslow murder, a New York Times reporter wrote that the teacher died “in a meadow.” Gardeners and park historians know the place not as a meadow, but as the meadow—namely the Long Meadow.
Of all the fine features of Prospect Park, the Long Meadow most pleased Olmsted. (It still is the largest meadow in any U.S. urban park.) He was inspired by the grand sweeps of lawn designed for the landed gentry of eighteenth-century Britain. Olmsted modified the lawn idea, making the grassy area shaggier and edging it with native trees: oak, American elm, sugar maples, wild cherry, tulip, sassafras, and Osage orange. Before Olmsted, most European and American urban parks were more pavement than woods, usually focused on a fountain or statue surrounded by tight little combinations of domesticated ornamental plants, tidily fenced in.
Olmsted’s idea was that the park would strengthen democracy; that in a leafy setting, under the sun and in the pure air, the divisions between rich and poor could melt away. His forests and meadow—wild-seeking, but actually planned down to the last shrub—would be a source of what he called “peace and refreshment” for all classes; a retreat from the crowding, dirt, and noise of city life.
Opponents argued that a wooded park with secluded areas would encourage, as one contemporary editorial writer put it, “riotous and licentious habits.”
On the day of his death, Winslow’s four-mile ride from his Bay Ridge home, past Green-Wood Cemetery to Quaker Hill, probably took about a half-hour.
His four assailants—Robert Brown and Gregory Morris, each fourteen, and sixteen-year-olds Chad Jackson and Jerome Nisbett—were supposed to be in school that day. They bumped into one another at a laundromat around 1 o’clock in the afternoon and decided to go to the park because, as they later said, Gregory Morris didn’t have a bicycle whereas the other three did. In their minds, evidently, Prospect Park was the place to go to acquire a bike.
The group—three boys pedaling bikes with Gregory Morris astride handlebars, or sometimes just running alongside—first approached a woman practicing martial arts near the park’s band shell. Morris started “messing with” her bike, Robert Brown said at trial. The woman told the boys to get lost and rode off quickly. Then the four thought of stopping a Latino on a bike, but he too hastened away.
About half-past 3, they walked up Quaker Hill and spied Winslow and his bike. Brown testified that Morris said, “Let’s get him!” Brown further testified that Morris handed a gun to Nisbett.
T
here were no witnesses to the shooting, but people walking in the Long Meadow heard a popping sound.
“I hope that was fireworks,” one man said to his friend as they sat beside a nearby pond. But, he added, “Then I heard that long, loud scream.”
Allyn Winslow, who came to New York by way of Texas, was fully involved in the life of his adopted city. His two children, ten-year-old Jessica and eight-year-old Drew, attended public schools. On the morning of June 1, he’d walked his son to school from their Bay Ridge brick house—the one in which his widow, Marcy, had grown up. The couple had been thinking about moving to Park Slope in order to be closer to Prospect Park.
Winslow, who held a master’s degree from Trinity University in San Antonio, had performed on stage in several venues, including the Dallas Theatre Center. He had also acted in small film roles and several television commercials. Of late, he’d been spending more energy on his teaching and journal writing. According to his journal, the New York City marathon in November 1993 would be his last.
Shortly before his death, Winslow had started a vacation from his job at the American Musical and Dramatic Academy, housed in the ornate Ansonia Building on Manhattan’s Upper West Side. During the week prior to his death, he’d ridden nearly two hundred miles on his new bike—which he’d bought, along with one for his wife, in April.
Marcy Winslow was a legal secretary at the Manhattan law firm of Cravath, Swaine & Moore. In her statement at the sentencing hearing following the trial of her husband’s killer, she demonstrated poise and familiarity with courtroom procedure as she broadened the picture of Allyn Winslow.
“The press only characterized my husband as a father of two and a drama teacher. He was more than that,” she said. “At [the drama academy] where he worked, he was not only a teacher but he was a counselor and a mentor. He was the person who gave the first-year students their welcoming speech. Many of the students told me how inspired they were after hearing his speech and were excited about having him as their teacher.”
Brooklyn Noir 3: Nothing but the Truth (Akashic Noir) Page 1
