Spiers, all of whom are exceptional men. I’d also like to thank Maureen Spiers for the lunch she provided when I interviewed her husband.
Anthony Ainsworth talked to me about the geography of the moor and provided the introduction to Norie Miles, Winnie Johnson’s close friend; sadly, he died a few months after this book was published. Norie Miles has studied the photographs taken by Ian Brady and Myra Hindley and also facilitated an interview with Winnie Johnson. I thank them both, and Elizabeth Bond who looks after Winnie.
Although David Smith did not wish to be interviewed for a book about Myra Hindley, I am very grateful to him for agreeing to an informal chat, and for his and his wife Mary’s hospitality. Thank you, too, to their son David and his wife Diane, for providing initial contact.
Together with my son River, I spent two wonderful days at the splendid National Library of Wales, where the papers of Emlyn Williams are kept. The staff there – Manon Foster, Anwen Pierce, Glyn Parry, Caronwen Samuel and others – were unfailingly kind and helpful, and I’d like to thank them not only for their assistance with the Williams’ archive, but also for making my son so welcome. I only wish the staff of every archive were as thoughtful and knowledgeable. Thanks, too, to the staff of the National Archive in Kew for their assistance with Myra Hindley’s prison files, and National Image Library Manager Paul Johnson especially for his kindness and patience in dealing with the photographs. I’d also like to thank the staff at the Brynmor Jones Library at the University of Hull for providing copies of Myra Hindley’s letters held there.
Many literary sources have informed this book, and I am grateful to the authors and publishers for allowing me permission to quote from their works.
Closer to home, I must thank my agent, Jan Michael, and her agent, Jane Judd, for supporting the project from the start. Jan’s suggestions on the text were incisive and made a difference to the manuscript generally, and Jane and her husband Brian very kindly let me stay with them while I worked in London. At Mainstream, I offer sincere thanks to Bill Campbell, Peter MacKenzie, Deborah Warner, Ailsa Morrison, Graeme Blaikie, Karyn Millar and all the staff for their hard work and faith in the book.
And literally closest to home, I have to thank my friend Tricia Room especially, for ferrying me around various places and discussing ideas. I’m also grateful to my family and other friends for putting up with me while I wrote the book, and to my mother, for listening as I talked about it every day and for looking after River when I needed more time to write. And to River, who knew only the most basic facts of the book, I offer the deepest thanks, for keeping me grounded and bringing joy into my life while I worked on a complex and distressing subject.
I corresponded, briefly, with Ian Brady, and would like to echo Danny Kilbride’s words: ‘Tell us where Keith is. Stop being a coward. There’s a little boy out there on the moor who should be brought home to his family. It can’t end like this.’
Finally, there is one other person I would like to acknowledge, whom I did not meet whilst working on this book, but who contacted me after publication. That person is now my partner, Keith’s brother Alan Bennett. His support, courage and love mean everything to me and I want to thank him for it all from my heart, with love.
I
----
Pariah: 20 November 2002
II
----
Gorton Girl: 23 July 1942 – 21 December 1960
III
----
This Cemetery of Your Making: 21 December 1960 – 6 October 1965
13
Shut up or I’ll forget myself and hit you one. Keep it in.
Myra Hindley, tape recording of Lesley Ann Downey, Boxing Day, 1964
Lesley Ann Downey was ten years old in 1964. She was the only girl in a family of three boys: Terry, fourteen, Thomas, eight, and Brett, four. The children lived with their mother Ann, and her partner, Alan
Anthony Ainsworth talked to me about the geography of the moor and provided the introduction to Norie Miles, Winnie Johnson’s close friend; sadly, he died a few months after this book was published. Norie Miles has studied the photographs taken by Ian Brady and Myra Hindley and also facilitated an interview with Winnie Johnson. I thank them both, and Elizabeth Bond who looks after Winnie.
Although David Smith did not wish to be interviewed for a book about Myra Hindley, I am very grateful to him for agreeing to an informal chat, and for his and his wife Mary’s hospitality. Thank you, too, to their son David and his wife Diane, for providing initial contact.
Together with my son River, I spent two wonderful days at the splendid National Library of Wales, where the papers of Emlyn Williams are kept. The staff there – Manon Foster, Anwen Pierce, Glyn Parry, Caronwen Samuel and others – were unfailingly kind and helpful, and I’d like to thank them not only for their assistance with the Williams’ archive, but also for making my son so welcome. I only wish the staff of every archive were as thoughtful and knowledgeable. Thanks, too, to the staff of the National Archive in Kew for their assistance with Myra Hindley’s prison files, and National Image Library Manager Paul Johnson especially for his kindness and patience in dealing with the photographs. I’d also like to thank the staff at the Brynmor Jones Library at the University of Hull for providing copies of Myra Hindley’s letters held there.
Many literary sources have informed this book, and I am grateful to the authors and publishers for allowing me permission to quote from their works.
Closer to home, I must thank my agent, Jan Michael, and her agent, Jane Judd, for supporting the project from the start. Jan’s suggestions on the text were incisive and made a difference to the manuscript generally, and Jane and her husband Brian very kindly let me stay with them while I worked in London. At Mainstream, I offer sincere thanks to Bill Campbell, Peter MacKenzie, Deborah Warner, Ailsa Morrison, Graeme Blaikie, Karyn Millar and all the staff for their hard work and faith in the book.
And literally closest to home, I have to thank my friend Tricia Room especially, for ferrying me around various places and discussing ideas. I’m also grateful to my family and other friends for putting up with me while I wrote the book, and to my mother, for listening as I talked about it every day and for looking after River when I needed more time to write. And to River, who knew only the most basic facts of the book, I offer the deepest thanks, for keeping me grounded and bringing joy into my life while I worked on a complex and distressing subject.
I corresponded, briefly, with Ian Brady, and would like to echo Danny Kilbride’s words: ‘Tell us where Keith is. Stop being a coward. There’s a little boy out there on the moor who should be brought home to his family. It can’t end like this.’
Finally, there is one other person I would like to acknowledge, whom I did not meet whilst working on this book, but who contacted me after publication. That person is now my partner, Keith’s brother Alan Bennett. His support, courage and love mean everything to me and I want to thank him for it all from my heart, with love.
I
----
Pariah: 20 November 2002
II
----
Gorton Girl: 23 July 1942 – 21 December 1960
III
----
This Cemetery of Your Making: 21 December 1960 – 6 October 1965
13
Shut up or I’ll forget myself and hit you one. Keep it in.
Myra Hindley, tape recording of Lesley Ann Downey, Boxing Day, 1964
Lesley Ann Downey was ten years old in 1964. She was the only girl in a family of three boys: Terry, fourteen, Thomas, eight, and Brett, four. The children lived with their mother Ann, and her partner, Alan
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