The Best American Crime Reporting 2009 Page 12

  He was not a good businessman. Whenever money came in, colleagues say, instead of investing it in his company he spent it. By 2000, he had filed for bankruptcy. His marriage also collapsed. “The basic problem was women,” his wife later said. “I knew that he was having an affair.” After Stasia separated from him, he seemed despondent and left Poland, travelling to the United States, and later to Asia, where he taught English and scuba diving.

  He began to work intensively on “Amok,” which encapsulated all his philosophical obsessions. The story mirrors “Crime and Punishment,” in which Raskolnikov, convinced that he is a superior being who can deliver his own form of justice, murders a wretched pawnbroker. “Wouldn’t thousands of good deeds make up for one tiny little crime?” Raskolnikov asks. If Raskolnikov is a Frankenstein’s monster of modernity, then Chris, the protagonist of “Amok,” is a monster of postmodernity. In his view, not only is there no sacred being (“God, if you only existed, you’d see how sperm looks on blood”); there is also no truth (“Truth is being displaced by narrative”). One character admits that he doesn’t know which of his constructed personalities is real, and Chris says, “I’m a good liar, because I believe in the lies myself.”

  Unbound by any sense of truth—moral, scientific, historical, biographical, legal—Chris embarks on a grisly rampage. After his wife catches him having sex with her best friend and leaves him (Chris says that he has, at least, “stripped her of her illusions”), he sleeps with one woman after another, the sex ranging from numbing to sadomasochistic. Inverting convention, he lusts after ugly women, insisting that they are “more real, more touchable, more alive.” He drinks too much. He spews vulgarities, determined, as one character puts it, to pulverize the language, to “screw it like no one else has ever screwed it.” He mocks traditional philosophers and blasphemes the Catholic Church. In one scene, he gets drunk with a friend and steals from a church a statue of St. Anthony—the Egyptian saint who lived secluded in the desert, battling the temptations of the Devil, and who fascinated Foucault. (Foucault, describing how St. Anthony had turned to the Bible to ward off the Devil, only to encounter a bloody description of Jews slaughtering their enemies, writes that “evil is not embodied in individuals” but “incorporated in words” and that even a book of salvation can open “the gates to Hell.”)

  Finally, Chris, repudiating what is considered the ultimate moral truth, kills his girlfriend Mary. “I tightened the noose around her neck, holding her down with one hand,” he says. “With my other hand, I stabbed the knife below her left breast…. Everything was covered in blood.” He then ejaculates on her. In a perverse echo of Wittgenstein’s notion that some actions defy language, Chris says of the killing, “There was no noise, no words, no movement. Complete silence.”

  In “Crime and Punishment,” Raskolnikov confesses his sins and is punished for them, while being redeemed by the love of a woman named Sonya, who helps to guide him back toward a pre-modern Christian order. But Chris never removes what he calls his “white gloves of silence,” and he is never punished. (“Murder leaves no stain,” he declares.) And his wife—who, not coincidentally, is also named Sonya—never returns to him.

  The style and structure of “Amok,” which is derivative of many postmodern novels, reinforces the idea that truth is illusory—what is a novel, anyway, but a lie, a mytho-creation? Bala’s narrator often addresses the reader, reminding him that he is being seduced by a work of fiction. “I am starting my story,” Chris says. “I must avoid boring you.” In another typical flourish, Chris reveals that he is reading a book about the violent rebellion of a young author with a “guilty conscience”—in other words, the same story as “Amok.”

  Throughout the book, Bala plays with words in order to emphasize their slipperiness. The title of one chapter, “Screwdriver,” refers simultaneously to the tool, the cocktail, and Chris’s sexual behavior. Even when Chris slaughters Mary, it feels like a language game. “I pulled the knife and rope from underneath the bed, as if I were about to begin a children’s fairy tale,” Chris says. “Then I started unwinding this fable of rope, and to make it more interesting I started to make a noose. It took me two million years.”

  Bala finished the book toward the end of 2002. He had given Chris a biography similar to his own, blurring the boundary between author and narrator. He even posted sections of the book on a blog called Amok, and during discussions with readers he wrote comments under the name Chris, as if he were the character. After the book came out, in 2003, an interviewer asked him, “Some authors write only to release their…Mr. Hyde, the dark side of their psyche—do you agree?” Bala joked in response, “I know what you are driving at, but I won’t comment. It might turn out that Krystian Bala is the creation of Chris…not the other way around.”

  Few bookstores in Poland carried “Amok,” in part because of the novel’s shocking content, and those which did placed it on the highest shelves, out of the reach of children. (The book has not been translated into English.) On the Internet, a couple of reviewers praised “Amok.” “We haven’t had this kind of book in Polish literature,” one wrote, adding that it was “paralyzingly realistic, totally vulgar, full of paranoid and delirious images.” Another called it a “masterpiece of illusion.” Yet most readers considered the book, as one major Polish newspaper put it, to be “without literary merit.” Even one of Bala’s friends dismissed it as “rubbish.” When Sierocka, the philosophy professor, opened it, she was stunned by its crude language, which was the antithesis of the straightforward, intelligent style of the papers that Bala had written at the university. “Frankly, I found the book hard to read,” she says. An ex-girlfriend of Bala’s later said, “I was shocked by the book, because he never used those words. He never acted obscenely or vulgar toward me. Our sex life was normal.”

  Many of Bala’s friends believed that he wanted to do in his fiction what he never did in life: shatter every taboo. In the interview that Bala gave after “Amok” was published, he said, “I wrote the book not caring about any convention…. A simple reader will find interesting only a few violent scenes with a graphic description of people having sex. But if someone really looks, he will see that these scenes are intended to awaken the reader and…show how fucked up and impoverished and hypocritical this world is.”

  By Bala’s own estimate, “Amok” sold only a couple of thousand copies. But he was confident that it would eventually find its place among the great works of literature. “I’m truly convinced that one day my book will be appreciated,” he said. “History teaches that some works of art have to wait ages before they are recognized.”

  In at least one respect, the book succeeded. Chris was so authentically creepy that it was hard not to believe that he was the product of a genuinely disturbed mind, and that he and the author were indeed indistinguishable. On Bala’s Web site, readers described him and his work as “grotesque,” “sexist,” and “psychopathic.” During an Internet conversation, in June of 2003, a friend told Bala that his book did not give the reader a good impression of him. When Bala assured her that the book was fiction, she insisted that Chris’s musings had to be “your thoughts.” Bala became irritated. Only a fool, he said, would believe that.

  DETECTIVE WROBLEWSKI UNDERLINED various passages as he studied “Amok.” At first glance, few details of Mary’s murder resembled the killing of Janiszewski. Most conspicuously, the victim in the novel is a woman, and the killer’s longtime friend. Moreover, although Mary has a noose around her neck, she gets stabbed, with a Japanese knife, and Janiszewski wasn’t. One detail in the book, however, chilled Wroblewski: after the murder, Chris says, “I sell the Japanese knife on an Internet auction.” The similarity to the selling of Janiszewski’s cell phone on the Internet—a detail that the police had never released to the public—seemed too extraordinary to be a coincidence.

  At one point in “Amok,” Chris intimates that he has also killed a man. When one of his girlfriends doubts his endless mytho-creations,
he says, “Which story didn’t you believe—that my radio station went bankrupt or that I killed a man who behaved inappropriately toward me ten years ago?” He adds of the murder, “Everyone considers it a fable. Maybe it’s better that way. Fuck. Sometimes I don’t believe it myself.”

  Wroblewski had never read about postmodernism or language games. For him, facts were as indissoluble as bullets. You either killed someone or you didn’t. His job was to piece together a logical chain of evidence that revealed the irrefutable truth. But Wroblewski also believed that, in order to catch a killer, you had to understand the social and psychological forces that had formed him. And so, if Bala had murdered Janiszewski or participated in the crime—as Wroblewski now fully suspected—then Wroblewski, the empiricist, would have to become a postmodernist.

  To the surprise of members of his detective squad, Wroblewski made copies of the novel and handed them out. Everyone was assigned a chapter to “interpret”: to try to find any clues, any coded messages, any parallels with reality. Because Bala was living outside the country, Wroblewski warned his colleagues not to do anything that might alarm the author. Wroblewski knew that if Bala did not voluntarily return home to see his family, as he periodically did, it would be virtually impossible for the Polish police to apprehend him. At least for the moment, the police had to refrain from questioning Bala’s family and friends. Instead, Wroblewski and his team combed public records and interrogated Bala’s more distant associates, constructing a profile of the suspect, which they then compared with the profile of Chris in the novel. Wroblewski kept an unofficial scorecard: both Bala and his literary creation were consumed by philosophy, had been abandoned by their wives, had a company go bankrupt, travelled around the world, and drank too much. Wroblewski discovered that Bala had once been detained by the police, and when he obtained the official report it was as if he had already read it. As Bala’s friend Pawel, who was detained with him, later testified in court, “Krystian came to me in the evening and had a bottle with him. We started drinking. Actually, we drank till dawn.” Pawel went on, “The alcohol ran out, so we went to a store to buy another bottle. As we were returning from the shop we passed by a church, and this is when we had a very stupid idea.”

  “What idea did you have?” the judge asked him.

  “We went into the church and we saw St. Anthony’s figure, and we took it.”

  “What for?” the judge inquired.

  “Well, we wanted a third person to drink with. Krystian said afterward that we were crazy.”

  In the novel, when the police catch Chris and his friend drinking beside the statue of St. Anthony, Chris says, “We were threatened by prison! I was speechless…. I do not feel like a criminal, but I became one. I had done much worse things in my life, and never suffered any consequences.”

  Wroblewski began to describe “Amok” as a “road map” to a crime, but some authorities objected that he was pushing the investigation in a highly suspect direction. The police asked a criminal psychologist to analyze the character of Chris, in order to gain insight into Bala. The psychologist wrote in her report, “The character of Chris is an egocentric man with great intellectual ambitions. He perceives himself as an intellectual with his own philosophy, based on his education and high I.Q. His way of functioning shows features of psychopathic behavior. He is testing the limits to see if he can actually carry out his…sadistic fantasies. He treats people with disrespect, considers them to be intellectually inferior to himself, uses manipulation to fulfill his own needs, and is determined to satiate his sexual desires in a hedonistic way. If such a character were real—a true living person—his personality could have been shaped by a highly unrealistic sense of his own worth. It could also be…a result of psychological wounds and his insecurities as a man…pathological relationships with his parents or unacceptable homosexual tendencies.” The psychologist acknowledged the links between Bala and Chris, such as divorce and philosophical interests, but cautioned that such overlaps were “common with novelists.” And she warned, “Basing an analysis of the author on his fictional character would be a gross violation.”

  Wroblewski knew that details in the novel did not qualify as evidence—they had to be corroborated independently. So far, though, he had only one piece of concrete evidence linking Bala to the victim: the cell phone. In February, 2002, the Polish television program “997,” which, like “America’s Most Wanted,” solicits the public’s help in solving crimes (997 is the emergency telephone number in Poland), aired a segment devoted to Janiszewski’s murder. Afterward, the show posted on its Web site the latest news about the progress of the investigation, and asked for tips. Wroblewski and his men carefully analyzed the responses. Over the years, hundreds of people had visited the Web site, from places as far away as Japan, South Korea, and the United States. Yet the police didn’t turn up a single fruitful lead.

  When Wroblewski and the telecommunications expert checked to see if Bala had purchased or sold any other items on the Internet while logged on as ChrisB[7], they made a curious discovery. On October 17, 2000, a month before Janiszewski was kidnapped, Bala had clicked on the Allegro auction site for a police manual called “Accidental, Suicidal, or Criminal Hanging.” “Hanging a mature, conscious, healthy, and physically fit person is very difficult even for several people,” the manual stated, and described various ways that a noose might be tied. Bala did not purchase the book on Allegro, and it was unclear if he obtained it elsewhere, but that he was seeking such information was, at least to Wroblewski, a sign of premeditation. Still, Wroblewski knew that if he wanted to convict Bala of murder he would need more than the circumstantial evidence he had gathered: he would need a confession.

  Bala remained abroad, supporting himself by publishing articles in travel magazines, and by teaching English and scuba diving. In January of 2005, while visiting Micronesia, he sent an e-mail to a friend, saying, “I’m writing this letter from paradise.”

  Finally, that fall, Wroblewski learned that Bala was coming home.

  “AT APPROXIMATELY 2:30 P.M., after leaving a drugstore at Legnicka Street, in Chojnow, I was attacked by three men,” Bala later wrote in a statement, describing what happened to him on September 5, 2005, shortly after he returned to his home town. “One of them twisted my arms behind my back; another squeezed my throat so that I could not speak, and could barely breathe. Meanwhile, the third one handcuffed me.”

  Bala said that his attackers were tall and muscular, with close-cropped hair, like skinheads. Without telling Bala who they were or what they wanted, they forced him into a dark-green vehicle and slipped a black plastic bag over his head. “I couldn’t see anything,” Bala said. “They ordered me to lie face down on the floor.”

  Bala said that his assailants continued to beat him, shouting, “You fucking prick! You motherfucker!” He pleaded with them to leave him alone and not hurt him. Then he heard one of the men say on a cell phone, “Hi, boss! We got the shithead! Yes, he’s still alive. So now what? At the meeting point?” The man continued, “And what about the money? Will we get it today?”

  Bala said he thought that, because he lived abroad and was known to be a writer, the men assumed that he was wealthy and were seeking a ransom. “I tried to explain to them that I didn’t have money,” Bala stated. The more he spoke, though, the more brutally they attacked him.

  Eventually, the car came to a stop, apparently in a wooded area. “We can dig a hole for this shit here and bury him,” one of the men said. Bala struggled to breathe through the plastic bag. “I thought that this was going to be the last moment of my life, but suddenly they got back into the car and began driving again,” he said.

  After a long time, the car came to another stop, and the men shoved him out of the car and into a building. “I didn’t hear a door, but because there was no wind or sun I assumed that we had entered,” Bala said. The men threatened to kill him if he didn’t coöperate, then led him upstairs into a small room, where they stripped him, depr
ived him of food, beat him, and began to interrogate him. Only then, Bala said, did he realize that he was in police custody and had been brought in for questioning by a man called Jack Sparrow.

  “NONE OF IT HAPPENED,” Wroblewski later told me. “We used standard procedures and followed the letter of the law.”

  According to Wroblewski and other officers, they apprehended Bala by the drugstore without violence and drove him to police headquarters in Wroclaw. Wroblewski and Bala sat facing each other in the detective’s cramped office; a light bulb overhead cast a faint glow, and Bala could see on the wall the goat horns that eerily resembled the image on the cover of his book. Bala appeared gentle and scholarly, yet Wroblewski recalled how, in “Amok,” Chris says, “It’s easier for people to imagine that Christ can turn urine into beer than that someone like me can send to Hell some asshole smashed into a lump of ground meat.”

  Wroblewski initially circled around the subject of the murder, trying to elicit offhand information about Bala’s business and his relationships, and concealing what the police already knew about the crime—an interrogator’s chief advantage. When Wroblewski did confront him about the killing, Bala looked dumbfounded. “I didn’t know Dariusz Janiszewski,” he said. “I know nothing about the murder.”