One blogger connects the case of Brock Turner to the suburban house to which he returned:
I googled the address. I don’t know why I did that– morbid curiosity always gets the better of me. I clicked the satellite image and squinted at the blurry photo of a roof. It’s just an ordinary upper-class McMansion, one of many, on a spastic squiggle of a street in the middle of a wealthy suburban development. The kind of place where people can have every luxury they want, unless what they want isn’t kitsch. True luxury that isn’t kitsch is reserved for the richer still, the astonishingly wealthy whose sons would not go to trial at all for rape– not for the Suburban-McMansion Rich whose sons serve three months if the press is bad enough.
A suburban McMansion fits the story a number of people have told regarding Turner’s actions and subsequent treatment by the criminal justice system. McMansion owners are typically white suburban people with money – not really rich, as this post suggests, but rich enough to expect others to be impressed with their standing (and home). In this narrative, the McMansion signals their posture to the world: we aren’t bad people and should be treated with respect.
It is tempting to link a house to a narrative in this way. On the other hand, what if Turner had returned to a more modest 1950s suburban ranch? Would we then see a connection to white conformity? Or, how about a early 20th century suburban bungalow that hints at the fastidious nature of whites who want to preserve some golden era? Or, would a pricey downtown condo conjure up images of high-flying urban nightlife? Since Turner is an unlikable figure to many, I suspect detractors could find all sorts of evidence from the consumer goods in his life – clothes, appearance, vehicle, shopping patterns, and home – to illustrate their dislike. Some of these objects may indeed be connected to white, middle/upper-middle class suburbanites.
This is the not the first time McMansions have been linked to immorality and crime. See, for example, the suggestions in Gone Girl. And such narratives have a much longer history in novels, films, and TV shows that in the postwar era loved to peel back the facade of suburban life to find its truly seemly underbelly. Whether such links and depictions are connected to demonstrable patterns of morality and criminality is another story…
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