The Symbolism of Memorial Photographs in Chasing the Boogeyman
What Are the Memorial Photographs?
In Chasing the Boogeyman, the “memorial photographs” are images taken by a staff photographer for the local newspaper, the Aegis. They show the makeshift shrines that family and friends erected at the murder sites or homes of the four victims—Natasha Gallagher, Kacey Robinson, Madeline Wilcox, and Cassidy Burch. Each photograph captures flowers, posters, candles, stuffed animals, and handwritten messages left by a grieving community.
What makes these photographs extraordinary is that, hidden within each memorial, the killer has left a small, deliberately placed drawing or object. Carly Albright, the journalist, brings the photos to narrator Richard Chizmar and asks him to look closely. He spots a hopscotch grid with the number three in every square, a missing-dog sign, five shiny pennies taped to a poster, and a pumpkin with six triangular eyes. These four signatures become the killer’s taunting trademark.
Where the Photographs Appear in the Novel
The photographs are introduced in Chapter Ten: Aftermath, when Carly barges into Richard’s house the morning after Thanksgiving and spreads the four glossy eight‑by‑ten prints across his dining room table. Initially, Richard thinks she has taken “pictures of the memorials people left behind for the girls” and calls it “kind of creepy.” But as he studies each image in order, he realizes the killer has hidden a consistent pattern.
The detailed examination continues in Chapter Eleven: Memorials, where the narrative pauses to describe each memorial and its hidden signature:
- Natasha Gallagher’s memorial – a large poster nailed to a tree, covered with handwritten messages and drawings. In the lower‑right corner, between a broken heart and a sad face, is a miniature hopscotch grid with the number three in every square.
- Kacey Robinson’s shrine – three small homemade signs at a playground. On the middle sign, below a photo of Kacey, someone has drawn a replica of the “HAVE YOU SEEN THIS DOG?” sign that hung near her house.
- Madeline Wilcox’s memorial – a poster-sized photograph of Madeline on a wooden stake. The killer affixed five shiny pennies to the surface of the poster with clear tape.
- Cassidy Burch’s infant memorial – a few signs and cards attached to a cemetery fence. At the bottom of the largest sympathy card, the killer drew a fat pumpkin with a crooked grin and six triangular eyes.
After Richard and Carly report their discovery, Detective Lyle Harper reveals that the police had already known about the signatures for two weeks and had been conducting surveillance on all four shrines. The photographs thus mark the first time the characters (and the reader) realize the killer is actively communicating.
How the Meaning of the Photographs Changes
The memorial photographs undergo a layered transformation in the novel, shifting in meaning as new information surfaces.
1. Artifacts of collective grief. At first, the photographs simply document the community’s outpouring of sorrow. The memorials are described in loving detail—posters with “FOREVER IN OUR HEARTS,” stuffed animals, candles, and flowers. They represent the town’s attempt to honor the victims and find solace.
2. Evidence of a hidden signature. When Carly shows Richard the photos, they become clues in a true-crime investigation. The hopscotch, dog sign, pennies, and pumpkin are clearly deliberate; they are not part of the mourners’ tributes. The photographs are no longer mementos of grief but pieces of a puzzle that link the four murders.
3. Instruments of the killer’s taunt. The killer’s drawings are crude but unmistakable. By leaving them at the memorials, he is mocking the community and the police. The signatures are a form of psychological warfare, asserting his presence and his control over the narrative. They turn the memorials into crime scenes within crime scenes.
4. A means of catching the killer. Although the police already knew of the signatures, the photographs prompt Detective Harper to admit that his team has been staking out the shrines. Later, the same investigative logic—looking for patterns—leads to the killer’s capture decades afterward. In the Afterword, we learn that Joshua Gallagher’s confession includes his use of masks and ear cuttings as signatures, confirming that the memorial drawings were part of his ritual.
Character Connections
Richard Chizmar – The narrator discovers the hidden patterns himself, which deepens his obsession with the case. He also steals a photograph of Natasha from her memorial (a faded image of her eating crabs at a poolside picnic table), an act that both Harper and the reader recognize as “odd behavior.” This theft underscores how the memorials pull him into the dark orbit of the killer, blurring the line between observer and participant.
Carly Albright – The ambitious journalist who brings the photographs to light. Her discovery demonstrates her sharp investigative instincts. She is the one who insists on calling Detective Harper, and later she continues to pursue the story for decades. The photographs are a turning point in her career, cementing her role as a serious crime reporter.
Detective Lyle Harper – Harper initially appears surprised that Carly and Rich found the signatures, then reveals that the police knew all along. His wink in the rearview mirror suggests he is aware of Rich’s own frequent visits to the shrines. The photographs force him to share limited information, and they become a point of tension between the investigator and the two amateurs.
Joshua Gallagher – Although he never appears directly in the scenes with the photographs, the hidden signatures are his handiwork. They reveal the killer’s need for recognition and his calculated mockery. In the Author’s Note, Chizmar confirms that the drawings are entirely fictional but are meant to feel like real evidence—part of the book’s “true crime” aesthetic.
Theme Connections
The memorial photographs reinforce several major themes of the novel.
True‑Crime Obsession – Richard and Carly’s fixation on the photographs mirrors the reader’s own immersion in true-crime media. The photos become a macabre focal point that drives the investigation forward and pulls Richard deeper into the story.
Small‑Town Evil – The memorials are public spaces where the community gathers to remember, but the killer intrudes on that sacred ground. The hidden drawings prove that evil is not an abstract invader—it lives among the mourners, capable of defiling the very symbols of innocence.
Memory and Nostalgia – Richard’s act of stealing Natasha’s photograph, and his repeated drives past the memorials, show how the past refuses to stay buried. The memorials themselves are constructed from memories (photos, handwritten notes), yet they also become repositories for the killer’s cruel reminders.
Metafiction and Blurred Reality – Because Chasing the Boogeyman presents itself as a true-crime book, the photographs carry an extra layer of authenticity. The novel includes dozens of staged images (as Chizmar explains in the Author’s Note), and the memorial photographs are among the most important. They blur the line between documentary evidence and fictional invention, forcing the reader to question what is real.
Study Questions and Answers
1. Why do you think the killer chose to leave such small, specific signatures (hopscotch, dog sign, pennies, pumpkin) rather than a more obvious message?
The small size and specificity of each signature suggest the killer wanted to be discovered by people paying close attention—not by casual observers. By hiding them in plain sight, he demonstrated his superiority over the community and the police, who initially missed them. Each signature also has an almost childlike quality, which contrasts sharply with the violence of the murders and hints at the killer’s psychological immaturity.
2. How does Richard’s theft of Natasha’s photograph from her memorial connect to the larger theme of true‑crime obsession?
Richard’s decision to steal the photograph is a clear violation of the memorial’s sanctity, yet he cannot explain why he did it. This act mirrors the way true‑crime enthusiasts sometimes collect morbid souvenirs, blurring respect for the victims with an unhealthy fascination. It also foreshadows his later inability to stay away from the investigation, even when it puts him at risk.
3. What does Detective Harper’s wink in the rearview mirror reveal about his awareness of Richard’s behavior?
Harper’s wink indicates that he knows Richard has been visiting the memorials and possibly stealing items. It implies a level of surveillance that Richard had not suspected, and it subtly warns Richard that his actions are being watched. The wink also creates an uneasy bond between investigator and amateur, suggesting that Harper may see Richard as a useful—if unreliable—asset.
4. How do the memorial photographs advance the novel’s metafictional structure?
Because the novel is framed as a true-crime story, the inclusion of photographs—especially those showing “hidden” details—reinforces the illusion of documentary evidence. The reader is invited to examine the images alongside the narrator, deepening the sense that we are experiencing a real investigation. The Author’s Note later reveals that all photographs were staged, which complicates the reader’s trust and highlights Chizmar’s deliberate blend of fact and fiction.