This is the second part in this planned series of articles that will deconstruct the Madeleine McCann story. If you haven’t read the first part of this series, you can read that here: source
The story of Madeleine McCann is constructed like most detective fiction. It begins in act one with a crime scene and the audience are then provided with an explanation for the crime. In this case, a child is missing from the apartment and the explanation given is the child was abducted / taken from that apartment by an unknown. The audience then processes that information.
Act two is when we are introduced to the detective character. The detective begins to investigate the crime and finds fault with the initial explanation. The detective then puts various clues together and presents an alternative explanation for the event. In the case of the Madeleine McCann story the conclusion of the detective is that the abduction was staged by the parents to cover up the death of their child.
That is the typical set-up of most detective fiction stories, and the Madeleine story uses the same narrative construct.
Defining Character Roles
In detective fiction, the protagonist of the story is usually the detective character. The protagonist of the Madeleine McCann story is also the detective character, and his name is Goncalo Amaral. This article will demonstrate how the story presents the character in this role and will also demonstrate the various techniques used to shift audience perspective to supporting his claims.
The main suspects in any detective story are usually the antagonists. This role is traditionally established early in the narrative and the main suspects in the Madeleine story are the parents, Kate and Gerry McCann. You might argue that Kate & Gerry McCann are not the antagonists, but the storytellers appear to present / portray the parents in this role and this article will demonstrate how the story does this throughout the narrative.
This article has been split into two chapters, each chapter representing the two opposing character roles.
The Purpose of the Second Act
The purpose of the second act is to convince the audience that the initial explanation was false and the explanation provided by the detective character is correct – or that he is at least on the right track. This shift in audience perspective requires both sides (all of the storytellers) to push in exactly the same direction, which is exactly what happens and this article will demonstrate how this has been done.
The side of the protagonist push these ideas directly and the side of the antagonists use indirect techniques – you’ll see what I mean as we move forward.
The first article concluded that the story of Madeleine McCann is a work of fiction and certain critics felt this conclusion was not sufficiently supported.
A principle consideration of ‘burden of proof’ is:
“…to what degree of certitude must the assertion be supported?”
Now, for many people the first article provided more than enough examples to support the fictional nature of the Madeleine story, but I will continue to support this conclusion by providing more examples that demonstrate the Madeleine McCann story as being an exercise in fictional narrative techniques.
Since the first article many people have noticed things that I had not, which is exactly what I was hoping for and there’s an example of that in this article. The idea is that this second article provides even more scope for external expansion, especially as we take a first look at Gonçalo Amaral’s book ‘The Truth of the Lie’ and Kate McCann’s book ‘Madeleine’.
Thank you and please read on.
1: The Protagonist
“Protagonist: The leading character or one of the major characters in a play, film, novel, etc… an advocate or champion of a particular cause or idea.”
In the Madeleine McCann story the main protagonist is the detective Goncalo Amaral and I think everyone would agree this character is the advocate / champion of this particular idea: Madeleine McCann died and the parents covered it up.
“What I know tells me that Madeleine McCann died in the apartment 5A”
After five-months of being the lead detective on the case, we are informed this was the conclusion reached by Amaral and his investigation team. The majority of the critical audience have come to agree with this conclusion. This agreement is demonstrable by the fact Amaral’s supporters managed to raise over £50,000 to help with his court costs. source
“It’s my duty as a police officer: to seek the truth so that justice may be done.”
That is exactly the kind of thing a protagonist / hero would say and it’s a good example of why the audience view Goncalo Amaral in this way – as a hero, a saint and a man of integrity. The audience also sympathise with this character due to his reported removal from the case, his loss of earnings, the breakdown of his marriage and all kinds of other reasons. If you want your audience to connect with the hero, you have to give them reasons to – the more the better – and then the audience will want the hero to succeed and overcome.
On October 2nd 2007, Goncalo Amaral was controversially removed from the case. This removal compelled Goncalo Amaral to leave his job with the PJ and write a book about his experience with the Madeleine McCann case.
This is that book >>> source
The book is called ‘The Truth of the Lie’ and it was released in 2008. The release of this book started a legal battle between the McCanns and Amaral about whether or not the book should be banned. This reported legal battle is still going on to this day – see here.
This never-ending legal battle achieves three things:
1: It kept the story in the news – all great news stories need longevity.
2: It generated more publicity for Amaral’s book – which means more publicity his claims / ideas.
3: It was a way of continuously reinforcing the roles of protagonist and antagonist.
It’s interesting that even though Amaral’s book is supposedly banned from release in the U.K. it has been freely available online throughout this 10 year legal battle. So it’s not really banned as it’s freely available to read. We are only told it’s banned to make us think the McCanns are trying to hide something and that they’re trying to repress ‘the truth’ – it’s audience manipulation.
That was a brief summary of Goncalo Amaral’s story upto this point, but let’s start at the beginning…
1.1: The Backstory
“A backstory, background story or background is a set of events invented for a plot, presented as preceding and leading up that plot. As a literary device backstory is often employed to lend depth or believability to the main story” source
When it comes to writing a backstory, the incidents described must be relevant and illustrative in relation to the main story. A well-known example of this kind of fictional backstory would be the protagonist in ‘The Sixth Sense’ (1999). In the opening scene of the movie, child psychologist Dr Malcolm Crowe encounters a former patient. The story then jumps forward in time to the main story. As the main story unfolds we understand why the backstory is relevant and illustrative.
Goncalo Amaral has a backstory just like that:
The Disappearance of Joana Cipriano
In 2004, three years before the Madeleine McCann story, we are informed that Goncalo Amaral was involved in the Cipriano case. It is the story of a young girl called Joana Cipriano who vanished from her home without a trace. In the beginning, the mother Leonor Cipriano mounted a campaign to search for her missing daughter.
As time went on the PJ started to suspect parental involvement and began investigating the mother. The case concluded with Joao Cipriano (the uncle) confessing to the murder and the subsequent disposal of the body. The body of Joana Cipriano was never found and it was the first murder trial in Portuguese history to take place without the discovery of a body.
(Links to all related press releases about the Cipriano story here: source )
“Foreshadowing is a literary device in which a writer gives an advance hint of what is to come later in the story” source
Goncalo Amaral’s backstory ‘The disappearance of Joana Cipriano’ is virtually identical to the Madeleine McCann story. This means that our protagonist has a foreshadowing backstory:
1: A young girl vanished without a trace.
2: Officers failed to secure the crime scene.
3: The parents mount a campaign to find their daughter.
4: The local Polícia Judiciária (the PJ) investigates the possibility of parental involvement.
5: The parents were thought to have concealed the body.
6: It was thought the body may have been hidden in a fridge.
7: The remains / dead body was disposed of using a car.
8: The child has never been found.
9: Goncalo Amaral was a detective on the case.
10: Both stories happened within a seven mile (11km) radius of one another.
In fictional storytelling ‘foreshadowing’ is a very common literary device. It is a tool that is used time and time again and the foreshadowing-backstory is a classic example.
The protagonist in ‘The Sixth Sense’ has a backstory just like that: In the opening scene child psychologist Dr Malcolm Crowe (Bruce Willis) is confronted by former patient Vincent Grey. This former patient has a particular problem, one that has driven him to madness. Ultimately, Dr Crowe was unable help Vincent. The narrative then jumps forward and we find the protagonist Dr Crowe waiting for his new case… a young boy with exactly the same problem.
“I know that again, you know Kate and Gerry had had problems err with I think it was the blinds in their flat and the fridge” – David Payne
“Yes, the bodily fluids in the car shows that (the body was refrigerated)… the fact that there was fluids shows refrigeration” – Goncalo Amaral
E.M Forster states that when creating a backstory it should ‘only connect’.
Anyone who has seen the movie ‘The Sixth Sense’ will know that the protagonist’s foreshadowing-backstory comes back to haunt him during the main event – in much the same way that Goncalo Amaral’s foreshadowing-backstory comes back to haunt him:
“His career in tatters and now back on desk duties in Faro, Amaral faces a criminal hearing in the case of another missing child, Joana Cipriano, after being accused of concealing evidence that the girl’s mother was tortured into confessing to her murder” source
In conclusion, Goncalo Amaral has a foreshadowing backstory that comes back to haunt him during the events of the main story. This backstory is a perfect example of fictional story-telling, which would make the story of Joana Cipriano a work of fiction created to provide the character of Goncalo Amaral with an illustrative and relevant backstory.
1.2: ‘Goncalo Amaral’
As we have already seen, Gonçalo Amaral is a character with a foreshadowing backstory that interferes with his main story. This is a narrative technique exclusive to work of fiction and fictional characters. The identification of such a device leads us to question Gonçalo Amaral himself.
If our protagonist has a fictional backstory (which appears to be the case) then perhaps the character is fictional? Is the name ‘Gonçalo Amaral’ authentic? Or is this another name – similar to those looked at in the first article – that has been constructed to fit the character / narrative? Another practice exclusively associated with creative writing / fiction.
For a convenient example of symbolic character names, we only have to look at the key characters in ‘The Sixth Sense’:
“The crow is known as the ominous omen of death because it is the harbinger that guides souls from the realm of the living into the afterlife.”
The crow is a carrion bird (a bird that feeds on dead animals) which probably explains why they have come to be associated with death. So when the audience are introduced to Malcolm Crowe, they are being told that this character is directly associated with death, which of course he is.
“SEER: a person of supposed supernatural insight.”
When the audience and our protagonist (Crowe) are first introduced to Cole Sear, we are told he a troubled young boy, but as the story moves forward it is revealed that young Cole Sear can see dead people – he has supernatural insight. For the majority of the audience all of this information comes as a surprise, but the writer of the movie is revealing everything about these characters from the first moment they are introduced.
The name Vincent is alluding to Vincent Van Gogh who was also a troubled soul who killed himself using a gun. The colour grey can be used to symbolise something in-between (it is not black or white – it is between two worlds) just like Vincent Grey and then Cole Sear after him.
They are the three key characters in ‘The Sixth Sense’ and you can see how much thought the writer has put into their names. I realise this is somewhat of a tangent, but for those not familiar with the creative process, they’re good examples of symbolic character names.
In the Fatima chapter from first article we looked at Praia Da Luz (Beach of Light) and how it is old fishing village located in the municipality of Lagos. The patron saint of fishermen in Lagos is a 15th century monk called Sao Goncalo. There is a statue of Sao Goncalo that overlooks Lagos beach:
Now, after looking at Sao Gonçalo, I realised that the name ‘Gonçalo’ could be a very popular name in Portugal, there could be many saints called Gonçalo. So I had a quick look online and soon discovered that wasn’t the case.
For a start, there are not as many Portuguese Roman Catholic saints as you might think, there are 41 Portuguese saints altogether. Portugal has the seventh highest number of Roman Catholic saints, and while that may seem impressive, they are still some way behind the top six – Italy 260, France 146, Spain 114, Germany 89, England 69 and Belgium 62.
In the first article, we looked at the children from the ‘Our Lady of Fatima’ story – the most recent additions to Portugal’s official list – but looking through the forty-one names ( source ) we can see that our local patron saint ‘Sao Gonçalo’ doesn’t make the list:
“Patron Saints are looked upon as a special guardian of a person, place, or institution, whereas a Saint has been officially recognized as having lived an exceptionally holy life.”
This information does not make the name ‘Sao Goncalo’ and his locality any less relevant, but it did make me look at the official list and that is when I discovered…
Saint Gonçalo de Amarante source
How perfect is that name? Saint Gonçalo de Amarante was a 12th century Portuguese Roman Catholic priest known for his silence and solitude in reflection, much like our protagonist Gonçalo Amaral:
“I’ve had no wish to go out, to go walking or to meet people. I yearn instead for peace and silence” source
Was the name Gonçalo Amaral constructed using these well-known Portuguese saints? Again, considering what we looked at in the previous article, I would say that is a fair conclusion, especially when we consider how Gonçalo Amaral is perceived by his loyal supporters.
“Goncalo Amaral is the real hero in this tragedy, he has suffered so much at the hands of those guilty twisted parents”
If you were creating a fictional Portuguese detective then ‘Goncalo Amaral’ would be the perfect name. Especially if this detective character is someone who will be perceived as a hero / saint-like character – which Gonçalo Amaral clearly is. This also explains why Gonçalo ‘the saint’ Amaral is more than happy to pose for pictures like this:
This photograph has a church in the background and the photographer was very keen to make sure that Gonçalo Amaral was stood in front of a Saint. This photograph first appeared in a British newspaper, here: source
Many people are under the impression that the British press liked to paint Amaral in a bad light, but looking at this photograph the opposite appears to be true.
In conclusion, the name ‘Gonçalo Amaral’ is perfectly symbolic of the character. The name appears to be a fictional construct that was created to add meaning to the character by reflecting how he is perceived by his supporters.
1: The name ‘Gonçalo Amaral’ is symbolic of the character / it’s the perfect name for that character.
2: This is a trait exclusively associated with fictional characters.
3: The deconstruction of this name adds further support to the identification of an overall fictional construct by an unknown author.
1.3: The Truth of the Lie
A Verdade da Mentira (The Truth of the Lie)
“the minor, Madeleine McCann died in the Ocean Club apartment, in the Luz village; a child abduction was staged; Kate Healy and Gerald McCann are suspects of being involved in the concealment of their daughter’s cadaver; the death might have occurred following a tragic accident; there are evidence of negligence in the safekeeping and supervision of their children”.
That is Amaral’s theory of what happened to Madeleine McCann and what the book ‘The Truth of the Lie’ is all about. This theory is based on the demonstrably bogus Portuguese police files, but written from the perspective of Gonçalo Amaral.
The online English translation of this book: source
When I began reading this book, I was immediately struck by the authors frequent use of fictional devices (narrative techniques used to create fiction) and from a creative point of view, the work is actually quite impressive. There are so many examples that I could share, but for the purpose of this article, I have chosen the following:
The Dog Story
“I receive a phone call from Sofia, who insists on my going home: our Shitzu dog is dead. She found it that morning, lifeless on the ground, with a head injury. She did everything to make sure the girls did not see it, but she didn’t have the courage to remove him. When I arrive, everyone is already in bed. I place the Shitzu in a plastic bag, not sure about where I am going to be able to bury him. The ground is hard here. it’s not easy to dig a hole and I hardly have the time for it. I decide to drop his remains into a bin. The animal is small, but he seems to weigh more than usual. I use my car to take her. As I am getting rid of it, I realise just how easy it is to hide a body – and how difficult it is to bury…”
Truth of the Lie : Chapter 7 source
The death of Amaral’s dog is widely believed to be a true story. This has led to many critics to believe his dog was killed as some kind of warning to Amaral, telling him to back off… but the dog story is not a true story. Once we begin to deconstruct this story, we can see it for what it is and why it was included:
1: Parent discovers corpse.
2: Cause of injury / death is unknown.
3: Parents hide corpse out of sight.
4: Corpse is placed in a bag.
5: Husband is tasked with removal.
6: Corpse is placed in car and disposed.
That is the story of Amaral’s dog broken down into six parts. The same sequence could also be outlining Goncalo Amaral’s theory regarding the fate of Madeleine McCann.
The dog story is clearly a fictional device (analogy) used to symbolise Amaral’s theory – and just to make it absolutely clear to the reader that this story is symbolic, the author makes further connections between the two stories:
1: Amaral is working on the Madeleine case when he learns of the dog’s death.
2: As Amaral is getting rid of the dog’s dead body he reflects on how easy it is to get rid of a body – in a book about the concealment of a body.
3: In his Madeleine theory the parents couldn’t bury the body as everything happened in a short space of time… and for whatever reason Amaral also claims to have the same problem with his dog.
4: Amaral refers to the dog as ‘him’ and then changes to ‘her’.
If the dog story is a literary / fictional device – which it surely is – then the conversation that directly followed the dog’s death is also completely fictional:
“….When I get back, I discuss it with Sofia: she is afraid. She asks me to abandon the investigation and to worry about our daughters rather than other people’s. For her, the dog’s death is a bad omen. I reply that she is unfair, that her fears are irrational. Justice must be done for Madeleine, as for all other children and adults. It’s my duty as a police officer: to seek the truth so that justice may be done.”
The author has created a perfectly symbolic representation of the book’s main theory and by doing so the author has also invented a story about the Amaral family. Immediately after the dog story the author describes a private conversation that never actually happened.
The Basket of Flowers
Another story about Goncalo Amaral’s family:
“At the end of May, my wife Sofia visits me at the offices of the Department of Criminal Investigation in Portimão. She brings a flower basket filled with orchids, roses, lilies, and gerberas, decorated with butterflies and birds in shades of green and yellow, the two colours symbolising the mobilisation around Madeleine. A little note from my daughters accompanies it: “Papa, we love you, don’t forget about us, but find Madeleine. Rita and Inès.” That bouquet stayed in my office, withering as the days went by and the hope of finding Madeleine alive dwindled.”
‘Truth of the Lie’: Chapter 14
The basket of flowers is symbolic of the Madeleine investigation. This story is another fictional device and the author is not even subtle about it.
“shades of green and yellow, the two colours symbolising the mobilisation around Madeleine”
The author goes into great detail to describe this elaborate basket and then confirms what we already suspected, that the basket story is symbolic of the Madeleine investigation.
“That bouquet stayed in my office, withering as the days went by and the hope of finding Madeleine alive dwindled.”
The lead detective has a basket of flowers in his office that perfectly symbolises the drive to locate Madeleine alive. That bouquet then stayed in the office to subsequently symbolise the dwindling hopes of the investigation. How convenient.
“Papa, we love you, don’t forget about us”
This implying that protagonist Goncalo Amaral was so busy with the Madeleine case he was spending less time with his own children – a selfless hero.
The flower basket in Amaral’s office is a symbolic representation of Madeleine being central to that office. The wife of a Portuguese police detective did not visit the Department of Criminal Investigations with a basket of flowers. The story is a fictional device created to add depth and meaning to the story.
(More examples from this book shortly…)
1.4: Front Page News: Amaral
The British press are known for portraying Goncalo Amaral in a bad light and supporting the McCanns version of events, but what they’re really doing is baiting the audience – which is a common theme that runs throughout the narrative.
Even though the headlines and the stories appear to be against Amaral and those who speak out against the McCanns, when we apply basic media analysis it reveals a different agenda. We have already seen the UK national press publishing a photograph of Goncalo Amaral with the image of a saint in the background, but that’s not all they do… the national press are fully onboard with the true portrayal of Goncalo Amaral: as the protagonist / hero of the story.
THE MADDIE PREDATORS are sharing a front page with the nations most celebrated heroes.
Those designing this article make sure that the word LIES sits over the word McCANNS and the McCanns themselves.
There are many different ways in which a headline can be written and arranged, but as we will see throughout this article, words and the arrangement of headlines are chosen very carefully.
Amaral has to pay money to the McCanns over his’ abduction lies’.
This story shares a front page with one story about a sham and another story about Kate with the words ‘The wait’s driving us crazy, Kate!’
In other words, this payout is a sham, we want to know the truth and Kate has all the answers. This is reflective of how critics view the Madeleine McCann story.
Amaral makes bold claim that MI5 HID HER BODY and this headline is next to a picture of someone receiving an award for being the best in their field.
This is the second time that Goncalo Amaral has shared a front page with a sporting hero at the top of their game.
The story at the top is about love letters between Rose West and Charlie Bronson. This story is underlined by the words ‘Parents desperate court bid’. These words are underlined by the word McCANNS !!!
The word McCANNS are also placed next to a story about a troubled British celebrity who jets out of the country. This has placed there because the McCanns jetted out of Portugal soon after they became official suspects.
Then we come to Goncalo Amaral, he is the one pictured on the page and if we look in the bottom left hand corner it reads ‘miracle COP’. Do you really believe those words are there by accident?
COP WINS RIGHT TO ACCUSE PARENTS – and top left of that headline there is a photograph of someone celebrating.
Goncalo Amaral claims that MADDIE DIED THE NIGHT SHE VANISHED. This headline is next to a picture of someone popping open the champagne. Are we celebrating this claim? This is another front page that surrounds the claims of Goncalo Amaral with positive reinforcement.
Can you see the advert for the BRAIN-TRAINING MACHINE? It’s testing your brain to see if you can make the connections.
It’s not just Goncalo Amaral who receives the positive reinforcement / protagonist treatment. Here is Brenda Leyland sharing a front page with a story about the Pride of Britain heroes.
Even the LYNDA death story has a nice angle to it.
Amaral doesn’t get that many front pages, but those he does appear on clearly represent him as the protagonist – at least below the surface story – and surround his claims with positive reinforcement. It makes sense for the protagonist / hero character to be linked with heroes and awards. In chapter two (the antagonist chapter) you will see the difference when it’s Kate and Gerry McCann on the front pages. They have been on more front pages than most and there isn’t an award, celebration or hero in sight – quite the opposite.
1.5. The Truth of the Lie p.2
‘The Truth of the Lie’ has never been critically analysed in this way before – as the audience is under the impression this is a factual document – so let’s take this opportunity to further analyse the creative techniques of the author, with two more examples from this book.
An Astonishing Shift
In the penultimate chapter of ‘The Truth of the Lie’ we are told about Amaral’s final few days on the case. The author conveys this information whilst switching back and forth between two stories: the continuing story of the Madeleine investigation which leads to his removal from the case and another story about Goncalo Amaral and his family.
The Truth of the Lie : Chapter 21
“On the last weekend in September, I decide to leave Portimão to go to my virtually abandoned house in the Algarvian east. Inès, my four-year-old daughter, goes with me“.
Just to clarify, this is the family story about Gonçalo Amaral and his daughter Inès (the daughter closest to Madeleine’s age) spending the weekend together. The author then switches to the Madeleine case:
“I listen to the news… I am speechless: a member of the McCanns’ staff states that they are in possession of a report that invalidates the work of the EVRD and the CSI dogs”
The author now brings the EVRD & CSI dogs to our attention and then switches back to the story of Amaral and his four-year-old daughter:
“During the night of Saturday into Sunday, our dog does not stop barking. I go out but I see nothing and nobody that could get him so worked up. He then howls by the door. I don’t know what’s going on”.
Did Amaral get a new dog? That aside, we have another story involving a dog and the dog in this story is barking. It seems like the dog is trying to alert Amaral to something.
“The next day, I still don’t understand what could have upset the dog so much. Inès, anxious, wants at all costs to see the neighbours, but they haven’t returned.”
1: A four year old girl.
2: Anxiety because someone left and hasn’t returned.
3: A dog barking.
All story elements straight from the Madeleine narrative – and if you somehow think that doesn’t work because Madeleine was three, you will also know that she disappeared nine-days before her fourth birthday. I mean, I shouldn’t have to state the obvious here, but the point of an allusion is not to be an exact copy.
“On Monday August 1st, I go back to work at DIC in Portimão…”
Hold on a minute, surely the author means October 1st? Has this writer / translator not been following the story? The weekend with his daughter was at the end of September – and just to confirm this error, August 1st 2007 was a Wednesday!
“On Monday (October) 1st, I go back to work at DIC in Portimão where two pieces of news are waiting for me: officials at Buckingham Palace have received an email informing them that a little girl – Madeleine – has disappeared from a hotel complex situated….in Lisbon!”
Buckingham Palace? A hotel in the capital? Is this an allusion to Diana? In 2007 the death of Diana was still dominating the mainstream and the alternative news. The two stories are often compared as they have many similarities… as we will see later on.
“This is where we’re at: reduced to receiving that type of tip-off and chasing a phantom, that of the imaginary abductor”
(…wrote the imaginary detective.)
“At last, I get home. It’s when I visit my neighbours that I finally understand the reason for my dog’s agitation the previous night. Their house has been burgled.”
So the dog was trying to tell him something and now Amaral is no longer confused. He understands that the dog was trying to alert him to a crime. How convenient is that? That is exactly his understanding when it comes to the EVRD and CSI dogs in the Madeleine story.
“The thieves left behind lots of valuable objects but snatched a briefcase containing personal documents.”
These thieves left valuable objects and took something personal. What kind of thieves are these?
To summarise: we have the ‘holiday’ with the four year old daughter… the unknown intruder, no valuable objects are taken, something personal is taken… anxiety because someone hasn’t returned… the dog barking and Amaral eventually understanding that the dog was alerting him to a crime.
These are all story elements lifted directly from the Madeleine story, but here they have a different composition – that is an allusion. The burglary story symbolises Amaral’s understanding of the Madeleine case.
It is another fictional story that involves Amaral’s family / personal life – a literary device that was created to add meaning to the main story. These narrative techniques are well constructed and show real creative ability, but this idea that Amaral’s book is only based on facts and truth, forget about it.
The entire book is full of these fictional devices. You only have to continue with this chapter to see that…
The next day is Tuesday 2nd October – possibly the most eventful day in Gonçalo Amaral’s existence:
1: October 2nd is Gonçalo Amaral’s birthday.
2: Amaral travels to Huelva Cathedral in Spain with fellow police officers for a special service dedicated to the role of the police and the protection of children !!!
3: He is removed from the Madeleine case.
“…this is not the present I wanted, but one that I was expecting.”
How is that for a birthday to remember?
The whole point of Amaral’s book is to help shift audience perspective from abduction theory to death theory – just like everything else associated with the Madeleine McCann story.
The Officer and the Wristband
“As time went by, we noticed that a certain number of the police officers sent to Portugal were poorly informed about the progress of the investigation. One of them who – like the majority – was coming to Portugal for the first time, was wearing a green and yellow rubber wrist band, bought for £2, which he played with nervously. The inscription read, “Look for Madeleine.” Some of his colleagues told him that he would soon get rid of it. As a matter of fact, he took it off as soon as he got properly into the investigation and he had learned about the evidence placing doubt on the theory of abduction.”
The Truth of the Lie: Chapter 6
This is a fictional story created to symbolise the audience and their shift in perspective.
1: The poorly informed police officers sent to Portugal represent members of the audience who have not read ‘The Truth of the Lie’ or looked over the police files.
2: The wristband inscribed with the words “Look for Madeleine” symbolises abduction theory.
3: The officer’s colleagues symbolise the more informed critics.
Once the officer learns about the evidence placing doubt on the abduction theory he removes the wristband. In the story the officer literally removes the wristband, but the reader figuratively removes it. The reader instantly relates to the actions of this officer because the story of the officer was created to symbolise the reader.
Does anyone still believe that the character ‘Goncalo Amaral’ wrote this book?
There can be little doubt that Gonçalo Amaral is the protagonist of this detective story. That is how he is presented to the audience, how he is portrayed, and thus how he is perceived.
The character ‘Gonçalo Amaral’ has a backstory that not only foreshadows the main story, but it also comes back to haunt him by interfering with the events of the main story. This type of backstory is the perfect example of fictional narrative technique, so much so that it cannot possibly be considered authentic.
The name ‘Goncalo Amaral’ is symbolic of location and character. This is precisely how fictional character names are constructed – as we have seen. The name ‘Goncalo Amaral’ is not an authentic name. It is the name of the character this person is portraying.
The book ‘The Truth of the Lie’ provides numerous stories about Goncalo Amaral’s personal life. All of these stories are literary devices – techniques used to provide a scene or story with additional depth and meaning. This book does not provide authentic insight – it is a work of fiction. All of the ‘personal insights’ in this book have creative intentions and from the information provided by this book we can only conclude that the Amaral family are a work of fiction.
The unknown author of the Madeleine McCann story appears to have created the perfect protagonist – the detective who is selfless in his quest for truth and his fight for justice, a hero to his supporters and a saint amongst men.
“An antagonist is a character, group of characters and/or institution that represents opposition against which the protagonist must contend.”
You could argue that Kate and Gerry McCann are the protagonists of the story as they are the main characters, and that Goncalo Amaral is the antagonist. I can understand that point of view and have no problem with it, but I have chosen to assign these roles as I feel the McCanns do not have the audience on their side and it seems like their job is to antagonise people.
The role of antagonist is usually assigned to the villain of the story and this is exactly how the majority of the critical audience perceive the McCanns. It is also how the story presents them and how the characters are portrayed. The entire narrative is geared towards presenting them this way – in the same way that Amaral is presented as the protagonist.
I have never seen two people court suspicion quite like the McCanns. From the early days when they would publicly go jogging in matching outfits to newspapers headlines about their sex life – the McCanns excel in baiting the public.
2.1: The Balloon Photograph
On the 12th May 2007 Madeleine McCann’s fourth-birthday was marked with a special church service. It was during this day that some of the most widely circulated photographs of Kate and Gerry McCann were captured.
These widely circulated photographs always manage to get people’s attention. The critical reaction will usually focus on the fact they are both laughing / smiling only nine days after their daughter’s reported disappearance. Critics then share these images online which attract even more attention to the photographs, to the point where anyone who has ever looked at the Madeleine McCann story will have already seen these photographs.
I have not plucked ‘the balloon photograph’ from obscurity, this is arguably the No.1 photograph used by online critics.
What we discovered from the first article was, anything ‘the critics’ repeatedly draw our attention towards is an indication that an allusion is being pushed, but what is the allusion here?
If we take a closer look at the image, we can see that Kate McCann is holding something in her hand:
Kate is holding a prayer card. It is carefully placed so that when Kate holds it up – which she does throughout the scene – the image of this prayer card is always visible to the cameras. This staging of the prop is done in preparation for the moment when Kate and Gerry McCann both start smiling.
This is the prayer card that Kate is holding: source
As we can see, this is a Roman Catholic prayer card featuring Saint Josemaría Escrivá – the founder of Opus Dei:
“Since 2003, Opus Dei has received world attention as a result of Dan Brown’s novel The Da Vinci Code and the 2006 film based on the novel. In The Da Vinci Code, Opus Dei is portrayed as a Catholic organization that is led into a sinister international conspiracy.” source
This is another allusion to The Da Vinci Code and this time it is a direct link between the antagonists of each story. Kate McCann is holding an image that symbolises their intertextual counterparts, Opus Dei.
This film / image has been set up and planned. The prayer card is a symbolic prop that adds depth and meaning to the images by reinforcing the character role of the McCanns. That is creative process.
The first article here has already demonstrated that the Madeleine McCann story and The Da Vinci Code have an intertextual relationship. The author of the Madeleine story uses The Da Vinci Code as source material for their story. When we look at the many allusions to this novel is almost impossible to deny and now we have another clear allusion that we can add to that list.
Opus Dei have been fictionalised antagonists before Dan Brown came along, but not as often as you might think. In Jerry Pournelle’s 1974 Science Fiction story ‘Enforcer’ the antagonist is affiliated with Opus Dei. In Donna Lean’s 1997 detective novel ‘The Death of Faith’ the book’s mystery involve sinister activities by Opus Dei and the protagonist struggles to prove their crimes because Opus Dei is deemed too powerful.
It was ONLY when The Da Vinci Code came along that the idea of Opus Dei as antagonists entered mainstream culture. This idea was at its absolute peak when the Madeleine McCann story broke in May 2007, which means the most well known contemporary antagonists at the time of these photographs were Opus Dei.
2.2: Front Page News: McCann
When we looked at the front page’s featuring Goncalo Amaral, the surrounding headlines evoke feelings of pride and sympathy – as you would expect with any protagonist character, but the problem I had with Goncalo Amaral was his lack of available front-pages. This was not a problem when it came to Kate and Gerry McCann.
As we’ve seen, Goncalo Amaral and Brenda Leyland share front pages with heroes and positive news stories because they are the protagonists / the good guys. However, Kate and Gerry McCann’s front pages are very different…
The words I KILLED MADDIE next to a picture of a waving Kate.
That’s a fairly obvious one and it’s not the first time they use another Kate to make us think of Kate.
A photograph of Kate over the words DID YOU KILL MADDIE. Also, next to the ‘Maddie’ headline there is a story about Rolf Harris – a formerly beloved celebrity who was convicted of indecent assault on persons below the age of consent.
This is about as subtle as a sledgehammer. We have a story showing a distressed Kate McCann not knowing if Madeleine is dead or alive, over the words THE WORLD’S MOST EVIL DAD.
This headline is next to a photograph of a very well-known Scotsman. So Gerry McCann, who is a well-known Scotsman and Madeleine’s dad is being linked to the worst dad who ever had a daughter. What happened to the Olympic heroes and the Pride of Britain awards?
“The Daily Express today takes the unprecedented step of making a front-page apology to Kate and Gerry McCann.” source
The Daily Express saying ‘sorry’ to the McCanns for suggesting they “caused the death of their missing daughter Madeleine and then covered it up.”
When we see the full front-page, the apology to Kate and Gerry McCann is underlined by the words JUDGE SAVAGES !!!
The blonde woman in that particular story is being called a ‘FANTASIST’ and underneath that story is an advert for a holiday.
A front page that sums up the entire Madeleine story.
Main story are the words KATE MCCANN FEARS ATTACK and we see a photograph of a blonde mother with her blonde child next to a story about someone cradling a dying person in their arms.
This front page illustrating a theory to which many subscribe – that at some point Kate McCann ‘blonde mother’ held her dying / dead daughter in her arms.
This is the infamous story about Kate McCann forgiving the abductor.
This story about Maddie is underneath Maggie’s coffin. The word MADDIE is bigger than ‘Maggie’s’ and is closer to the coffin.
The word MADDIE is also red to further highlight it’s significance on the page.
To the left of the MADDIE story we also have a story about a young child dying.
And to complete the page, Everton Football Club (Madeleine’s team) has also been included.
We have the words FRESH AGONY FOR THE McCANNS next to a photograph of Kate smiling / laughing.
This photograph is underlined by the words “The real Kate”.
We see a shocking headline about a “Beast dad who abused his captive daughter” and then we look up and see a photograph of smiling dad Gerry McCann.
I mean, this guy gets the worst press ever, that’s a terrible headline to have underneath your smiling face.
The football is always good for added meaning, here showing the number 13 – unlucky for some.
This is the first of our Madeleine / Diana front pages. The two stories are often link as they have a lot in common.
With the Diana story, some people believe her death was accidental and others believe there was foul-play involved (Murder) – both theories have received much attention.
With the Madeleine story, some people believe her disappearance was abduction and others believe there was foul-play involved (death) – both theories have received much attention.
You can probably figure out the other connections for yourself and whoever designed these front-pages was certainly aware of them.
The Madeleine story is telling us about kidnappers, but we know the Diana story is about death. The Diana story also has a ‘conspiracy theory’ that suggests her family (the Royal family) were somehow involved in orchestrating her death.
The man pictured is our old friend Robert ‘The Translator’ Murat who is often mixed up in Madeleine theories – as you’d expect considering his symbolic relevance.
For those who cant spot the connections being made, the Daily Express separates the two stories with an advert for a FREE EYE TEST !!!
There was a big fuss within the alternative media that perhaps Madeleine was buried under the driveway of Robert ‘The Translator’ Murat… or at least somewhere on his property. If we’re reading down the page, can you see where it says MURAT BURIED MADDY ?
WE DIDN’T KILL OUR MADELEINE says Kate and Gerry McCann, but those words are written underneath another Diana story and this says ‘The biggest ever insult to her memory’.
Yet another Diana / Madeleine front page from the Express. They also manage to squeeze a story about former Prime Minister Gordon Brown in the right-hand column. We already know about Gordon Brown’s reported involvement with the Madeleine McCann story from the first article.
This front page is tells us ‘ALL THREE CHILDREN DRUGGED’ underneath a picture of Whitney Houston,who died of a drug overdose.
This Madeleine story is next to another story about old pal Gordon Brown, who is having trouble with his eyesight – he is blind in one eye. Madeleine also had a defect in one eye – a coloboma.
Gordon Brown once again sharing a front page with the McCanns and this time his story says ‘I’ll be a servant to you’ next to a big picture of Kate’s face.
As explained in the first article, Gordon Brown was reported to be in close contact with the McCanns and was supposedly instrumental in assisting the couple.
The Daily Star again managing to link four stories on one page. They have the main Madeleine McCann headline underneath a story about a ‘ghost child’.
The other two stories: the first is about a parent charged with conning money and the second is about a plot to kill someone – in this case Tony Blair, who also has links to the Madeleine McCann story.
The Madeleine story here is another interview with the parents telling us why they think Madeleine is alive.
This story sits underneath the words IS A CON !!!
I could go on and on, but you get the idea. Kate and Gerry McCann share front pages with the worst people and the worst headlines possible. They are always being linked with stories about death and other stories that surround them with conspiratorial ideas and / or negative reinforcement.
The McCann front pages are perfect examples of presenting Kate and Gerry McCann as the antagonists.
2.3: Scotland Yard
In May 2011, it was reported that Scotland Yard had begun an investigative review into the Madeleine McCann story.
“The review was launched in May 2011 following a request to Scotland Yard from Home Secretary Theresa May, with the support of the Prime Minister David Cameron.” source
This investigative review was named ‘Operation Grange’ and DCI Redwood (pictured below) was placed head of operations: source
According to reports, DCI Redwood had twenty-eight detectives and seven support staff in his team. The cost of this ongoing government-funded operation is now in excess of £11 million !!! source
“Neither her parents, or any other member of the group that were with her, are either persons of interest or suspects” source
As we can see, from the very beginning DCI Redwood was quite clear when it came to Madeleine’s parents. As far as Operation Grange are concerned, Kate and Gerry McCann will never be considered persons of interest.
The Purpose of Operation Grange
The purpose of Operation Grange is to indirectly convince the audience that Kate and Gerry McCann are guilty. We have just seen the mainstream media play the exact same game. On one hand they appear to support the McCanns, but in reality all they are doing is pushing the audience to support the claims of Goncalo Amaral.
And this is how it works…
Operation Grange quite clearly state they will not being investigating the parents. They openly dismiss the idea that Kate and Gerry McCann concealed the death of their daughter as something that is unthinkable. So what exactly do Scotland Yard claim to be investigating?
Scotland Yard are solely investigating the idea that Madeleine McCann was abducted from the apartment by an unknown and will look at every possible way this could have happened. They have looked at burglars, bogus charity workers, reports of intruders that commit sexual assaults and they have (according to reports) spoken to everyone who was in and around that area during the time of the disappearance.
Now in their eighth year, all that Operation Grange has managed to do is to systematically rule out all of these ideas. This investigation has removed the opposition to the theory of parental involvement – supporting the claims of Goncalo Amaral.
Jane Tanner, a friend of the McCanns and a member of their holiday group, claimed that she witnessed a man carrying a blonde child away from the resort shortly before the alarm was raised. This unknown man was known as Tannerman.
Witness statement: Jane Tanner
The descriptions of this individual were given to the police by Jane Tanner and initially this person became the main suspect in terms of an abductor. I’m not going to get into this here, but basically critics took great delight in exposing Jane Tanner was as an unreliable witness who provides an ever-changing description.
Now, when it comes to the Madeleine McCann story, Scotland Yard are great at telling the critical audience what they already know. According to their investigations, they had discovered the identity of Tannerman and informed the audience that he was just a regular holidaymaker. Scotland Yard officially ruled out this previous unknown.
Witness statement: Martin Smith
According to the story, the Smith family passed a man carrying a young blonde girl towards the beach around the time the alarm was raised. They did not see his face, but the patriarch of the group, Martin Smith, later claimed this person could have been Gerry McCann.
Goncalo Amaral and the vast majority of his followers have been pushing this idea for 12 years. They are convinced that Gerry McCann was the person witnessed by the Smith family. During all of this time the McCanns themselves had neglected to focus on Smithman and were still pushing Tannerman.
So when Scotland Yard ruled out Tannerman this played right into the hands of Amaral supporters, but Scotland Yard didn’t stop there…
In 2013 DCI Redwood teamed up with Crimewatch to share the results of their investigations with the viewing public. This involved sharing these new e-fits of the suspected abductor:
Kate and Gerry McCann also appeared on this episode of Crimewatch alongside DCI Redwood to discuss the progress of this investigation. This created a pantomime effect as critics sat at home shouting at their television that this e-fit looked exactly like Gerry McCann – which was also what Martin Smith had said in his witness statement.
So yet again, the investigations of Operation Grange fully supported the ideas of Goncalo Amaral and his legion of supporters, who couldn’t believe what they were watching.
How can Scotland Yard not see the similarity? Why are they not investigating Gerry McCann? How can they be so short-sighted? Alongside Martin Smith’s witness statement this e-fit surely proves that Gerry McCann is Smithman, etc etc.
The investigation by Scotland Yard is quite clearly baiting the critics and indirectly supporting the ideas of Goncalo Amaral.
Voice of Authority
What critics need is a voice of authority against Operation Grange – John Coxon, former officer of Scotland Yard:
“In other words it has done a lot of work and spent a lot of money for the sake of doing it, no other credible reason.”
Their reason is to continuously bait the critics and push the audience towards the claims of Goncalo Amaral, but I suspect that John Coxon knows this, as his comments are doing exactly the same thing. The involvement of a former officer of Scotland Yard provides the critics with a voice of authority.
“Operation Grange is a whitewash – a vast PR exercise to promote an abduction scenario that not one shred of evidence exists to support ever even happened.”
It’s a strange way to promote the abduction scenario: by telling us that twenty-eight top detectives have been working for years, spent millions of pounds and found nothing whatsoever to support this abduction scenario.
2.4: ‘Madeleine’ by Kate McCann
“My reason for writing is simple; to give an account of the truth.” – Kate McCann, 2011
Kate McCann and Goncalo Amaral both make claims that their book is based on facts and truth, but in reality both books are an exercise in fictional storytelling. Kate McCann doesn’t disappoint with her book ‘Madeleine’.
Here are just a few examples…
“On 4 May 2007, I became Kate McCann. According to my passport, driving licence and bank account I was Kate Healy. I hadn’t kept my maiden name for any particular reason – it was just who I was and who I’d always been. But when Madeleine was taken, the press automatically referred to me as Kate McCann, and Kate McCann I have been ever since. Overnight our old life had gone and I’d become a different person.” – p.349
According to the crèche records documented in the PJ files, Kate Healy was signing the register as Kate McCann before May 4th. So what’s going on here? Did Kate Healy sign the crèche records as Kate McCann in preparation for becoming Kate McCann?
“According to my passport…”
Which passport is that? It’s not the one documented in the PJ files is it? The name on that passport is Kate Marie Healy and readers of the first article will recognise the name ‘Marie / Mary’ as being an allusion.
“…Kate McCann I have been ever since. Overnight our old life had gone and I’d become a different person.”
It wasn’t overnight. The name Kate McCann was already signed in the creche records days before the reported disappearance.
“I did my GP training at a surgery in Melton Mowbray” – Kate McCann, p.90
Are you thinking about pork pies? Of all the towns in Leicestershire, Kate McCann was trained in Melton Mowbray. Kate was trained in a town synonymous with pork pies.
For those who don’t know, the term ‘pork pies’ is rhyming slang for telling lies, ‘telling porky pies’ or ‘porkies’. This means that Kate McCann was trained in a location symbolic of her character / or how the character of Kate McCann is perceived by the critical audience.
“Kate McCann has refused to take a lie detector test about her daughter Madeleine’s disappearance, it was revealed yesterday.” source
Why would Kate need to take a lie detector test if people didn’t suspect her of lying? Incorporating the town of ‘Melton Mowbray’ into Kate’s story is nothing short of black comedy. It is also another good example of how the name of a location can add depth and meaning to a story.
I am once again reminded of the 1960 Hitchcock classic ‘Psycho’. As the opening shot pans across the city skyline the words ‘Phoenix, Arizona’ appear across the screen. The Phoenix is a mythical bird that rises from the ashes and the ‘Phoenix’ in the movie is Norman’s dead mother. source
As we can see, works of fiction often include locations to add meaning to a particular scene, character or story. We have already seen the inclusion of Rothley because of its links to the Knights Templar and now we have the town of Melton Mowbray which makes people think of pork pies – both clear examples of perfectly symbolic locations.
The Lorry Driver
“Take the lorry driver who recognised us in a traffic jam on the M6 one day, he pulled up alongside us, tooted his horn, showed us his Madeleine wristband through the window and gave us a fingers-crossed sign”. – Kate McCann p.34
How low is this lorry drivers cab? Or how high was the McCann’s vehicle? How recognisable are car passengers (traffic jam or not) to a lorry driver whilst driving?
You see what I’m saying? A lorry driver’s cab is very high up compared to most vehicles which would make him the most unlikely of motorists to engage with, but wait…
“This grass-roots support really underpins the high profile help we have been so fortunate to receive.”
The story required a good example of ‘grass-roots’ support and what could be better than an unlikely exchange with a wristband wearing salt-of-the-earth lorry driver?
The Birthday Party
“…we’d arranged a joint party in Leicester for Madeleine and two of her classmates in nursery, her best friend Sofia who had been born on the same day and a little boy called Sam whose birthday was within a few days of theirs” p.128
If you’ve ever had children then you’ll already recognise the logistical problems with this highly unlikely scenario, but that aside…
Madeleine has a three-year-old best friend who was born on exactly the same day! They’re like twins. What are the chances?
Madeleine’s best friend is also called Sofia, which is the third time this name has cropped up whilst looking at the Madeleine story.
1: Amaral’s wife is named Sofia.
2: The female protagonist in ‘The Da Vinci Code’ is called Sophie; a variant of Sofia.
3: Madeleine’s three-year-old best friend Sofia.
Note how Madeleine’s best-friend has the Portuguese variant ‘Sofia’ like Amaral’s Portuguese wife and not the English variant ‘Sophie’.
This is also the third time we have encountered a story involving three children made-up of two girls & one boy – the McCann siblings, the Fatima children and the three children sharing this planned birthday party.
Why would you invite some 3yr old boy because his birthday is only a few days away? How does that conversation happen? I’ve never heard of anything like this. Maybe you could get two unrelated children to share a birthday, but I’m really stretching to accept that. The only time this would happen would be actual twins like Madeleine’s siblings, but here we’re supposed to believe that THREE unrelated children planned to share a birthday party. The author had to include the boy character for reasons already explained.
All of these personal stories, just like in Amaral’s book, are nothing to do with reality. They are symbolic.
The story here is reflective of the remaining McCann siblings and their reported situation. In conclusion, the birthday story is a fictional device created to mirror the main events and add depth and meaning to the narrative.
The Sound of Barking Dogs
This part of the narrative is about Kate and Gerry McCann going for a search in the early hours, they are alone as everyone else had left / given up:
“All was quiet apart from the sound of barking dogs, which added to the eeriness of the atmosphere. I remember opening a big dumpster-type bin and saying to myself, please God, don’t let her be in here.” – p.83
Another connection is made between the disposing of a corpse and dogs barking. Two of the main ideas of the entire story – because that is the story they’re trying to sell.
2.5: Robert Galbraith
Robert Galbraith is the author of the crime novels ‘The Cuckoo’s Calling’ (2013), ‘The Silkworm’ (2014) and ‘Career of Evil’ (2015). The protagonist of the series is Private Investigator Cormoran Strike.
“He is unique as I think every detective should be, but he’s rightly conforming to the rules of detective fiction…” source
In December 2014, it was announced that the novels would be adapted as ‘Strike’ a television series for BBC One. This series was first broadcast in August 2017. The author has a fourth Cormoran Strike novel on the way and has plans for at least another ten.
“Robert Galbraith is a pseudonym for J.K. Rowling, bestselling author of the Harry Potter series.”
Robert Galbraith doesn’t exist; it was J K Rowling writing under a false name. The famous author simply wanted to release her detective novels to a neutral audience. This decision makes perfect sense, as she is hugely famous and if you hear the name ‘JK Rowling’ you immediately think of Harry Potter.
“Harry Potter author J K Rowling has helped Kate McCann write a book about the disappearance of daughter Madeleine” source
According to this news report from 2011, Kate McCann turned to J K Rowling to assist her in writing the ‘Madeleine’ book. It doesn’t matter if this story is true or false, just that a connection is being made.
This wasn’t first time J K Rowling has been linked to the Madeleine McCann story…
“JK Rowling is using the fame to help the hunt for Madeleine McCann. Posters of the three-year-old who went missing in Portugal will be displayed in every bookshop selling the final instalment of the young wizard’s adventures to ensure that her plight is known across the world.” source
In July 2007 it was announced that campaign posters bearing Madeleine’s image would be on display in every bookshop selling the latest instalment of the series ‘Harry Potter and the Deathly Hallows’. So in these bookshops ‘across the world’ people will see the face Madeleine McCann next to the words ‘Deathly Hallows’ !!!
Are JK Rowling and Madeleine McCann’s parents promoting death theory? It certainly looks that way and this is early days, it’s only been two months since Madeleine’s reported disappearance.
“Madeleine’s father Gerry McCann said the family was very grateful to the author. “This is a huge offer,” he said. “It’s such a kind gesture.””
It’s hard to believe this was JK Rowling’s idea. The promotion has clearly been put together because the creators of the Madeleine McCann story had an opportunity to promote the idea that Madeleine is dead.
And that’s not all…
“Harry is explicitly referred to as the Chosen One; we see him walk into the wilderness, where he is plagued with doubt… he discovers that he is seeking for the Resurrection Stone which gives the bearer power over Death; if he can find the Deathly Hallows, he will ultimately be able to banish Death entirely.” source
The biblical / messianic allusions don’t end there: champagne glasses are refilled by magic, like the wedding at Canae: Ron’s vision of Harry and Hermione looking like Adam and Eve; a serpent / snake is Voldemort’s chosen symbol and predator.
Some Christian groups have been critical of the Harry Potter series due it’s glorification of witchcraft and wizardry. Others have argued that in fact the novels are – like CS Lewis’s Narnia series – a Christian allegory.
The idea that Harry Potter is a Christian / messianic allegory has been discussed many times on numerous platforms:
This article asks the question: Is the Boy Wizard a Messiah Figure?
An article from Christianity Today, which asks: Is Harry the Chosen One?
The Jewish Journal asks: Is Harry Potter the Jewish Idea of the Messiah?
JK Rowling writes messianic allegories and detective fiction stories. Now, I’m not saying that JK Rowling is the author of the Madeleine McCann story, but I am saying they both share the same unique genre combination. This understanding adds depth to their connection by introducing the idea of an intertextual relationship. In other words, JK Rowling was not ‘helping out’ the McCanns.
I think it’s clear that Kate and Gerry McCann are the antagonists of this story and are complicit in their own incrimination. They are playing the roles of villains and they continuously provide the audience with reasons to dislike and suspect them. This is exactly the reason why critics are so convinced of their guilt.
In the balloon photographs Kate McCann is deliberately holding an image that is symbolic of their intertextual counter-parts, Opus Dei. At the time these images were taken (contemporary culture) Opus Dei were very well known as being the fictional antagonists. This means that the McCanns are deliberately associating themselves with this idea.
The mainstream media – who many people believe are on the side of the McCanns – are completely onboard with the agenda of parental incrimination. Their front pages clearly associate the parents with the role of antagonists and the claims of Goncalo Amaral because that is the story being sold.
Scotland Yard – who also appear to be supporting the parents – are indirectly pushing the audience towards the claims of Goncalo Amaral. Everything that Scotland Yard have done throughout their investigations only serves to compound the suspicions of the audience towards the McCanns. They are helping to solidify the views of Amaral supporters and the believers in death theory, because again… that is the story being sold.
Kate McCann has written a book that claims to be based on facts and truth, but the book is actually an exercise in fictional narrative techniques. This is exactly what we found with ‘The Truth of the Lie’ – a book that Goncalo Amaral claims is also based on facts and truth. So both supposed authors claim their books to be factual, but in reality these books are pure fiction. These books cannot be considered as non-fiction, they simply do not qualify. I have only used a few examples, but I could literally go through both of these books from start to finish. Just read the first page of the first chapter of Amaral’s book and you’ll see exactly what I mean.
JK Rowling and the McCanns have been closely associated from the very beginning of the Madeleine McCann story. Their first association being a book launch that placed the image of Madeleine McCann next to the words Deathly Hallows in book stores across the world. This is a clear example of the Madeleine McCann story pushing the narrative that Madeleine McCann died and this happened before Goncalo Amaral was making his claims.
The relationship between JK Rowling and the Madeleine McCann story is an intertextual one as they are both associated with messianic / Christian allegories. We are also informed that JK Rowling helped Kate McCann write her book and then years later we find out that JK Rowling’s true passion is actually detective fiction. That cannot be a coincidence. They share a unique genre combination and they are continuously and directly associated with one another.
The purpose of this article was to show that all of the storytellers (everyone involved) are working together to manipulate the audience into believing that Madeleine McCann died and that the parents are in some way responsible.
This is what happens in most detective fiction – or any kind of fiction when a protagonist is seeking justice against an increasingly sinister enemy. As these kinds of narratives progress, an audience will sympathise more and more with the hero character whilst simultaneously anticipating the fall of the increasingly unlikeable antagonists. The story will reinforce this agenda throughout until the audience becomes polarized.
This polarization divides the audience into two distinct groups:
1: The Anti-McCanns: Those who believe the claims of Goncalo Amaral or other proponents of the death theory.
2: The Pro-McCanns: Those who believe the parents and the abduction scenario.
In the next article we will look at how both of these groups have been cultivated and manipulated by a virtual army of false amplifiers. This is especially true for the Anti-McCann group, who are the target audience and are baited by the storytellers at every opportunity. The beliefs of the Anti-McCanns are continuously reinforced until followers of the story become absolutely convinced the child died and the parents covered it up.
These two groups debated and argued every single day for seven years. The storytellers provoked and baited the audience (Anti-McCanns) until tensions reached boiling point, culminating in one of the biggest news stories of 2014 – The Story of Brenda Leyland – a news event that was front page news and further polarised the opposing groups. The build-up, story and aftermath will all be deconstructed in part three.
I hope you have found this second article informative and interesting.
Thank you for reading.
Peter James Cullen