It has long bothered me that The Alienist’s supporting characters do not yet have completed character profiles here on 17th Street, particularly the historical figures. In order to correct this, I have decided to devote the next several months to finally completing the profiles once and for all. By way of beginning, you can find the newly completed character profile for Detective Sergeant Patrick Connor below as well as on the supporting characters list.
I cannot predict how long it will take me to complete the rest of the profiles given that most are historical figures, and I will be aiming to read at least one biography for each figure to aid me in completing their profile. I apologise for the lack of updates this will undoubtedly produce, but I’m sure you would agree with me that completed profiles for all the supporting characters are long overdue, and I hope you will understand why I’m taking the time away from the blog in order to finally complete this section of the site.
Connor, Detective Sergeant Patrick
Appears in The Alienist
John Moore, journalist and narrator of The Alienist, first meets Detective Sergeant Patrick Connor when he views the body of Giorgio Santorelli atop the Manhattan-side anchor of the Williamsburg Bridge in the opening chapters of the novel. Described only as slit-eyed and bearded, Connor is an adherent of the policing practices and attitudes that prevailed under Thomas Byrnes, the former police superintendent who had been forced into retirement the preceding year as a result of the wave of reform that followed the Lexow Committee’s investigation into police corruption. After initially causing Dr. Laszlo Kreizler consternation for spreading false information about the identity of the Giorgio’s murderer to members of the press, it does not take long before Connor is expelled from the force after it is discovered that he had also beaten Giorgio Santorelli’s father unconscious for refusing a bribe from a mysterious group attempting to hush the murder up.
Kim: I am also a huge fan of these books, and I have an interesting story to relate. I am a union actor in New York and I always looked out for ALIENIST to be shot in NYC (I am also a big NYC history buff). A few years ago, when the film THE SOCIAL NETWORK was released, I attended a screening with a talk-back including producer Scott Rudin, who you probably know had originally bought the film rights to ALIENIST along with Paramount. I asked him why he and Paramount had paid so much for the rights and then sat on them all these years. He appeared irritated by the question, but finally answered that he had never been comfortable with the “sexualization” of the children in the book. I found this very interesting. He is a gay man and I wondered if this was a business decision or a personal one.