1. Also in Natural Born Celebrities, Schmid argues that there is a complex structure of blame regarding the sexuality of killers and victims alike. Construct a series of examples that showcases and explains how sexuality plays into our fascination with serial killers—and how we shift blame because of it. Why does the sexuality of killer or victim matter? 2. Re-read Ch. 48 of Perfume. After Grenouille is captured, the village crowd does not believe that it could be him—even though the evidence is laid out right before their eyes. Compare and use examples from Perfume to show why this idea of what we’d expect from a serial killer vs. how he/she really looks/exists is important. 3. Mary Shelley uses a reference text in another work, Paradise Lost, quite often in the novel. The epic poem tells the tale of Satan’s fall from heaven, and the forthcoming rise of Adam and Christ as heroes. Initially, though, the poem asks us to identify with Satan—a fallen and imperfect creature. Does Frankenstein ask us to side with the monster or with society in general? How does this moral question about where our sympathies lie, construct a “real world” answer about how serial killer stories change us after reading them? Are we really better for having read/seen them?