I have visited many American military cemeteries over the years, and I have always found them to be beautiful and humbling places. They are quiet and dignified edens wherein lie the honored dead who have defended the nation.

There is one cemetery, though, that doesn’t quite live up to this archetype.

Plot E of the Oise-Aisne American cemetery in northern France.

Go ahead and look. You won’t find it listed on the Veterans Administration website, nor any of the literature provided by the cemetery. Maps will show Plots A, B, C, and D only, those containing 6012 American dead from WWI. Google Earth will just show an expanse of green. It’s like it doesn’t exist, which is exactly what its creators intended.

But it’s very much there, and serves a necessary if somewhat unsavory purpose.

Plot E is where American servicemen are buried who were executed – by firing squad or hanging – for capital crimes committed in the European theatre during or shortly after WWII. Some of the victims were children. Many were women. Most are forgotten by the modern age, though at least one – Sir Eric Teichman, killed on his ancestral estate confronting two U.S. soldiers poaching on the land – was a prominent member of society who still has his own Wikipedia page.

Those capital crimes once included aggravated rape, murder, and desertion, though currently none interred in Plot E are deserters. More on that in a moment.

Plot E

Plot E is located 100 meters from the main cemetery, and contains the remains of 94 servicemen. It is across a small road and deliberately hidden from view by a tall border of hedgerows that surrounds the 90′ x 50′ oval space. Because of the dense shrubbery, and the fact that there is no path nor gate, the only access to the area is through the back door of the cemetery superintendent’s office… and this is highly discouraged. There are no gravestones, nor any plaques with names – the graves are designated by white index-card sized stone markers with stark black numbers, in four rows, and all facing away from the recognized burial ground nearby. Plot E has been described by one cemetery employee as a “house of shame” and “the perfect anti-memorial,” esp as the original intent was that none of the individual remains were ever to be identifiable by name (it was only after a Freedom of Information lawsuit in 2009 that a list of grave numbers and occupants was released to the public). No U.S. flag is allowed to fly there, although there is a single small granite cross to one side. Nevertheless, it is maintained, with grass being cut and hedges trimmed, perhaps more for the aesthetic sensibilities of the superintendent than due to any niceties afforded the deceased.

marker

Originally, the 98 condemned by the U.S. Army following general courts martial were buried near the sites of their executions, which took place at locations as far-flung as England, France, Belgium, Germany, Italy, and Algeria. In 1949, however, it was decided to relocate all such remains to a single venue; that site is described by the Graves Registration as being for “the dishonored dead,” since, according to protocol, all had been dishonorably discharged from the service just prior to execution.

For reasons unclear, two of those executed during the 1940s never were sent to Plot E. Two others were buried there but later exhumed and returned to the United States. One of those was Private Alex F. Miranda, who came back to the U.S. in 1990, though details of the transfer were never made public.

The second was the former occupant of Row 3, #65, Private Eddie Slovik, the only man executed during WWII for desertion. His later became a cause celebre, as other soldiers deserted during the war, but Eisenhower decided to make a sole example of the rough street kid from Detroit on 31 January 1945. His remains were finally returned to the U.S. on order of President Reagan in 1987, and rest today at Woodmere Cemetery in the city of his birth, next to the grave of his wife.

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We all know the expression “Peeping Tom,” but did you ever wonder who exactly is “Tom”?

To answer this question, we actually have to go all the way back to the 11th century, to Coventry. You must be familiar with Lady Godgyfu, or in modern English, Godiva. Her husband was Leofric, Earl of Mercia, and knowing his wife to be a prude, he said he’d lower taxes on the populace when she rode naked through the streets, the equivalent of “when Hell freezes over.” To her husband’s shock, she accepted the challenge, and then asked the townsfolk to avert their gazes. Being generally liked, unlike her miserly husband, the populace shuttered their windows and looked away as the good lady rode au naturel through the city streets for the benefit of all.

But men being men, there was at least (only?) one who had to sneak a peak. Thomas the Tailor drilled a hole in his shop’s window shutters so he could watch. And depending on your source, Tom was either permanently blinded by Godiva’s beauty, struck dead by God, or torn limb from limb by enraged locals who discovered his moral turpitude.

The problem is, there is no evidence to suggest that any of this is true.

First, the initial reference to the ride was not contemporary, but instead appeared a full two centuries after the subject’s death, in Flores Historiarum, written by one Roger of Wendover.

[sidebar: always be suspicious of stories that are appended years after a purported event; it would be the equivalent of one of my readers today telling heretofore unknown stories of George Washington]

Next, according to the contemporaneous Norman Domesday Book (1086), Godiva was one of the very few women of the day who were landowners in their own right. She apparently controlled vast swaths of territory in and around present day Coventry. So SHE would have set the tax rate, not her husband, and therefore there would have been no reason for her to ride to convince him of anything.

Add’n, ‘Thomas’ is not an Anglo-Saxon name. But in the 15th century, long after Godiva, it became a common moniker for a generic common man, the equivalent of our ‘average Joe.’ There exists a painting from the mid-16th century that shows the ride and a man looking at Godiva from his window. Not long after the painting’s creation, people commonly held that the man was just some leering ne’er-do-well, a Tom, violating the lady’s requested privacy. Interestingly, art historians have since determined that the Tom in the work is actually Leofric watching his wife, and his money, heading down the road. But the common perception stuck.

In the late 17th century, the bored inhabitants of Coventry started reenacting the ride yearly, the Godiva Procession, with the chosen woman naked some times, others not, depending on the sensibilities of the city fathers of the day. And what is a parade/ party without a villain on which to focus the mock-indignation of the alcohol-sopped crowd? Tom effigies began to crop up, and the locals went after them with gusto.

With centuries of evolution of the tale, the actual phrase “Peering Tom” (not “Peeping” then) first appeared only on 11 June 1773 in Coventry municipal records, documenting the purchase of a wig and paint to fabricate an oaken effigy of Tom for the then-upcoming procession.

By the late 18th century, we finally have an actual definition: Classical Dictionary of the Vulgar Tongue (1796) is the first to include Peering Tom as “a nickname for a curious prying fellow.”

So there you have it. Peeping Tom wasn’t a real person, but a 17th century legend attached to an 11th century myth of a noble that, despite having no basis in fact, persists today in popular culture because it involves a famous woman who got naked in public.

Not much, it seems, has changed.

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[Copyright 2013 @ The Alienist’s Compendium]