The Little Old Lady Killer focuses on the female serial killer Juana Barraza Samperio, a Mexican lucha libre wrestler who, disguised as a government nurse, strangled sixteen elderly women in Mexico City. The search for the Mataviejitas (the killer of old women) was the first ever undertaken for a serial killer in Mexico. Following international profiling norms for serial killers, the police were initially looking for an ordinary-looking man, but after witness accounts described the Mataviejitas as wearing a wig and makeup, police changed their focus and began to search for a “travesti.” The bo ... More

The Little Old Lady Killer focuses on the female serial killer Juana Barraza Samperio, a Mexican lucha libre wrestler who, disguised as a government nurse, strangled sixteen elderly women in Mexico City. The search for the Mataviejitas (the killer of old women) was the first ever undertaken for a serial killer in Mexico. Following international profiling norms for serial killers, the police were initially looking for an ordinary-looking man, but after witness accounts described the Mataviejitas as wearing a wig and makeup, police changed their focus and began to search for a “travesti.” The book undertakes an analysis of the classed, gendered, and sexed transitions described in police reports and media accounts in relation to international criminological discourses and Mexican popular culture. On January 26, 2006, Juana Barraza was arrested as she fled the home of an elderly woman who had just been strangled with a stethoscope. Two years later, Barraza was convicted and sentenced to 759 years and 17 days; she remains in Santa Martha Acatitla to this day. I argue that La Dama del Silencio, Barraza’s masked wrestling identity, more than the woman herself became figured in official and popular discourse as the serial killer, La Mataviejitas. This displacement of personas reinforces national imaginaries of masculinity, femininity, and criminality. The national imaginaries of what constitutes a criminal female or male, in turn, determine crucial notions of mexicanidad within the country’s pigmentocratic culture, who counts as a victim, and how a criminal is constructed.