Murder & Memory in a New England Village: The Story of Orville Gibson
About Murder & Memory in a New England Village: The Story of Orville Gibson
Ever since moving to Vermont as a child, I have been fascinated by the mysterious case of the death of Orville Gibson and curious about the “whodunit” aspects of the story, not to mention the strange pervasive silence on the subject in the village of Newbury.
At one point, I lived less than a quarter of a mile down the road from Orville’s barn. Passing it daily, all the details would run through my head. One day, I asked the librarian about his death. She pulled a large manila folder out of the back of a filing cabinet and handed it over, saying only, “You didn’t get it from me.” As a history buff, I’d always hoped that some day I would find an opportunity to explore the story. It was only through the passage of time, a geographic relocation, and the opportunity afforded me by the Transom Donor fund that I finally delved into this story.
Breaking the Silence
My biggest (and most obvious) concern was how to get people to talk about a subject that is famous for not being discussed. I was concerned that I wouldn’t find anyone willing to be interviewed (though the opposite turned out to be the case). But given the time constraints for a radio piece of this nature, many of the locally fascinating details (especially to Vermonters) that even I had never heard, had to be cut. Another challenge was keeping the story interesting and constantly moving forward without getting bogged down in too many intricate details.
Also of concern was finding some way to bring a fresh approach to the story. After more than half a century, no new details about the circumstances of Gibson’s death have emerged and no one has come forward to confess to knowing anything. My ambition was never to solve the case, but to understand the circumstances, and experiences of those who lived in the village at the time. The main question I asked was, “What effect did this have on the village of Newbury?” Given the sensitivity of the subject, I felt this was a good neutral question, one that might even convince reluctant people to speak openly. In some cases it worked; in other cases it didn’t.
While I have worked in print journalism and began working in radio the previous year, nothing had prepared me for the type of work that goes into a radio piece of this length. Originally trained as a historian and researcher, I am inclined to gather as much information and detail as I can—while radio constantly demands, as my original radio mentor Tanya Ott taught me, “the fewest most powerful words.” This was my greatest challenge.
I gathered nearly 15 hours of interviews with nearly anyone that was willing to talk with me. With that amount of material, deciding what to use and what not to use is a bit like panning for gold. You sift through as much as you can, looking for those precious nuggets. The more you do it, the easier it becomes to recognize them.
One thing that worked in my favor was my research training. When cutting and organizing clips, I made several copies and organized them by subjects, themes, etc. This, along with my detailed notes, was enormously helpful when I needed to go back and find particular clips, and is proving useful for the slightly altered versions I am now at work on.
With Sincerest Gratitude
I am extremely grateful to all the wonderful people at Transom who made this possible. I am especially indebted to Viki Merrick and Samantha Broun for their patience and editorial assistance. Without the funding from the Transom Donor Fund, this piece might never have happened. Thank you to all those who have and continue to donate to help inspire young producers. Thank you to Scott Hanley and the studios of WBHM in Birmingham, Alabama, for the use of studio space, as well as to Sarah Delia, who assisted with her music expertise and mixing techniques.
Last but not least, I am most indebted and thankful to my friends and family members, whose patience, reassurance, and financial support also helped make this possible throughout all the various stages. I owe a special thank you to my fiancée, Katherine Green, who has done nothing but support me one hundred percent of the way.
This piece would not have been possible without the cooperation and support of the many wonderful people in Newbury and around Vermont who felt comfortable enough to open up and shared their own stories. There are simply too many to list here.
Some of the pictures and newspaper clippings are from my personal collection, collected over nearly fifteen years; others are taken from an extensive scrapbook about the story and trials, which is housed at the Vermont History Center in Barre, Vermont.
The song “Who Killed Orville Gibson?” was written and recorded by “Banjo Dan” Lindler & The Mid-night Plow Boys from their record Mystery and Memories: Banjo Dan’s Songs of Vermont, Volume 3. More information about the band and their recordings can be found at
The additional music features Patrick Ross on the fiddle and Richard Commo on the keyboard. It was recorded live at the Fiddlers Contest during the 62nd Annual Cracker Barrel Bazaar in Newbury in July of 2013.
About Will Dahlberg
Will Dahlberg lives in Birmingham, Alabama, and works at Public Radio WBHM 90.3 FM, the local NPR affiliate, as their Membership Manager. While he has produced local news features and human-interest stories, this is his first documentary length piece. He is a graduate of Hiram College and the Master of Arts in Liberal Studies program at Dartmouth College. In addition to radio freelancing, he is developing a history podcast and mulling over other project ideas. If you have any suggestions about the Gibson story, you can reach him at dahlbergwn[at]gmail.com or on Twitter @LostToHistory.