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The horrific and astonishing true story of the double life of Russell Williams, who was at once a respected figure in the Canadian military and a ruthless sado-sexual serial criminal and murderer. A model officer and elite pilot, Colonel Russell Williams was trusted with flying international dignitaries including Queen Elizabeth, as well as commanding Canada's most important military airbase. Yet his dark and violent secret life included breaking into 82 homes of girls and women; thefts of vast amounts of lingerie (which he dressed in); two bizarre sexual assaults that left an uncomprehending Ontario village on a knife's-edge; and eventually, two rape-murders. In A New Kind of Monster, veteran Globe and Mail crime reporter Tim Appleby chronicles a true story that could have been lifted from the darkest pages of pulp fiction, one that offers fascinating--and troubling--insights on human psychopathology.
Ripped from the headlines, the horrific and astonishing true story of the double life of Russell Williams, who was at once a respected figure in the Canadian military and a ruthless sado-sexual serial criminal and murderer. In the annals of psycho-killers, Colonel Russell Williams may well be unique. A decorated air force colonel, Williams was, for years, living a double life as a sado-sexual home invader, burglar, pedophile and, ultimately, murderer. A model officer and elite pilot, he was trusted with flying international dignitaries including Queen Elizabeth, as well as commanding Canada's most important military airbase. Yet his dark and violent secret life included breaking into 82 homes of girls and women; thefts of vast amounts of lingerie (which he dressed in); two bizarre sexual assaults that left an uncomprehending Ontario village on a knife's-edge; and eventually, two rape-murders. When police raided Williams's home - a home he shared with his wife, a respected professional in her own right who was apparently completely unaware of her husband's unconscionable double life - they found hundreds of pairs of women's underwear, meticulously organized and catalogued. In this book, veteran Globe and Mail crime reporter Tim Appleby chronicles a true story that could have been lifted from the darkest pages of pulp fiction, one that offers fascinating - and troubling - insights on human psychopathology.
On his way to State University, nineteen-year-old James runs into a former friend and is immersed in memories from the year they were twelve and learned that monsters exist in the world--and within themselves.
Hungry monsters eat everything in sight while introducing numbers one to twenty.
Frank was a monster who wanted to dance. So he put on his hat, and his shoes made in France... and opened a jar and put ants in his pants! So begins this monstrously funny, deliciously disgusting, horrifyingly hilarious story of a monster who follows his dream. Keith Graves' wacky illustrations and laugh-out-loud text will tickle the funny bone and leave readers clamoring for an encore.
"I can see them in his eyes, underneath it all... His demons calling for mine." I wanted to give in to the hunger... Niklas Bergman stalked in the shadows of the silent woods, a depraved hunter... and I am his prey. I traded one captor that broke my body and soul, for one that threatens to break not only my heart, but the walls that contain the darkness that lives inside of me. He is a beautiful monster, everything I searched for before my capture, the only one that understands my secrets and I fear my heart and mind will not survive him. I am a monster, I am a monster... I was a monster... Suki Knoxx hides a legacy of blood and I will drown her in it myself if that's what she needs to embrace it. I wanted to use her - no limits, consequences or remorse - but when I set my eyes on her, broken and abused, her enemy became mine. Now I can't let her go, not until I break her open. Her darkness calls to mine, her demons dance on heathen songs sung by my own and sometimes... prey wants to be prey. Souls break open. Limits are crossed. Secrets are unleashed. A monster is born. Content Warning This book contains material that is suitable for ages 18+, with dark themes that may be triggering to some, including dub-con. My Kind of Monster is a standalone Contemporary Dark Romance with a HEA.
Gather round close, for I have a secret to tell.Late at night, while everyone is sleeping, dreaming of white knights and fairytales. I'm making friends with the monsters. They call to me, like finds like, right? My biggest secret, I'm the scariest monster I know. I think I'm the bad guy. MFMM Reverse Harem novel with adult themes not recommended for those under 18.
Why are audiences drawn to horror films? Previous answers to that question have included everything from a need to experience fear to a hunger for psychotherapy. This critical text proposes that the horror film's primary purpose is to present monsters, best understood as deformed and destructive beings. These monsters satisfy the audience's desire to know these beings, in particular those beings too fantastic and dangerous to know in real life. The text illuminates many aspects of the horror film genre, including epistemology, ethics, evaluation, history, monster taxonomy, and filmmaking techniques.
Prints of a New Kind details the political strategies and scandals that inspired the first generation of American caricaturists to share news and opinions with their audiences in shockingly radical ways. Complementing studies on British and European printmaking, this book is a survey and catalogue of all known American political caricatures created in the country’s transformative early years, as the nation sought to define itself in relation to European models of governance and artistry. Allison Stagg examines printed caricatures that mocked events reported in newspapers and politicians in the United States’ fledgling government, reactions captured in the personal papers of the politicians being satirized, and the lives of the artists who satirized them. Stagg’s work fills a large gap in early American scholarship, one that has escaped thorough art-historical attention because of the rarity of extant images and the lack of understanding of how these images fit into their political context. Featuring 125 images, many published here for the first time since their original appearance, and a comprehensive appendix that includes a checklist of caricature prints with dates, titles, artists, references, and other essential information, Prints of a New Kind will be welcomed by scholars and students of early American history and art history as well as visual, material, and print culture.