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A mystery in verse set in 1930s India. It features Jack Steele, an idealistic and slightly green British policeman investigating the strangling of a white widow. Problem is, he is also the prime suspect.
Miscast in the media for nearly 130 years, the victims of Jack the Ripper finally get their full stories told in this eye-opening and chilling reminder that life for middle-class women in Victorian London could be full of social pitfalls and peril.
Now updated with new material that brings the killer's picture into clearer focus. In the fall of 1888, all of London was held in the grip of unspeakable terror. An elusive madman calling himself Jack the Ripper was brutally butchering women in the slums of London’s East End. Police seemed powerless to stop the killer, who delighted in taunting them and whose crimes were clearly escalating in violence from victim to victim. And then the Ripper’s violent spree seemingly ended as abruptly as it had begun. He had struck out of nowhere and then vanished from the scene. Decades passed, then fifty years, then a hundred, and the Ripper’s bloody sexual crimes became anemic and impotent fodder for puzzles, mystery weekends, crime conventions, and so-called “Ripper Walks” that end with pints of ale in the pubs of Whitechapel. But to number-one New York Times bestselling novelist Patricia Cornwell, the Ripper murders are not cute little mysteries to be transformed into parlor games or movies but rather a series of terrible crimes that no one should get away with, even after death. Now Cornwell applies her trademark skills for meticulous research and scientific expertise to dig deeper into the Ripper case than any detective before her—and reveal the true identity of this fabled Victorian killer. In Portrait of a Killer: Jack the Ripper, Case Closed, Cornwell combines the rigorous discipline of twenty-first century police investigation with forensic techniques undreamed of during the late Victorian era to solve one of the most infamous and difficult serial murder cases in history. Drawing on unparalleled access to original Ripper evidence, documents, and records, as well as archival, academic, and law-enforcement resources, FBI profilers, and top forensic scientists, Cornwell reveals that Jack the Ripper was none other than a respected painter of his day, an artist now collected by some of the world’s finest museums: Walter Richard Sickert. It has been said of Cornwell that no one depicts the human capability for evil better than she. Adding layer after layer of circumstantial evidence to the physical evidence discovered by modern forensic science and expert minds, Cornwell shows that Sickert, who died peacefully in his bed in 1942, at the age of 81, was not only one of Great Britain’s greatest painters but also a serial killer, a damaged diabolical man driven by megalomania and hate. She exposes Sickert as the author of the infamous Ripper letters that were written to the Metropolitan Police and the press. Her detailed analysis of his paintings shows that his art continually depicted his horrific mutilation of his victims, and her examination of this man’s birth defects, the consequent genital surgical interventions, and their effects on his upbringing present a casebook example of how a psychopathic killer is created. New information and startling revelations detailed in Portrait of a Killer include: - How a year-long battery of more than 100 DNA tests—on samples drawn by Cornwell’s forensics team in September 2001 from original Ripper letters and Sickert documents—yielded the first shadows of the 75- to 114 year-old genetic evid...
The surprising true story of Mexico’s hunt, arrest, and conviction of its first female serial killer For three years, amid widespread public outrage, police in Mexico City struggled to uncover the identity of the killer responsible for the ghastly deaths of forty elderly women, many of whom had been strangled in their homes with a stethoscope by someone posing as a government nurse. When Juana Barraza Samperio, a female professional wrestler known as la Dama del Silencio (the Lady of Silence), was arrested—and eventually sentenced to 759 years in prison—for her crimes as the Mataviejitas (the little old lady killer), her case disrupted traditional narratives about gender, criminality, and victimhood in the popular and criminological imagination. Marshaling ten years of research, and one of the only interviews that Juana Barraza Samperio has given while in prison, Susana Vargas Cervantes deconstructs this uniquely provocative story. She focuses, in particular, on the complex, gendered aspects of the case, asking: Who is a killer? Barraza—with her “manly” features and strength, her career as a masked wrestler in lucha libre, and her violent crimes—is presented, here, as a study in gender deviance, a disruption of what scholars call mexicanidad, or the masculine notion of what it means to be Mexican. Cervantes also challenges our conception of victimhood—specifically, who “counts” as a victim. The Little Old Lady Killer presents a fascinating analysis of what serial killing—often considered “killing for the pleasure of killing”—represents to us.
Mitch Lovett, a recently divorced father of two, wasn't looking for anything serious--but when he fooled around with an old friend, Dee Wynn, serious was what he got. Dee, a thirty-something partner at her architecture firm, has decided that Mitch will be hers, and nothing is going to stand in her way. But another old friend from college, Gail, has had her eye on Mitch as well-never mind the fact that she's married, to a jealous, abusive husband, Ed Strickland, who just happens to have received a new gun for his birthday. When Mitch and Gail consummate their long-standing attraction-recklessly following their heart's desires-they set into motion a series of events with ultimately tragic consequences for all involved. Set in Takoma Park (a close-knit liberal community that borders Washington, D.C.) among a group of college friends now raising families together, Lady Killer explores spousal abuse and the ways that both long-standing friendships and marriages can unravel when put to the test. Ultimately, both Mitch and Gail will have to decide who they really are and what they really want-both for themselves and their children. AUTHOR BIOGRAPHY: Jeff Richards is a native Washingtonian who lives in Takoma Park, Maryland with his wife and two dogs. His first novel, Open Country: A Civil War Novel in Stories, was published in 2015 by Paycock Press. His fiction, essays, and cowboy poetry have appeared in over 27 publications including Pinch, New South, and Southern Humanities Review and five anthologies including Tales Out of School (Beacon Press) and Higher Education (Pearson), a college composition reader. He was the fiction editor and board member of the washington review and a college teacher for many years principally at George Washington University. He has worked as a dishwasher, door-to-door salesmen, farm worker, wilderness counselor, newspaper carrier, radio reporter, and busboy. He has hitchhiked across the country five times, but that was a while back. He is a graduate of the Hollins Writing Program and the parent of two grown children who live in Colorado. His website is www.jeffrichardsauthor.com AUTHOR HOME: Takoma Park, Maryland
In this fascinating book, Peter Vronsky exposes and investigates the phenomenon of women who kill—and the political, economic, social and sexual implications buried with each victim. How many of us are even remotely prepared to imagine our mothers, daughters, sisters or grandmothers as fiendish killers? For centuries we have been conditioned to think of serial murderers and psychopathic predators as men—with women registering low on our paranoia radar. Perhaps that’s why so many trusting husbands, lovers, family friends, and children have fallen prey to “the female monster.” From history’s earliest recorded cases of homicidal females to Irma Grese, the Nazi Beast of Belsen, from Britain’s notorious child-slayer Myra Hindley to ‘Honeymoon Killer’ Martha Beck to the sensational cult of Aileen Wournos—the first female serial killer-as-celebrity—to cult killers, homicidal missionaries, and our pop-culture fascination with the sexy femme fatale, Vronsky not only challenges our ordinary standards of good and evil but also defies our basic accepted perceptions of gender role and identity. INCLUDES PHOTOGRAPHS
The killer housewife is back! The Schuller family has moved to Cocoa Beach, where life carries on as usual. Josie continues to juggle Tupperware parties, her kids, and a few heads--and things don't get any easier for the entrepreneur hit lady when her past comes back to haunt her. Lady Killer is a black comedy that juxtaposes the wholesome imagery of early 1960s domestic bliss with a tightening web of murder, paranoia, and cold-blooded survival. From rising star author Joelle Jones comes the much anticpated return of Josie Schuller the Lady Killer! Collects Lady Killer (Series 2) issues#1-#5. "A level of violence that can only be described as Mad Men's Betty Draper meets Dexter." -Comic Book Resources "Lady Killer somehow manages to perfectly incorporate the quaint concept of the 1950's TV housewife with blood-fueled antics of vicious killer for hire."-IGN "Lady Killer is worth its weight in gold for the art alone, but the enigmatic Josie Schuller is the real appeal."--Newsarama
The present age has seen an explosion of verse novels in many parts of the world. Australia is a prolific producer, as are the USA and the UK. Novels in verse have also appeared in Canada, New Zealand, India, South Africa, Jamaica and several other countries. A novel written in verse contradicts theories that distinguish the novel as essentially a prose genre. The boundaries of prose and verse are, however, somewhat fluid. This is especially evident in the case of free verse poetry and the kinds of prose used in many Modernist novels. The contemporary outburst may seem a uniquely Postmodernist flouting of generic boundaries, but, in fact, the verse novel is not new. Its origins reach back to at least the eighteenth century. Byron’s Don Juan, in the early nineteenth century, was an important influence on many later examples. Since its first surge in popularity during the Victorian era, it has never died out, though some fine examples, most of them from the earlier twentieth century, have been neglected or forgotten. This book investigates the status of the verse novel as a genre and traces its mainly English-language history from its beginnings. The discussion will be of interest to genre theorists, prosodists, narratologists and literary historians, as well as readers of verse novels wishing for some background to this apparently new literary phenomenon.
Jack the Giant Killer is the famous English fairy tale about a brave lad slaying hideous giants. Color illustrations by Hugh Thomson.