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To friends and neighbours, Theresa Knorr was a devoted, loving mother struggling to bring up five children on her own. Little did they know that, behind closed doors, the same woman was driven by religious extremism, terrible paranoia and an all-consuming jealousy of her daughters' beauty that led to one of the worst cases of serial abuse in history. For years Theresa subjected her offspring to a barbaric variety of physical and mental torture, culminating in her ordering her two sons to drug, torture and then burn alive one of their sisters before starving another to death. Terrified that she would be next, a third sister had to take action. When the police found her story too far-fetched, she was left with no choice but to escape the house of horrors and fight for justice. It was years before the full, shocking truth came out. This is the true story of a family unit twisted out of all recognition by a mother who perpetrated the most evil of crimes.
This book examines contemporary media stories about women who kill their children. By analyzing media texts, motherhood blogs, and journalistic interviews, the book seeks to understand better maternal violence and the factors that lead women to harm their children. The central thesis of this book is that media practices have changed dramatically during the past 50 years, as has society’s views on "appropriate" feminine behavior, yet definitions of characteristics of good mothers remain largely defined by 1950s sit coms, Victorian ideals, and Christian theology. The book contends that in spite of media saturation in American society, and the media’s increased opportunities to tell complex and nuanced stories, news media narratives continue to situate maternal violence as rare, unfathomable, and unpredictable. The news media’s shift in focus—from public service to profit-making industry—has encouraged superficial coverage of maternal violence as reporters look for stories that sell, not stories that explain. Motherhood blogs, in contrast, offer an opportunity for women to tell their own stories about motherhood, based on experience. Interviews with journalists offer insights into how the structure of their jobs dictates media coverage of this intimate form of violence.
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1982.
ÒIn Mexico,Ó writes Ilan Stavans in the introduction to this provocative new collection on Mexican culture and politics, Ò [the essay] is embraced as passionately as a sport.Ó While the American essay may be personal and confessional or erudite and academic, it is presumed to be truthful. By contrast, the Mexican essay pushes the boundaries between fact and fiction as writers seek to make their opinions heardÑin literary journals, in newspapers, and even on cereal boxes. ÒWhat is real and what isnÕt in a Mexican essay, only God knows,Ó concludes Stavans. In Hurricanes and Carnivals, Lee Gutkind, a pioneer in the teaching of creative nonfiction, brings together fifteen essays by Mexican, Mexican American, and Latin American writers that push the boundaries of style and form, showing that navigating ÒtruthÓ is anything but clear-cut. Although creative nonfiction is widely thought to be an American art form, this collection proves otherwise. By blending fact and fiction, story and fantasy, history and mythology, these writers and others push the bounds of the essay to present a vision of Mexico rarely seen from this side of the border. Addressing topics that include immigration, politics, ecology, violence, family, and sexuality, they take literary license on a whirlwind adventure. C. M. Mayo shows us Mexico City as seen through the eyes of her pug, Picadou; Juan Villoro examines modern Mexico through the lens of demography; Homero Aridjis uses the plight of nesting sea turtles to document a slowly changing Mexican attitude toward natural resources; and Sam Quinones documents the decline of beauty-queen addiction in Mazatl‡n and tells us about the flower festivals where, according to lore, only two things matter: hurricanes and carnivals. For readers interested in a literary view of contemporary Mexico, as well as students of the creative nonfiction genre, this volume is essential
In THE BLUE GIRL MURDERS, a series of gruesome murders of beautiful young blondes rocks Baltimore during the summer of 1966 when the city already is in turmoil from a police scandal and from enormous racial tension resulting from desegregation efforts by the Congress of Racial Equality and ""White Power"" rallies by the National States Rights Party. UPI Baltimore bureau manager Nick Prescott goes from covering these stories to trying to help homicide detective Maury Antonelli solve the murders when one of his closest friends becomes a suspect. Prescott uncovers a trail of murder, infidelity and insanity that exposes the killer and puts his own life in mortal danger. The cultural, political and social changes, great music and historic events of 1966 provide the backdrop and themes of this historical mystery. The author was a reporter for United Press International in Baltimore in 1966 and covered many of the events described in the novel.
The rate of suicides is at its highest level in nearly 30 years. Suicide notes have long been thought to be valuable resources for understanding suicide motivation, but up to now the small sample sizes available have made an in-depth analysis difficult. Explaining Suicide: Patterns, Motivations, and What Notes Reveal represents a large-scale analysis of suicide motivation across multiple ages during the same time period. This was made possible via a unique dataset of all suicide notes collected by the coroner's office in southwestern Ohio 2000–2009. Based on an analysis of this dataset, the book identifies top motivations for suicide, how these differ between note writers and non-note writers, and what this can tell us about better suicide prevention. The book reveals the extent to which suicide is motivated by interpersonal violence, substance abuse, physical pain, grief, feelings of failure, and mental illness. Additionally, it discusses other risk factors, what differentiates suicide attempters from suicide completers, and lastly what might serve as protective factors toward resilience. - Analyzes 1200+ suicide cases from one coroner's office - Identifies the top motivations for suicide that are based on suicide notes - Discusses the extent to which suicides are impulsive vs. planned - Leads to a better understanding on how to prevent suicide - Emphasizes resilience factors over risk factors
Why would two young boys abduct, torture and kill a toddler? What makes a teenage girl plot with her classmates to kill her own father? Society regards children as harmless - but for some the age of innocence is shortlived, messy and ultimately murderous.Mary Bell, Robert Thompson and Jon Venables are infamous for their crimes against other children, but many of the less familiar studies here are equally as shocking. Thirteen murderers - the youngest only ten - used fire, poison, bullets and strangulation on victims from infants to pensioners. In a comprehensive study of juvenile homicide, Carol Anne Davis offers new psychological insights and a hard-hitting look at the role of society in an area too shocking to ignore.
Painter, musician, journalist, essayist, playwright, and composer, Alberto Savinio was one of the most gifted and singular Italian writers of the twentieth century. Italian critics rank him alongside Pirandello, Calvino and Sciascia, but he is hardly known to American readers. He was the younger brother of Giorgio De Chirico, and Andre Breton said that the whole Modernist enterprise might be found in the work of these two brothers. Savinio composed five operas and more than forty books. A friend of Apollinaire, figures on the scene during Savinio's artistic and literary career included Picasso, Cocteau, Max Jacob and Fernand Leger. As the translator says, "his writing, like his panting, moves easily from the everyday to the fantastic. Attempts to define it as 'surrealist' are too limiting. It is free in spirit, profoundly intelligent, and beautifully controlled in style." The stories collected in Signor Dido are his last works, one story being sent to its publisher only four days before the author's death. And while this final collection was completed in 1952, it was not published in Italian until 1978. "Composed with an extreme economy of means, they are the summing up of a rich and complex life.... The stories contain haunting premonitions and at times piercing solitude, but they are all graced with Savinio's high comic sense, his fine self–humor, and that stylistic irony which, as he once said, is both a mask for modesty and 'a subtle way of insinuating oneself into the secret of things.'"
PHILIP SORGEN is not really dead--it’s just that since he received his poetic license he has been dying to use it. Philip has been an actuarial trainee at Metropolitan Life Insurance Company, a Sp4 in The U.S. Army reserve and then for thirtyfour rewarding years, a mathematcs teacher at Great Neck North High School . He plays the piano by ear,composes music (with a pencil) and has tennis elbow, which is a lot less severe than tennis balls. He is the husband of one, a father of two and a grandfather of three. This is the story of his life.