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Not many people would be willing to be lowered down a well to recover a corpse but FBI Agent Megan McKenna, an FBI behavioral scientist, volunteers. The body is that of a young female victim, the third in as many weeks. A suspected serial killer is what brought Meg to Baltimore to work with the Baltimore Police Department and specifically Detective Phil Jenkins. This is Meg's first assignment after a leave of absence brought about by Meg's failure to save a child from a killer such as Baltimore PD now faces. Max is a Labrador retriever and shares Megan's home. Max is a retired FBI search and rescue dog and plays a big part in this novel. Although Meg and Phil did not hit it off at first they are beginning to get into the swing of working together. When Phil calls her in to let her know he has found a link between the victims. At least two of the victims were foster children and both from the same agency. As the two begin their investigation, they feel that there is something off about the foster home. The place is too quiet and no children are visible. The parents of the victims have all moved out of state. There is more than one mystery contained between the pages of The Well Meaning Killer and enough action to keep the reader swiftly turning pages. Are the foster home and the serial killer in some way connected? Will the killer be brought to justice?."--Patricia Reid, BOOK-VIEWS.COM
John Wayne Cheever keeps his obsession with serial killers in check by a set of rigid rules that he lives by, hoping to the prevent himself from committing murder, but when a body turns up at a laundromat, must confront a danger outside himself.
ONE OF TIME MAGAZINE'S 100 BEST MYSTERY AND THRILLER BOOKS OF ALL TIME • BOOKER PRIZE NOMINEE • “A taut and darkly funny contemporary noir that moves at lightning speed, it’s the wittiest and most fun murder party you’ve ever been invited to.” —MARIE CLAIRE Korede’s sister Ayoola is many things: the favorite child, the beautiful one, possibly sociopathic. And now Ayoola’s third boyfriend in a row is dead, stabbed through the heart with Ayoola’s knife. Korede’s practicality is the sisters’ saving grace. She knows the best solutions for cleaning blood (bleach, bleach, and more bleach), the best way to move a body (wrap it in sheets like a mummy), and she keeps Ayoola from posting pictures to Instagram when she should be mourning her “missing” boyfriend. Not that she gets any credit. Korede has long been in love with a kind, handsome doctor at the hospital where she works. She dreams of the day when he will realize that she’s exactly what he needs. But when he asks Korede for Ayoola’s phone number, she must reckon with what her sister has become and how far she’s willing to go to protect her.
In the small coastal town of Oyster Bay, North Carolina, you'll find plenty of characters, ne'er-do-wells, and even a few celebs trying to duck the paparazzi. But when murder joins this curious community, the Bayside Book Writers are there to get the story... Olivia Limoges is the subject of constant gossip. Ever since she came back to town-a return as mysterious as her departure-Olivia has kept to herself, her dog, and her unfinished novel. With a little cajoling from the eminently charming writer Camden Ford, she agrees to join the Bayside Book Writers, break her writer's block, and even make a few friends... But when townspeople start turning up dead with haiku poems left by the bodies, anyone with a flair for language is suddenly suspect. And it's up to Olivia to catch the killer before she meets her own surprise ending. Watch a Video
THE BASIS FOR THE MAJOR 6-PART HBO® DOCUMENTARY SERIES #1 NEW YORK TIMES BESTSELLER A BEST BOOK OF THE YEAR: Washington Post | Maureen Corrigan, NPR | Paste | Seattle Times | Entertainment Weekly | Esquire | Slate | Buzzfeed | Jezebel | Philadelphia Inquirer | Publishers Weekly | Kirkus Reviews | Library Journal | Bustle Winner of the Goodreads Choice Awards for Nonfiction | Anthony Award Winner | SCIBA Book Award Winner | Finalist for the Edgar Award for Best Fact Crime | Longlisted for the Carnegie Medal for Excellence The haunting true story of the elusive serial rapist turned murderer who terrorized California during the 70s and 80s, and of the gifted journalist who died tragically while investigating the case—which was solved in April 2018. The haunting true story of the elusive serial rapist turned murderer who terrorized California during the 70s and 80s, and of the gifted journalist who died tragically while investigating the case—which was solved in April 2018. Introduction by Gillian Flynn • Afterword by Patton Oswalt “A brilliant genre-buster.... Propulsive, can’t-stop-now reading.” —Stephen King For more than ten years, a mysterious and violent predator committed fifty sexual assaults in Northern California before moving south, where he perpetrated ten sadistic murders. Then he disappeared, eluding capture by multiple police forces and some of the best detectives in the area. Three decades later, Michelle McNamara, a true crime journalist who created the popular website TrueCrimeDiary.com, was determined to find the violent psychopath she called "the Golden State Killer." Michelle pored over police reports, interviewed victims, and embedded herself in the online communities that were as obsessed with the case as she was. I’ll Be Gone in the Dark—the masterpiece McNamara was writing at the time of her sudden death—offers an atmospheric snapshot of a moment in American history and a chilling account of a criminal mastermind and the wreckage he left behind. It is also a portrait of a woman’s obsession and her unflagging pursuit of the truth. Utterly original and compelling, it has been hailed as a modern true crime classic—one which fulfilled Michelle's dream: helping unmask the Golden State Killer.
Author cites the evils of segregation for both white and colored people and gives the history of race relations from pre-Civil War days.
Documents the story of a young man who suffered a traumatic brain injury that left him incapable of judging or feeling repulsion and who found purpose by learning how to connect and glean vital information from serial murderers.
PULITZER PRIZE WINNER • NEW YORK TIMES BESTSELLER • The “remarkable” (Ken Burns), “utterly absorbing” (Forbes) Civil War classic that inspired the film Gettysburg, with more than three million copies in print “My favorite historical novel . . . a superb re-creation of the Battle of Gettysburg, but its real importance is its insight into what the war was about, and what it meant.”—James M. McPherson In the four most bloody and courageous days of our nation’s history, two armies fought for two conflicting dreams. One dreamed of freedom, the other of a way of life. Far more than rifles and bullets were carried into battle. There were memories. There were promises. There was love. And far more than men fell on those Pennsylvania fields. Bright futures, untested innocence, and pristine beauty were also the casualties of war. Michael Shaara’s Pulitzer Prize–winning masterpiece is unique, sweeping, unforgettable—the dramatic story of the battleground for America’s destiny.
A seminal work and examination of the psychopathology of journalism. Using a strange and unprecedented lawsuit by a convicted murder againt the journalist who wrote a book about his crime, Malcolm delves into the always uneasy, sometimes tragic relationship that exists between journalist and subject. Featuring the real-life lawsuit of Jeffrey MacDonald, a convicted murderer, against Joe McGinniss, the author of Fatal Vision. In Malcolm's view, neither journalist nor subject can avoid the moral impasse that is built into the journalistic situation. When the text first appeared, as a two-part article in The New Yorker, its thesis seemed so radical and its irony so pitiless that journalists across the country reacted as if stung. Her book is a work of journalism as well as an essay on journalism: it at once exemplifies and dissects its subject. In her interviews with the leading and subsidiary characters in the MacDonald-McGinniss case -- the principals, their lawyers, the members of the jury, and the various persons who testified as expert witnesses at the trial -- Malcolm is always aware of herself as a player in a game that, as she points out, she cannot lose. The journalist-subject encounter has always troubled journalists, but never before has it been looked at so unflinchingly and so ruefully. Hovering over the narrative -- and always on the edge of the reader's consciousness -- is the MacDonald murder case itself, which imparts to the book an atmosphere of anxiety and uncanniness. The Journalist and the Murderer derives from and reflects many of the dominant intellectual concerns of our time, and it will have a particular appeal for those who cherish the odd, the off-center, and the unsolved.
This timely collection provides a historical overview of violence in American popular culture from the Puritan era to the present and across a range of media. Few topics are discussed more broadly today than violence in American popular culture. Unfortunately, such discussion is often unsupported by fact and lacking in historical context. This two-volume work aims to remedy that through a series of concise, detailed essays that explore why violence has always been a fundamental part of American popular culture, the ways in which it has appeared, and how the nature and expression of interest in it have changed over time. Each volume of the collection is organized chronologically. The first focuses on violent events and phenomena in American history that have been treated across a range of popular cultural media. Topics include Native American genocide, slavery, the Civil Rights Movement, and gender violence. The second volume explores the treatment of violence in popular culture as it relates to specific genres—for example, Puritan "execution sermons," dime novels, television, film, and video games. An afterword looks at the forces that influence how violence is presented, discusses what violence in pop culture tells us about American culture as a whole, and speculates about the future.