From veteran true crime master Harold Schechter comes a unique look into the history of crime told through the dark objects left behind. The false teeth of a female serial killer from 1908, the cut-and-paste confession of the Black Dahlia killer, the newly cracked cipher of the Zodiac killer, the shotgun used in the Clutter family murders, which were made famous by Truman Capote's true crime classic In Cold Blood—these are more than simple artifacts that once belonged to notorious murderers. They are objets of fascination to the legion of true crime obsessives around the world. And not merely for fleeting dark thrills, but because they represent a way to better understand those who we typically label monsters in lieu of learning how they actually became one. In Murderabilia, veteran true crime writer Harold Schechter presents 100 murder-related artifacts spanning two centuries (1808–2014), with accompanying stories of various lengths. A visual and literary journey, it presents a history unlike any previously told in the true crime genre, one that speaks to the dark fascination of true crime fans while also presenting a larger historical timeline of how and why we continue to be captivated by the most sensational crimes and killers among us.

Winner of 2020 Lefty Award for Best Debut Mystery Novel When you're the son of a serial killer, you can never escape your past. William MacNary was eight years old when his father went to prison. Since then, he's carefully built a life as a family man and a private banker for the wealthy. He tries to forget that his father dismembered and photographed thirteen women. And he tries to forget those exquisitely composed photos of severed hands, heads, and feet that launched the "murderabilia" art market. William has not spoken to his father for thirty-one years. No one at his tony bank knows whose son he is. Not until his wife's colleague is murdered and carved up in the same way his father would have done it. All the evidence points to William. And only one person can understand the copycat killer—the monster William hasn't seen since he was a child. Praise: "Murderabilia [is] a story that will lay a cold finger of dread on the back of your neck. Vonderau is a terrific writer who has written a terrific book."—Karin Slaughter, New York Times bestselling author of The Good Daughter "Murderabilia is a fascinating crime novel and a look into the human soul and all that makes us the men and women we become. An excellent read!"—Heather Graham, New York Times bestselling author of A Dangerous Game "Murderabilia explores the dark corners of the soul in a riveting story sure to grab your attention and keep you reading till the final page. This is a superb debut from a striking new voice."—William Bernhardt, author of The Last Chance Lawyers "Murderabilia is a dark, tense, sophisticated story about just how deep and far the sins of the father can reach into the innocent lives of his children. Carl Vonderau is a new (and very scary) voice."—Jacquelyn Mitchard, author of The Deep End of The Ocean "Murderabilia offers a rare insider's view into the mysterious world of private banking. International landscapes, deep family secrets, and religious overtones create the perfect backdrop for a brilliant debut. Vonderau's fresh prose and heart-stopping twists promise that he is a writer to watch!"—K.J. Howe, internationally bestselling author of The Freedom Broker and Skyjack

*** LONGLISTED FOR THE THEAKSTONS OLD PECULIER CRIME NOVEL OF THE YEAR 2017 *** *** LONGLISTED FOR THE McILVANNEY PRIZE 2017 *** 'I can't recommend this book highly enough' MARTINA COLE The first commuter train of the morning slowly rumbles away from platform seven of Queen St station. And then, as the train emerges from a tunnel, the screaming starts. Hanging from the bridge ahead of them is a body. Placed neatly on the ground below him are the victim's clothes. Why? Detective Inspector Narey is assigned the case and then just as quickly taken off it again. Winter, now a journalist, must pursue the case for her. The line of questioning centres around the victim's clothes - why leave them in full view? And what did the killer not leave, and where might it appear again? Everyone has a hobby. Some people collect death. To find this evil, Narey must go on to the dark web, and into immense danger ... 'Takes the reader on a wickedly entertaining ride through a fascinatingly sinister world'Sunday Mirror 'Brace yourself to be horrified and hooked' EVA DOLAN 'Fantastic characterisation, great plotting, page-turning and gripping. The best kind of intelligent and moving crime fiction writing' LUCA VESTE 'Really enjoyed Murderabilia - disturbing, inventive, and powerfully and stylishly written. Recommended' STEVE MOSBY

In the new and revised 2005 edition of this outstanding casebook, authors Professor Doug Beloof, Judge Paul Cassell, and victims attorney Steven Twist review the expanding role of the crime victim in criminal procedure. Crime victims' law has been neglected in the education of law students even though it represents the single greatest "revolution" in criminal procedure in the last twenty years. The book addresses that neglect and provides lively and provocative materials about how victims fit into the contemporary criminal justice process. The casebook examines the role of the crime victim from the early stages of the criminal process (investigation and charging) through pre-trial discovery, plea bargaining, trial, and sentencing. The book includes not only recent caselaw concerning crime victims' rights, but also law review articles, victim impact statements, and other interesting materials. The authors provide the perfect set of reading materials for a full course on victims law, a seminar style discussion class, or supplemental materials for a conventional criminal procedure course. A teacher's manual will be available. "Every now and then, a book comes along that can truly be said to be a landmark in its field. . . . Victims in Criminal Procedure is such a book." --The Crime Victims Report on the First Edition

Despite being an increasingly high profile subject, few publications address media representations of law and order head on. This book aims to meet this need by bringing together an important range of papers from leading researchers in the field, addressing issues of fictional, factual and hybrid representations of crime in the media.

During the 1950s and 1960s True Detective magazine developed a new way of narrating and understanding murder. It was more sensitive to context, gave more psychologically sophisticated accounts, and was more willing to make conjectures about the unknown thoughts and motivations of killers than others had been before. This turned out to be the start of a revolution, and, after a century of escalating accounts, we have now become a nation of experts, with many ordinary people able to speak intelligently about blood-spatter patterns and organized vs. disorganized serial killers. The Rise of True Crime examines the various genres of true crime using the most popular and well-known examples. And despite its examination of some of the potentially negative effects of the genre, it is written for people who read and enjoy true crime, and wish to learn more about it. With skyrocketing crime rates and the appearance of a frightening trend toward social chaos in the 1970s, books, documentaries, and fiction films in the true crime genre tried to make sense of the Charles Manson crimes and the Gary Gilmore execution events. And in the 1980s and 1990s, true crime taught pop culture consumers about forensics, profiling, and highly technical aspects of criminology. We have thus now become a nation of experts, with many ordinary people able to speak intelligently about blood-spatter patterns and organized vs. disorganized serial killers. Through the suggestion that certain kinds of killers are monstrous or outside the realm of human morality, and through the perpetuation of the stranger-danger idea, the true crime aesthetic has both responded to and fostered our culture's fears. True crime is also the site of a dramatic confrontation with the concept of evil, and one of the few places in American public discourse where moral terms are used without any irony, and notions and definitions of evil are presented without ambiguity. When seen within its historical context, true crime emerges as a vibrant and meaningful strand of popular culture, one that is unfortunately devalued as lurid and meaningless pulp.

Contemporary research in strategic management, with an emphasis on conceptual tools and skills created by scholars and practitioners in the field are evident throughout this 11-chapter book. Pearce and Robinson's Strategic Management, retains its high level of academic credibility and its market-leading emphasis on Strategic Practice. It continues to have strong support from longtime adopters and growing support in schools with a desire to provide straightforward treatment of strategic management with a practical, systematic approach. The 8th edition will continue its strategic alliance with Business Week, which will be seen in cases, illustration capsules, and woven into the text. The text and cases will include numerous Business Week short cases and a wide assortment of traditional, longer strategic management cases. Pearce and Robinson will continue to use a unique pedagogical model created by the authors to provide logic and structure to its treatment of strategic management which in turn makes the material more easily organized by the instructor and learned by the student.

This is the first book to examine murder through the written word--not only the writings of the killers themselves, but also the story of murder as told in literary fiction and the crime dramas that are now a staple of film and television. The authors--a criminologist specializing in cold cases, written evidence, and forensic science, and an anthropologist who has dealt with the signs and ciphers of organized crime and street gangs in his previous work--are widely recognized experts in this emerging specialty field. Based on extensive research and interviews with convicted murderers, the book emphasizes the often-overlooked narrative impulse that drives killers, with the authors explaining how both mass and serial murderers perceive their crimes as stories and why a select few are compelled to commit these stories to writing whether before, during, or after their horrific acts. The book also analyzes the written work of killers, using a combination of machine-based linguistic patterning, predictive modeling, and symbolic interpretation, to make sense of the screeds of everyone from the Son of Sam and the Zodiac Killer to the Columbine attackers, the Unabomber, and the recent spate of mass shooters using social media as their preferred narrative platform. They present a theoretical perspective of murder that is based on both the criminological evidence and written works. In addition, the authors examine famous literature that has dealt ingeniously with murder and its relationship with real crime, from the Greek tragedians to Truman Capote to modern-day productions such as Making a Murderer. This unique approach offers a new means to penetrate the minds of murderers, revealing their motives as well as the wider social meanings of this age-old crime and our continuing fascination with it.