It is spring on the French River, and thoughts have turned to fishing. On his first outing, a young fisherman discovers a body floating face down in the river by a dam site. All signs point to a murder. The victim turns out to be a widower who has recently lost his wife to cancer. He is a newcomer to his tiny community and a recluse. What could he have done to deserve his fate? The young female detective in charge of the case, Sergeant Kate Bray, cannot find clues other than the youngster's DNA. It is almost as if someone is hiding evidence from her. Follow the twists and turns in the investigation, including the probe of multiple suspects. Take your best guess as to whodunnit! Then follow Kate in her pursuit of the perp . . . in a canoe!
A deeply affecting–and infuriating–portrait of the life and death of a courageous indigenous leader The first time Honduran indigenous leader Berta Cáceres met the journalist Nina Lakhani, Cáceres said, ‘The army has an assassination list with my name at the top. I want to live, but in this country there is total impunity. When they want to kill me, they will do it.’ In 2015, Cáceres won the Goldman Prize, the world’s most prestigious environmental award, for leading a campaign to stop construction of an internationally funded hydroelectric dam on a river sacred to her Lenca people. Less than a year later she was dead. Lakhani tracked Cáceres remarkable career, in which the defender doggedly pursued her work in the face of years of threats and while friends and colleagues in Honduras were exiled and killed defending basic rights. Lakhani herself endured intimidation and harassment as she investigated the murder. She was the only foreign journalist to attend the 2018 trial of Cáceres’s killers, where state security officials, employees of the dam company and hired hitmen were found guilty of murder. Many questions about who ordered and paid for the killing remain unanswered. Drawing on more than a hundred interviews, confidential legal filings, and corporate documents unearthed after years of reporting in Honduras, Lakhani paints an intimate portrait of an extraordinary woman in a state beholden to corporate powers, organised crime, and the United States.
Introducing spirited female sleuth Elizabeth Fairchild in the first of the brilliant new Oak Park village mystery series, set in 1920s Illinois. June, 1925. Having been widowed in the First World War, Elizabeth Fairchild lives a quiet life at the home of her wealthy parents in genteel Oak Park village, Illinois. Although she does her best to avoid emotional entanglements, determined never to be hurt again, Elizabeth forms a close friendship with gentle Mr Anthony, who owns the local antiques store. But tragedy strikes when Mr Anthony is found stabbed to death in the alley behind his shop. Why would anyone murder a mild-mannered antiques dealer who simply loved beautiful things? A robbery gone wrong? A gangland execution? Or could it have something to do with the mysterious customer who bought a gold pocket watch from Mr Anthony on the day he died? When one of her father's oldest friends is accused of the crime, Elizabeth determines to expose the real killer. But her investigations soon attract unwelcome attention. With gangsters moving into the neighbourhood from nearby Chicago, Oak Park is no longer the safe haven it once was. Could Elizabeth be seriously out of her depth?
Describes how David Parker Ray, a sadistic Satanist, and his girlfriend, Cynthia Hendy, kidnapped, brutally tortured, raped, and murdered more than thirty women while making "snuff" films.
Never Trust a Chained Captive. That was one of the rules David Parker Ray posted on the isolated property where he and his girlfriend Cynthia Hendy lived near New Mexico's Elephant Butte Lake. They called their windowless trailer The Toybox. Over the years they lured countless young women into its chamber of unspeakable pain and horror--and filmed every moment. A Satanist, Ray was the center of a web of sadism, sex slavery, and murder. Authorities suspect he murdered more than 60 women. In October 2011, a flood of tips led to a renewed search for the remains of more possible victims. This updated edition reveals all the details, plus the inside story on the controversial movie based on these unforgettable events. "An eye-opening journey into the world of criminal sexual sadism." --Jim Yontz, Deputy District Attorney, Albuquerque, New Mexico 16 pages of haunting photos "Darkly fascinating. . .a shocker from beginning to end." --Gregg Olsen, New York Times bestselling author
Critics typically regard Abe Kobo (1924-93) as writing against realism, due to his avant-garde aesthetics that challenged the Naturalist realism dominating the literary mainstream and the Socialist realism of the orthodox Left in postwar Japan. He considered his work thoroughly realist, however, and starting in the early 1950s in a series of avant-garde art and literary groups, he championed the possibility of a vital, contemporary realism that challenged the reader to question the "reality" represented in the text through increasingly self-conscious writing strategies. Through a reassessment of the texts in which he worked out his theory of realism, this study traces the development of his commitment to making "truth from a lie"—to fiction, drama, and reportage that openly display their artifice. Key argues that the reflexivity of Abe's texts, which lay bare their own processes of artificial construction in order to reflect how our everyday sense of reality is constructed and maintained, created a critical space for metatextual ideas that were not acknowledged by the literary establishment of his time and have yet to be recognized by critics today. Undergirding his theory and practice of realism was a critique of conventional documentary and of the classic detective story. The texts examined here expose the degree to which the documentarian and the detective are active fabricators of meaning rather than neutral observers of fact. By paying close attention to the tension between the documentary and the fictive in Abe's works, Key draws out the ethical implications of his documentary approach, arguing persuasively that the documentary qualities of his writing, such as its valorization of objectivity over psychologism and the realm of "concrete things" over abstraction are strategies for challenging the dominant assumptions about what constitutes good ethics and good art, as well as the relationship between these two spheres.
In the turbulent years from 1922 to 1952, Australia witnessed a chilling toll as twenty-two dedicated police officers sacrificed their lives in the line of duty. Others fell with them. Emerging from the shadows of World War I, the nation, newly minted and resilient, navigated through The Great Depression's pall, only to confront the re-emergence of war. During World War II, police officers, though deterred from enlistment, were released for service, or seconded for intelligence work, thrusting expanded responsibilities onto those who remained. Operating in an unspoken battleground, law enforcers met their demise at the hands of dangerous criminals – murderous men driven by madness or consumed by hatred, most to cover crimes of little worth. Their stories unfold in gun battles, investigations gone wrong, opportunistic killings, and the disturbing murder of two police officers dismembered and burnt by petty thieves. This collection of stories is more than sensational; they are the tales of lives cut short. Each story stands testament to the indomitable spirit of those who faced duty's relentless call during an era when greed held sway over decency.
Our Extractive Age: Expressions of Violence and Resistance emphasizes how the spectrum of violence associated with natural resource extraction permeates contemporary collective life. Chronicling the increasing rates of brutal suppression of local environmental and labor activists in rural and urban sites of extraction, this volume also foregrounds related violence in areas we might not expect, such as infrastructural developments, protected areas for nature conservation, and even geoengineering in the name of carbon mitigation. Contributors argue that extractive violence is not an accident or side effect, but rather a core logic of the 21st Century planetary experience. Acknowledgement is made not only of the visible violence involved in the securitization of extractive enclaves, but also of the symbolic and structural violence that the governance, economics, and governmentality of extraction have produced. Extractive violence is shown not only to be a spectacular event, but an extended dynamic that can be silent, invisible, and gradual. The volume also recognizes that much of the new violence of extraction has become cloaked in the discourse of "green development," "green building," and efforts to mitigate the planetary environmental crisis through totalizing technologies. Ironically, green technologies and other contemporary efforts to tackle environmental ills often themselves depend on the continuance of social exploitation and the contaminating practices of non-renewable extraction. But as this volume shows, resistance is also as multi-scalar and heterogeneous as the violence it inspires. The book is essential reading for activists and for students and scholars of environmental politics, natural resource management, political ecology, sustainable development, and globalization.
The book Criminal Law: Homicide deals specifically on homicide as a subject in criminal law. With the book, I carefully carved homicide law out of criminal law by focusing on court cases dealing with homicide and by asking thought-provoking questions that provide better understanding and knowledge of the crime of homicide as a branch of criminal law.
