A P.I.’s bookkeeper takes a side gig in sleuthing when an amateur production of The Mousetrap features a real-life murder in this cozy mystery novel. Sophie “Phee” Kimball is trying to get work done at her private investigation company, but it’s hard to focus when her old crush just moved to Arizona to join the staff. The last thing she needs is more distraction—like constant updates from her mom on the local production of Agatha Christie’s “The Mousetrap.” Practically everyone from Mom’s book club and retirement community, with the possible exception of her chiweenie dog, wants to join the cast and crew. But someone’s playing the role of a killer for real. After a much-despised cast member is found dead in the theater, Phee has no choice but to immerse herself in all the backstabbing, backstage gossip. Especially if her drama-queen mother is right about the threatening note left on her windshield—which could spell curtains for another victim
Individuals who perpetrate murder sometimes pose or reposition victims, weapons, and evidence to make it look like events happened in a different way than what actually transpired. Until now, there has been scarce literature published on crime scene staging.Crime Scene Staging Dynamics in Homicide Cases is the first book to look at this practice, p
Though a small town at heart, Lawrenceton, Georgia, has its dark side-and crime buffs. One of whom is librarian Aurora "Roe" Teagarden, a member of the Real Murders Club, which meets once a month to analyze famous cases. It's a harmless pastime-until the night she finds a member killed in a manner that eerily resembles the crime the club was about to discuss. And as other brutal "copycat" killings follow, Roe will have to uncover the person behind the terrifying game, one that casts all the members of Real Murders, herself included, as prime suspects-or potential victims.
The bestselling author of The Hot House once again combines the facts, the real people, and the location itself into this true story, a wide-ranging portrait of the interplay of race, sex, and justice in the American South, made all the more real because it takes place in the same small Alabama town that was the fictional "Maycomb" in Harper Lee's To Kill a Mockingbird. Optioned for film by MGM. Photos.
A thrilling and perplexing investigation of a true Victorian crime at Dublin railway station. Dublin, November 1856: George Little, the chief cashier of the Broadstone railway terminus, is found dead, lying in a pool of blood beneath his desk. He has been savagely beaten, his head almost severed; there is no sign of a murder weapon, and the office door is locked, apparently from the inside. Thousands of pounds in gold and silver are left untouched at the scene of the crime. Augustus Guy, Ireland's most experienced detective, teams up with Dublin's leading lawyer to investigate the murder. But the mystery defies all explanation, and two celebrated sleuths sent by Scotland Yard soon return to London, baffled. Five suspects are arrested then released, with every step of the salacious case followed by the press, clamouring for answers. But then a local woman comes forward, claiming to know the murderer... 'The Dublin Railway Murder is a true-crime masterclass' Philip Gray, author of Two Storm Wood
“Methamphetamine was a huge part of this case . . . It was a horrible murder driven by drugs.” — Prosecutor Cal Rerucha, who convicted Matthew Shepard's killers On the night of October 6, 1998, twenty-one-year-old Matthew Shepard left a bar with two alleged “strangers,” Aaron McKinney and Russell Henderson. Eighteen hours later, Matthew was found tied to a log fence on the outskirts of town, unconscious and barely alive. Overnight, a politically expedient myth took the place of important facts. By the time Matthew died a few days later, his name was synonymous with anti-gay hate. The Book of Matt, first published in 2013, demonstrated that the truth was in fact far more complicated – and daunting. Stephen Jimenez’s account revealed primary documents that had been under seal, and gave voice to many with firsthand knowledge of the case who had not been heard from, including members of law enforcement. In his Introduction to this updated edition, journalist Andrew Sullivan writes: “No one wanted Steve Jimenez to report this story, let alone go back and back to Laramie, Wyoming, asking awkward questions, puzzling over strange discrepancies, re-interviewing sources, seeking a deeper, more complex truth about the ghastly killing than America, it turned out, was prepared to hear. It was worse than that, actually. Not only did no one want to hear more about it, but many were incensed that the case was being re-examined at all.” As a gay man Jimenez felt an added moral imperative to tell the story of Matthew’s murder honestly, and his reporting has been thoroughly corroborated. “I urge you to read [The Book of Matt] carefully and skeptically,” Sullivan writes, “and to see better how life rarely fits into the neat boxes we want it to inhabit. That Matthew Shepard was a meth dealer and meth user says nothing that bad about him, and in no way mitigates the hideous brutality of the crime that killed him; instead it shows how vulnerable so many are to the drug’s escapist lure and its astonishing capacity to heighten sexual pleasure so that it’s the only thing you want to live for. Shepard was a victim twice over: of meth and of a fellow meth user.”
"The Rue Morgue Murders" is a pioneering tale in the mystery genre, in which detective Auguste Dupin uses his acute observation and logic to solve a brutal double murder in Paris, revealing a surprising and unusual outcome.
A journalist's twenty-year fascination with the Manson murders leads to "gobsmacking" (The Ringer) new revelations about the FBI's involvement in this "kaleidoscopic" (The New York Times) reassessment of an infamous case in American history. Over two grim nights in Los Angeles, the young followers of Charles Manson murdered seven people, including the actress Sharon Tate, then eight months pregnant. With no mercy and seemingly no motive, the Manson Family followed their leader's every order -- their crimes lit a flame of paranoia across the nation, spelling the end of the sixties. Manson became one of history's most infamous criminals, his name forever attached to an era when charlatans mixed with prodigies, free love was as possible as brainwashing, and utopia -- or dystopia -- was just an acid trip away. Twenty years ago, when journalist Tom O'Neill was reporting a magazine piece about the murders, he worried there was nothing new to say. Then he unearthed shocking evidence of a cover-up behind the "official" story, including police carelessness, legal misconduct, and potential surveillance by intelligence agents. When a tense interview with Vincent Bugliosi -- prosecutor of the Manson Family and author of Helter Skelter -- turned a friendly source into a nemesis, O'Neill knew he was onto something. But every discovery brought more questions: Who were Manson's real friends in Hollywood, and how far would they go to hide their ties? Why didn't law enforcement, including Manson's own parole officer, act on their many chances to stop him? And how did Manson -- an illiterate ex-con -- turn a group of peaceful hippies into remorseless killers? O'Neill's quest for the truth led him from reclusive celebrities to seasoned spies, from San Francisco's summer of love to the shadowy sites of the CIA's mind-control experiments, on a trail rife with shady cover-ups and suspicious coincidences. The product of two decades of reporting, hundreds of new interviews, and dozens of never-before-seen documents from the LAPD, the FBI, and the CIA, Chaos mounts an argument that could be, according to Los Angeles Deputy District Attorney Steven Kay, strong enough to overturn the verdicts on the Manson murders. This is a book that overturns our understanding of a pivotal time in American history.
It’s curtains for a famous Broadway director, and private investigator Nero Wolfe is on the case—but his assistant, Archie Goodwin, is a suspect. When a renowned theater director senses something amiss during his latest production, he calls in Nero Wolfe. Though the corpulent genius wouldn’t normally accept a job this vague, a mutual friend dangles the prospect of a very rare orchid in exchange for his services, and Wolfe can’t resist. With a mind to suss out useful backstage gossip, Wolfe turns to his faithful assistant, Archie Goodwin, to impersonate a journalist in order to speak to the cast. Though Goodwin’s conversations prove unfruitful, on his last day at the theater, the director is murdered in his soundproof booth, poisoned by an unseen culprit during an evening performance. In short order, an actor whose health is failing attempts suicide with the same poison. Now Goodwin is a prime suspect in the director’s demise, effectively sidelining him for the rest of the case, and freelance gumshoe Saul Panzer must step in to help wrangle the various members of the play—from the ingénue and the diva to the handsome movie star and the surly stage manager—so New York’s smartest, and most reclusive, private detective can determine who is responsible for these dramatic deaths and clear Goodwin’s name once and for all. Continuing his beloved series—which also includes Archie Meets Nero Wolfe, Murder in the Ball Park, and Archie in the Crosshairs—Nero Award–winning author Robert Goldsborough “brings Nero Wolfe, late of Rex Stout, gloriously back to life” (Chicago). Murder, Stage Left is the 59th book in the Nero Wolfe Mysteries, but you may enjoy reading the series in any order.
