Trump, journalist Seyward Darby went looking for the women of the so-called alt-right--really just white nationalism with a new label. The mainstream media depicted the alt-right as a bastion of angry white men, but was it? As women headlined resistance to the Trump administration's bigotry and sexism, most notably at the women's marches, Darby wanted to know why others were joining a movement espousing racism and anti-feminism. Who were these women, and what did their activism reveal about America's past, present, and future? Darby researched dozens of women across the country before settling on three: Corinna Olsen, Ayla Stewart, and Lana Lokteff. Each was born in 1979 and became a white nationalist in the post-9/11 era. Their respective stories of radicalization upend much of what we assume about women, politics, and political extremism.

    He was the top justice of New York’s highest court. She was a stunning socialite and his wife’s step-cousin. In 1993 Sol Wachtler was convicted of blackmail and extortion against Joy Silverman, his former mistress. How did a respected jurist and one of the most prominent men in America end up serving time in prison? Linda Wolfe starts at the beginning—from Wachtler’s modest Brooklyn upbringing through his courtship and marriage to Joan Wolosoff, the only child of a wealthy real estate developer.   Joy Fererh was three and a half when her father walked out. When she and Sol met, he was fifty-five and nearing the pinnacle of his legal career. She was a thirtysomething stay-at-home mother who, with Sol’s help, made a career for herself as a Republican Party fundraiser. They kept their affair a secret—until an explosive mix of sex, power, betrayal, and prescription-drug abuse set the stage for the tabloid headlines of the decade.

    The children of Italian immigrants were kidnapped, and dozens of innocent victims were gunned down. Bombs tore apart tenement buildings. Judges, senators, Rockefellers, and society matrons were threatened with gruesome deaths. The perpetrators seemed both omnipresent and invisible. Their only calling card: the symbol of a black hand. The crimes whipped up the slavering tabloid press and heated ethnic tensions to the boiling point. Standing between the American public and the Black Hand’s lawlessness was Joseph Petrosino. Dubbed the “Italian Sherlock Holmes,” he was a famously dogged and ingenious detective, and a master of disguise. As the crimes grew ever more bizarre and the Black Hand’s activities spread far beyond New York’s borders, Petrosino and the all-Italian police squad he assembled raced to capture members of the secret criminal society before the country’s anti-immigrant tremors exploded into catastrophe. Petrosino’s quest to root out the source of the Black Hand’s power would take him all the way to Sicily—but at a terrible cost.  Unfolding a story rich with resonance in our own era, The Black Hand is fast-paced narrative history at its very best.

    He was a charismatic preacher with idealistic beliefs, and he quickly filled his pews with an audience eager to hear his sermons on social justice. After Jones moved his church to Northern California in 1965, he became a major player in Northern California politics; he provided vital support in electing friendly political candidates to office, and they in turn offered him a protective shield that kept stories of abuse and fraud out of the papers. Even as Jones’s behavior became erratic and his message more ominous, his followers found it increasingly difficult to pull away from the church. By the time Jones relocated the Peoples Temple a final time to a remote jungle in Guyana and the U.S. Government decided to investigate allegations of abuse and false imprisonment in Jonestown, it was too late.      A Thousand Lives follows the experiences of five People's Temple members who went to Jonestown: a middle-class English teacher from Colorado, an elderly African American woman raised in Jim Crow Alabama, a troubled young black man from Oakland, and a working-class father and his teenage son. These people joined the church for vastly different reasons. Some, such as eighteen-year-old Stanley Clayton, appreciated Jones’s message of racial equality and empowering the dispossessed. Others, like Hyacinth Thrash and her sister Zipporah, were dazzled by his claims of being a faith healer — Hyacinth believed Jones had healed a cancerous tumor in her breast. Edith Roller, a well-educated white progressive, joined Peoples Temple because she wanted to help the less fortunate. Tommy Bogue, a teen, hated Jones’s church, but was forced to attend services—and move to Jonestown — because his parents were members.       A Thousand Lives is the story of Jonestown as it has never been told before. New York Times bestselling author Julia Scheeres drew from thousands of recently declassified FBI documents and audiotapes, as well as rare videos and interviews, to piece together an unprecedented and compelling history of the doomed camp, focusing on the people who lived there. Her own experiences at an oppressive reform school in the Dominican Republic, detailed in her unforgettable debut memoir Jesus Land, gave her unusual insight into this story.       The people who built Jonestown wanted to forge a better life for themselves and their children. They sought to create a truly egalitarian society. In South America, however, they found themselves trapped in Jonestown and cut off from the outside world as their leader goaded them toward committing “revolutionary suicide” and deprived them of food, sleep, and hope. Yet even as Jones resorted to lies and psychological warfare, Jonestown residents fought for their community, struggling to maintain their gardens, their school, their families, and their grip on reality.      Vividly written and impossible to forget, A Thousand Lives is a story of blind loyalty and daring escapes, of corrupted ideals and senseless, haunting loss.

     In this classic story of the early days of detection, Joan Lock tells the fascinating story of the creation of the CID, the scandal which preceded it, and the successes and failures of the new organization, including early cases such as the four murders by Ernest Southey, the ferocious outbreak of dockland killings in 1869 and the more familiar Bravo, Neill Cream and Jack the Ripper crimes. She describes Scotland Yard's gradual, if sometimes tardy, acceptance of identification and communication aids such as photography, the telegraph, telephone, Bertillon's anthropometric measurements and the fingerprint system. First World War spy and Dear John jealousy murders were followed by Roaring Twenties' swindles and the arrival of motor car bandits — which in turn led to the formation of the Flying Squad and the adoption of mobile wireless telegraphy. The introduction of women detectives is also discussed and the difficulties they experienced in establishing their place in a male dominated force. Joan Lock closes the gap between the academic police historian and the writer of popular true crime, making this book a fascinating read for crime experts and the general reader alike. Praise for Scotland Yard Casebook ‘Everyone with an interest in police history will know that Joan Lock has written a series of books notable for their perspicacity. and immaculate research. Scotland Yard Casebook is a new peak in her career, a fascinating account of the great and not-so-great detectives of a golden age. She has examined the official case files and put together a history told through the careers of policemen and giving a professional view of such dramatic events as the Turf Fraud Scandal, the Dynamite Campaign, the Jack the Ripper murders and the Anarchist outrages — side by side with stories previously ignored by historians, yet often crucial to the development of the CID. With a style that is authoritative, dispassionate and witty, Joan Lock has delivered a book of lasting importance.’ - Peter Lovesey A former nurse and policewoman, Joan Lock is the author of eleven non-fiction police/crime books, including three on Scotland Yard's First detectives. As well as writing short stories and radio plays she is also an authority on the history of the British women police officers.

    And the stars of yesteryear? They weren’t always the saints that we make them out to be. BuzzFeed’s Anne Helen Petersen, author of Too Fat, Too Slutty, Too Loud, is here to set the record straight. Pulling little-known gems from the archives of film history, Petersen reveals eyebrow-raising information, including:*The smear campaign against the original It Girl, Clara Bow, started by her best friend *The heartbreaking story of Montgomery Clift’s rapid rise to fame, the car accident that destroyed his face, and the “long suicide” that followed *Fatty Arbuckle’s descent from Hollywood royalty, fueled by allegations of a boozy orgy turned violent assault *Why Mae West was arrested and jailed for “indecency charges” *And much more Part biography, part cultural history, these stories cover the stuff that films are made of: love, sex, drugs, illegitimate children, illicit affairs, and botched cover-ups. But it’s not all just tawdry gossip in the pages of this book. The stories are all contextualized within the boundaries of film, cultural, political, and gender history, making for a read that will inform as it entertains. Based on Petersen’s beloved column on the Hairpin, but featuring 100% new content, Scandals of Classic Hollywood is sensationalism made smart.

    In this collection, including two never-before-published essays, Nussbaum writes about her passion for television that began with stumbling upon "Buffy the Vampire Slayer"—a show that was so much more than it appeared—while she was a graduate student studying Victorian literature. What followed was a love affair with television, an education, and a fierce debate about whose work gets to be called “great” that led Nussbaum to a trailblazing career as a critic whose reviews said so much more about our culture than just what’s good on television. Through these pieces, she traces the evolution of female protagonists over the last decade, the complex role of sexual violence on TV, and what to do about art when the artist is revealed to be a monster. And she explores the links between the television antihero and the rise of Donald Trump.The book is more than a collection of essays. With each piece, Nussbaum recounts her fervent search, over fifteen years, for a new kind of criticism that resists the false hierarchy that elevates one form of culture over another. It traces her own struggle to punch through stifling notions of “prestige television,” searching for a wilder and freer and more varied idea of artistic ambition—one that acknowledges many types of beauty and complexity, and that opens to more varied voices. It’s a book that celebrates television as television, even as each year warps the definition of just what that might mean.

    She’d wanted her adoption to be great story about a child who needed a home and got one, and a family led by God to adopt. Instead, she felt like she’d done something wrong.Adoption has long been enmeshed in the politics of reproductive rights, pitched as a “win-win” compromise in the never-ending abortion debate. But as Kathryn Joyce makes clear in The Child Catchers, adoption has lately become even more entangled in the conservative Christian agenda.To tens of millions of evangelicals, adoption is a new front in the culture wars: a test of “pro-life” bona fides, a way for born again Christians to reinvent compassionate conservatism on the global stage, and a means to fulfill the “Great Commission” mandate to evangelize the nations. Influential leaders fervently promote a new “orphan theology,” urging followers to adopt en masse, with little thought for the families these “orphans” may already have.Conservative evangelicals control much of that industry through an infrastructure of adoption agencies, ministries, political lobbying groups, and publicly-supported “crisis pregnancy centers,” which convince women not just to “choose life,” but to choose adoption. Overseas, conservative Christians preside over a spiraling boom-bust adoption market in countries where people are poor and regulations weak, and where hefty adoption fees provide lots of incentive to increase the “supply” of adoptable children, recruiting “orphans” from intact but vulnerable families.The Child Catchers is a shocking exposé of what the adoption industry has become and how it got there, told through deep investigative reporting and the heartbreaking stories of individuals who became collateral damage in a market driven by profit and, now, pulpit command.Anyone who seeks to adopt—of whatever faith or no faith, and however well-meaning—is affected by the evangelical adoption movement, whether they know it or not. The movement has shaped the way we think about adoption, the language we use to discuss it, the places we seek to adopt from, and the policies and laws that govern the process. In The Child Catchers, Kathryn Joyce reveals with great sensitivity and empathy why, if we truly care for children, we need to see more clearly.

    Her job is to stand in court representing the mad and the bad, the vulnerable, the heartbroken and the hopeful. She must become their voice: weave their story around the black and white of the law and tell it to the courtroom. These stories may not make headlines but they will change the lives of ordinary people in extraordinary ways. They are stories which, but for a twist of luck, might have been yours.To work at the Bar is to enter a world shrouded by strange clothing, archaic rituals and inaccessible language. So how does it feel to be an instrument of such an unknowable system? And what does it mean to be at its mercy? Our legal system promises us justice, impartiality and fair judgement. Does it, or can it, deliver this?With remarkable candour, Sarah describes eleven cases which reveal what goes on in our criminal and family courts. She examines how she feels as she defends the person standing in the dock. She tells compelling stories - of domestic fall out, everyday burglary, sexual indiscretion, and children caught up in the law – that are sometimes shocking and often heart-stopping. She shows us how our attitudes and actions can shape not only the outcome of a case, but the legal system itself.

    . .In February 1990, Oregon State Police arrested John Sosnovke and Laverne Pavlinac for the vicious rape and murder of Taunja Bennet, a troubled 23-year-old barfly who had suffered mild retardation since birth. Pavlinac had come forth and confessed, implicating her boyfriend and producing physical evidence that linked them to the crime. Authorities closed the case.There was just one problem. They had the wrong people.And the real killer wasn't about to let anyone take credit for his kill. Keith Hunter Jesperson was a long haul truck driver and the murderer of eight women, including Taunja Bennet. As the case wound through police precincts and courts--ending in life sentences for both Sosnovke and Pavlinac--Jesperson began a twisted one man campaign to win their release. To the editors of newspapers and on the walls of highway rest stops, Jesperson scribbled out a series of taunting confessions:I killed Tanya Bennett . . . I beat her to death, raped her and loved it. Yes I'm sick, but I enjoy myself too. People took the blame and I'm free . . ..Look over your shoulder. I may be closer than you think.At the end of each confession, Jesperson drew a happy face, earning for himself the grisly sobriquet "The Happy Face Killer."Based on access to interviews, diaries, court records, and the criminal himself, I: The Creation of a Serial Killer is Jesperson's chilling story. It chronicles his evolution from angry child to sociopathic murderer, from tormentor of animals to torturer of women. It is also the story of the fate that befell him after two innocent citizens were imprisoned four years for one of his killings.Edgar Award winner Jack Olsen lets the killer to tell his story in his own words, offering unprecedented insight into the twisted thought process of a serial murderer. Olsen takes his readers along on Jesperson's vicious cross-country killing spree, letting him describe how he played his "death game" with eight innocent victims and how he finally came to grips with the fate he deserved.I: The Creation of a Serial Killer is one of the most revealing and insightful pieces of crime reporting ever published.

    They snatched one of the world's most famous paintings, Edvard Munch's The Scream, and fled with their $72 million trophy. The thieves made sure the world was watching: the Winter Olympics, in Lillehammer, began that same morning. Baffled and humiliated, the Norwegian police called on the world's greatest art detective, a half-English, half-American undercover cop named Charley Hill. In this rollicking narrative, Edward Dolnick takes us inside the art underworld. The trail leads high and low, and the cast ranges from titled aristocrats to thick-necked thugs. Lord Bath, resplendent in ponytail and velvet jacket, presides over a 9,000-acre estate. David Duddin, a 300-pound fence who once tried to sell a stolen Rembrandt, spins exuberant tales of his misdeeds. We meet Munch, too, a haunted misfit who spends his evenings drinking in the Black Piglet Café and his nights feverishly trying to capture in paint the visions in his head. The most compelling character of all is Charley Hill, an ex-soldier, a would-be priest, and a complicated mix of brilliance, foolhardiness, and charm. The hunt for The Scream will either cap his career and rescue one of the world's best-known paintings or end in a fiasco that will dog him forever.

    A member of the Dalhousie University track and field team, he was about to start classes at Dalhousie's medical school. He had attended a medical school in the Caribbean; he worked at a group home for adults with disabilities. "There's times for whatever reason that things don't go quite as planned," a Halifax police officer told Sandeson shortly after he was arrested for the first-degree murder of Taylor Samson, who also, on the surface, seemed like a model son. Samson lived in a fraternity house near Dalhousie, and when the six-foot-five physics student disappeared without a trace, the focus eventually turned to Sandeson.Sandeson's trial, with surprising testimony and the unanswered question of what happened to Samson's body, gripped the university city for months. Through interviews with friends and relatives, as well as transcripts of the trial and Sandeson's police interrogation, award-winning journalist Kayla Hounsell paints a complex portrait of both the victim and killer, two young men who seemed destined for bright futures. First Degree includes previously unpublished photos and details never made public until now.

    But this time, she didn’t show—and Christopher’s calls went unanswered. The police found what looked like a scene from a horror movie at their home. The backdoor kicked in. A bedroom splattered with blood. And a pregnant young woman violently stabbed to death.Could Christopher have murdered the woman he claimed to love? Or was the crime done by an intruder Angila had feared for weeks? Angila’s womanizing ex-husband, Richie Wilder, Jr., aimed detectives straight toward Christopher. The evidence, however, pointed squarely at Richie.Kindergarten teacher Cynthia Wilder thought her dreams had come true when she married Richie. But while her husband sat behind bars, Cynthia grew lonely. When she shared some disturbing details with a former lover, Cynthia finally revealed the truth behind the sinister plot to kill Angila Wilder. After four years of lies and deceit, the real story would shock a community to its very core …

    Lewis explores the 100 most terrifying cover-ups of all time, from the invention of Jesus' divinity to Bush and Blair's real agenda in invading Iraq. The book provides each cover-up with a plausibility rating.

    This book is about them, the so-called "mole people" living alone and in communities, in the frescoed waiting rooms of long-forgotten subway tunnels and in pick-axed compartments below busway platforms. It is about how and why people move underground, who they are, and what they have to say about their lives and the treacherous "topside" world they've left behind. There are even the voices of young children taken down to the tunnels by parents who are determined to keep their families together, although as one tunnel dweller explains, "once you go down there, you can't be a child anymore." Though they maintain an existence hidden from the world aboveground, tunnel dwellers form a large and growing sector of the homeless population. They are a diverse group, and they choose to live underground for many reasonssome rejecting society and its values, others reaffirming those values in what they view as purer terms, and still others seeking shelter from the harsh conditions on the streets. Their enemies include government agencies and homeless organizations as well as wandering crack addicts and marauding gangs. In communities underground, however, many homeless people find not only a place but also an identity. On these pages Jennifer Toth visits underground New York with various straight-talking guides, from outreach workers and transit police to vetern tunnel dwellers, graffiti artists, and even the "mayor" of a large, highly structured community several levels down. In addition to chilling and poignant firsthand accounts of tunnel life, she describes the fascinating and labryrinthine physical world beneath the city and discusses the literary allusions and historical points of view that prejudice our culture against those who "go underground". Toth has gained unprecedented access to a strange and frightening world, but The Mole People is not a daredevil jo