Because I was not involved in the initial rape investigations, they are written from hundreds of reports, notes, memos, newspaper clippings, conversations and interviews with those who were involved. The crimes are factual. The crimes are real. While all characters and events have direct counterparts in the telling of the story, I have created some dialogue in the interest of readability. The cops in the initial rapes are not factual, their actions are. Their names and descriptions are completely fictitious. The names of the victims, witnesses and suspects are fictitious; the terror, the dialogue during the crimes, and the investigations are real. The cops involved in the cases after I was involved are real, their names and dialogue is factual, the investigations are real. The pain and terror may have diminished in the minds of the victims, I hope that the pain does not return. My intent is to tell the story without endangering the privacy or the dignity of the victims. They have suffered enough.

    Handsome, boyish and well-spoken, a law student with bright political prospects, Bundy was also a predator and sexual deviant who murdered and mutilated at least thirty young women and girls, many of them college coeds but at least two as young as twelve.

    Drawing on his years of experience as a Crown Prosecutor in Treaty 6 territory, Harold Johnson challenges readers to change the story we tell ourselves about the drink that goes by many names─booze, hooch, spirits, sauce, and the evocative firewater. Confronting the harmful stereotype of the lazy, drunken Indian, and rejecting medical, social and psychological explanations of the roots of alcoholism, Johnson cries out for solutions, not diagnoses, and shows how alcoholism continues to kill so many. Provocative, irreverent, and keenly aware of the power of stories, Firewater calls for people to make decisions about their communities and their lives on their own terms.

    . . . And we are trying to do what’s right even when Donald Trump won’t.”—An anonymous senior administrative official in an op-ed published in a New York Times op-ed, September 5, 2018 Every president faces criticism and caricature. Donald Trump, however, is unique in that he is routinely characterized in ways more suitable for a toddler. What’s more, it is not just Democrats, pundits, or protestors who compare the president to a child; Trump’s staffers, subordinates, and allies on Capitol Hill also describe Trump like a small, badly behaved preschooler.            In April 2017, Daniel W. Drezner began curating every example he could find of a Trump ally describing the president like a toddler. So far, he’s collected more than one thousand tweets—a rate of more than one a day. In The Toddler-in-Chief, Drezner draws on these examples to take readers through the different dimensions of Trump’s infantile behavior, from temper tantrums to poor impulse control to the possibility that the President has had too much screen time. How much damage can really be done by a giant man-baby? Quite a lot, Drezner argues, due to the winnowing away of presidential checks and balances over the past fifty years. In these pages, Drezner follows his theme—the specific ways in which sharing some of the traits of a toddler makes a person ill-suited to the presidency—to show the lasting, deleterious impact the Trump administration will have on American foreign policy and democracy.            The “adults in the room” may not be able to rein in Trump’s toddler-like behavior, but, with the 2020 election fast approaching, the American people can think about whether they want the most powerful office turned into a poorly run political day care facility. Drezner exhorts us to elect a commander-in-chief, not a toddler-in-chief. And along the way, he shows how we must rethink the terrifying powers we have given the presidency.

    Whether these tragic deaths could have been avoided is still debatable, but what seems clear is that the events in Texas have broad implications for religious freedom in America.James Tabor and Eugene Gallagher's bold examination of the Waco story offers the first balanced account of the siege. They try to understand what really happened in Waco: What brought the Branch Davidians to Mount Carmel? Why did the government attack? How did the media affect events? The authors address the accusations of illegal weapons possession, strange sexual practices, and child abuse that were made against David Koresh and his followers. Without attempting to excuse such actions, they point out that the public has not heard the complete story and that many media reports were distorted.The authors have carefully studied the Davidian movement, analyzing the theology and biblical interpretation that were so central to the group's functioning. They also consider how two decades of intense activity against so-called cults have influenced public perceptions of unorthodox religions.In exploring our fear of unconventional religious groups and how such fear curtails our ability to tolerate religious differences, Why Waco? is an unsettling wake-up call. Using the events at Mount Carmel as a cautionary tale, the authors challenge all Americans, including government officials and media representatives, to closely examine our national commitment to religious freedom.

    But, as God's Own Party demonstrates, they shouldn't have been. The Christian Right goes back much farther than most journalists, political scientists, and historians realize. Relying onextensive archival and primary source research, Daniel K. Williams presents the first comprehensive history of the Christian Right, uncovering how evangelicals came to see the Republican Party as the vehicle through which they could reclaim America as a Christian nation. A fascinating andmuch-needed account of a key force in American politics, God's Own Party is the only full-scale analysis of the electoral shifts, cultural changes, and political activists at the movement's core--showing how the Christian Right redefined politics as we know it.

    Each chapter provides a biography of one killer, describing the formative experiences that turned them into monsters, their hidden lives and gruesome crimes. It explains how each was caught, including descriptions of psychological profiles and crime investigation procedures, and their ultimate fate. Timelines and victim panels detail their atrocities and horrific death tolls. Dramatic black and white photography shows each killer at their sinister worst.

    It tells the story of Emmett Till, the fourteen-year-old African American boy from Chicago brutally lynched for a harmless flirtation at a country store in the Mississippi Delta. His death and the acquittal of his killers by an all-white jury set off a firestorm of protests that reverberated all over the world and spurred on the civil rights movement. Like no other event in modern history, the death of Emmett Till provoked people all over the United States to seek social change.For six decades the Till story has continued to haunt the South as the lingering injustice of Till's murder and the aftermath altered many lives. Fifty years after the murder, renewed interest in the case led the Justice Department to open an investigation into identifying and possibly prosecuting accomplices of the two men originally tried. Between 2004 and 2005, the Federal Bureau of Investigation conducted the first real probe into the killing and turned up important information that had been lost for decades.This book will stand as the definitive work on Emmett Till for years to come. Incorporating much new information, the book demonstrates how the Emmett Till murder exemplifies the Jim Crow South at its nadir. The author accessed a wealth of new evidence. Anderson has made a dozen trips to Mississippi and Chicago to conduct research and interview witnesses and reporters who covered the trial. In Emmett Till Anderson corrects the historical record and presents this critical saga in its entirety.

    But as Kevin M. Levin argues in this carefully researched book, such claims would have shocked anyone who served in the army during the war itself. Levin explains that imprecise contemporary accounts, poorly understood primary-source material, and other misrepresentations helped fuel the rise of the black Confederate myth. Moreover, Levin shows that belief in the existence of black Confederate soldiers largely originated in the 1970s, a period that witnessed both a significant shift in how Americans remembered the Civil War and a rising backlash against African Americans' gains in civil rights and other realms.Levin also investigates the roles that African Americans actually performed in the Confederate army, including personal body servants and forced laborers. He demonstrates that regardless of the dangers these men faced in camp, on the march, and on the battlefield, their legal status remained unchanged. Even long after the guns fell silent, Confederate veterans and other writers remembered these men as former slaves and not as soldiers, an important reminder that how the war is remembered often runs counter to history.

    As the idea of childhood innocence took hold, it became racialized: popular culture constructed white children as innocent and vulnerable while excluding black youth from these qualities. Actors, writers, and visual artists then began pairing white children with African American adults and children, thus transferring the quality of innocence to a variety of racial-political projects—a dynamic that Robin Bernstein calls “racial innocence.” This phenomenon informed racial formation from the mid-19th century through the early 20th century.Racial Innocence takes up a rich archive including books, toys, theatrical props, and domestic knickknacks which Bernstein analyzes as “scriptive things” that invite or prompt historically located practices while allowing for resistance and social improvisation. Integrating performance studies with literary and visual analysis, Bernstein offers singular readings of theatrical productions, from blackface minstrelsy to Uncle Tom’s Cabin to The Wonderful Wizard of Oz; literary works by Joel Chandler Harris, Harriet Wilson, and Frances Hodgson Burnett; material culture including Topsy pincushions, Uncle Tom and Little Eva handkerchiefs, and Raggedy Ann dolls; and visual texts ranging from fine portraiture to advertisements for lard substitute. Throughout, Bernstein shows how “innocence” gradually became the exclusive province of white children—until the Civil Rights Movement succeeded not only in legally desegregating public spaces, but in culturally desegregating the concept of childhood itself.Writing in Children’s Literature, Philip Nel notes that Racial Innocence is “one of those rare books that shifts the paradigm—a book that, in years to come, will be recognized as a landmark in children’s literature and childhood studies.” In the journal Cultural Studies, reviewer Aaron C. Thomas says that Bernstein’s “theory of the scriptive thing asks us to see children as active participants in culture, and, in fact, as expert agents of the culture of childhood into which they have been interpellated. In this way, Bernstein is able not only to describe the effects of 19th-century radicalization on 21st century US culture, but also to illuminate the radicalized residues of our own childhoods in our everyday adult lives.” Racial Innocence was awarded the 2012 Outstanding Book Award from the Association for Theatre in Higher Education, and the award committee noted that the book “is a historiographic tour de force that traces a genealogy of the invention of the innocent (white) child and its racialized roots in 19th and 20th century U.S. popular culture.”

    It yields an extraordinary account of the rise and fall of Purgatory as both a belief and a lucrative institution--as well as a capacious new reading of the power of Hamlet.In the mid-sixteenth century, English authorities abruptly changed the relationship between the living and dead. Declaring that Purgatory was a false poem, they abolished the institutions and banned the practices that Christians relied on to ease the passage to Heaven for themselves and their dead loved ones. Greenblatt explores the fantastic adventure narratives, ghost stories, pilgrimages, and imagery by which a belief in a grisly prison house of souls had been shaped and reinforced in the Middle Ages. He probes the psychological benefits as well as the high costs of this belief and of its demolition.With the doctrine of Purgatory and the elaborate practices that grew up around it, the church had provided a powerful method of negotiating with the dead. The Protestant attack on Purgatory destroyed this method for most people in England, but it did not eradicate the longings and fears that Catholic doctrine had for centuries focused and exploited. In his strikingly original interpretation, Greenblatt argues that the human desires to commune with, assist, and be rid of the dead were transformed by Shakespeare--consummate conjurer that he was--into the substance of several of his plays, above all the weirdly powerful Hamlet. Thus, the space of Purgatory became the stage haunted by literature's most famous ghost.This book constitutes an extraordinary feat that could have been accomplished by only Stephen Greenblatt. It is at once a deeply satisfying reading of medieval religion, an innovative interpretation of the apparitions that trouble Shakespeare's tragic heroes, and an exploration of how a culture can be inhabited by its own spectral leftovers.

    The Industrial Revolution brought not simply misery and poverty. On the contrary, Griffin shows how it raised incomes, improved literacy, and offered exciting opportunities for political action. For many, this was a period of new, and much valued, sexual and cultural freedom. This rich personal account focuses on the social impact of the Industrial Revolution, rather than its economic and political histories. In the tradition of best-selling books by Liza Picard, Judith Flanders, and Jerry White, Griffin gets under the skin of the period and creates a cast of colorful characters, including factory workers, miners, shoemakers, carpenters, servants, and farm laborers.

    Bell suggests that the answer is yes."Everyone interested in anorexia nervosa . . . should skim this book or study it. It will make you realize how dependent upon culture the definition of disease is. I will never look at an anorexic patient in the same way again."—Howard Spiro, M.D., Gastroenterology"[This] book is a first-class social history and is well-documented both in its historical and scientific portions."—Vern L. Bullough, American Historical Review"A significant contribution to revisionist history, which re-examines events in light of feminist thought. . . . Bell is particularly skillful in describing behavior within its time and culture, which would be bizarre by today's norms, without reducing it to the pathological."—Mary Lassance Parthun, Toronto Globe and Mail"Bell is both enlightened and convincing. His book is impressively researched, easy to read, and utterly fascinating."—Sheila MacLeod, New Statesman

    What drives the drug trade, and how has it come to be what it is today? A global history of the acquisition of progressively more potent means of altering ordinary waking consciousness, this book is the first to provide the big picture of the discovery, interchange, and exploitation of the planet's psychoactive resources, from tea and kola to opiates and amphetamines.

    But how did the funeral home come to hold such a position? What is its history? And is it guilty of the charges sometimes leveled against it? In Rest in Peace, Gary Laderman traces the origins of American funeral rituals, from the evolution of embalming techniques during and after the Civil War and the shift from home funerals to funeral homes at the turn of the century, to the increasing subordination of priests, ministers, and other religious figures to the funeral director throughout the twentieth century. In doing so he shows that far from manipulating vulnerable mourners, as Jessica Mitford claimed in her best-selling The American Way of Death (1963), funeral directors are highly respected figures whose services reflect the community's deepest needs and wishes. Indeed, Laderman shows that funeral directors generally give the people what they want when it is time to bury our dead. He reveals, for example, that the open casket, often criticized as barbaric, provides a deeply meaningful moment for friends and family who must say goodbye to their loved one. But he also shows how the dead often come back to life in the popular imagination to disturb the peace of the living. Drawing upon interviews with funeral directors, major historical events like the funerals of John F. Kennedy and Rudolf Valentino, films, television, newspaper reports, proposals for funeral reform, and other primary sources, Rest in Peace cuts through the rhetoric to show us the reality--and the real cultural value--of the American funeral.