The unthinkable had happened, a major urban transit system had become the target of a terrorist attack. In an attempt to discover why, Haruki Murakami, internationally acclaimed author of The Wind-Up Bird Chronicle and arguably Japan’s most important contemporary novelist, talked to the people who lived through the catastrophe—from a Subway Authority employee with survivor guilt, to a fashion salesman with more venom for the media than for the perpetrators, to a young cult member who vehemently condemns the attack though he has not quit Aum. Through these and many other voices, Murakami exposes intriguing aspects of the Japanese psyche. And as he discerns the fundamental issues leading to the attack, we achieve a clear vision of an event that could occur anytime, anywhere. Hauntingly compelling and inescapably important, Underground is a powerful work of journalistic literature from one of the world’s most perceptive writers.

    Mothers, daughters, sisters and grandmothers-fiendish killers all. Society is conditioned to think of murderers and predators as men, but in this fascinating book, Peter Vronsky exposes and investigates the phenomenon of women who kill-and the political, economic, social, and sexual implications. From history's earliest recorded cases of homicidal females to Irma Grese, the Nazi Beast of Belsen, from Britain's notorious child-slayer Myra Hindley to 'Honeymoon Killer' Martha Beck, from the sensational murder-spree of Aileen Wournos, to cult killers, homicidal missionaries, and the sexy femme fatale, Vronsky challenges the ordinary standards of good and evil and defies the accepted perceptions of gender role and identity.

    There was nothing surprising about men turning up dead in the Second City. Life was cheaper than a quart of illicit gin in the gangland capital of the world. But two murders that spring were special - worthy of celebration. So believed Maurine Watkins, a wanna-be playwright and a "girl reporter" for the Chicago Tribune, the city's "hanging paper." Newspaperwomen were supposed to write about clubs, cooking and clothes, but the intrepid Miss Watkins, a minister's daughter from a small town, zeroed in on murderers instead. Looking for subjects to turn into a play, she would make "Stylish Belva" Gaertner and "Beautiful Beulah" Annan - both of whom had brazenly shot down their lovers - the talk of the town. Love-struck men sent flowers to the jail and newly emancipated women sent impassioned letters to the newspapers. Soon more than a dozen women preened and strutted on "Murderesses' Row" as they awaited trial, desperate for the same attention that was being lavished on Maurine Watkins's favorites. In the tradition of Erik Larson's The Devil in the White City and Karen Abbott's Sin in the Second City, Douglas Perry vividly captures Jazz Age Chicago and the sensationalized circus atmosphere that gave rise to the concept of the celebrity criminal. Fueled by rich period detail and enlivened by a cast of characters who seemed destined for the stage, The Girls of Murder City is crackling social history that simultaneously presents the freewheeling spirit of the age and its sober repercussions.

    In any story featuring Sutcliffe, however, his victims are incidental, often reduced to a tableau of nameless faces. But each woman was much more than the manner of her death, and in Somebody's Mother, Somebody's Daughter, Carol Ann Lee tells, for the first time, the stories of those women who came into Sutcliffe's murderous orbit, restoring their individuality to them and giving a voice to their families, including the twenty-three children whom he left motherless.Based on previously unpublished material and fresh, first-hand interviews the book examines the Yorkshire Ripper story from a new perspective: focusing on the women and putting the reader in a similar position to those who lived through that time. The killer, although we know his identity, remains a shadowy figure throughout, present only as the perpetrator of the attacks. By talking to survivors and their families, and to the families of the murdered women, Carol Ann Lee gets to the core truths of their lives and experiences, not only at the hands of Sutcliffe but also with the Yorkshire Police and their crass and ham-fisted handling of the case, where the women were put into two categories: prostitutes and non-prostitutes. In this book they are, simply, women, and all have moving backstories.The grim reality is that not enough has changed within society to make the angle this book takes on the Yorkshire Ripper case a purely historical one. Recent news stories have shown that women and girls who come forward to report serious crimes of a sexual nature are often judged as harshly - and often more so - than the men who have wronged them. The Rochdale sex abuse scandal, the allegations against Harvey Weinstein, and the US President's deplorable comments about women are vivid reminders that those in positions of power regard women as second class citizens. At the same time, the discussions arising from these recent stories, and much of the reporting, show that women are judged today as much on their preferences, habits and appearance as they were at the time of the Yorkshire Ripper attacks. The son of Wilma McCann, Sutcliffe's first known murder victim, told the author, 'We still have a very long way to go' and in that regard he is correct.Hard-hitting and wholly unique in approach, this timely book sheds new light on a case that still grips the nation.

    Their killers were the Olives’ 16-year-old daughter and her 20-year-old lover.This is the story of that shocking murder and the appalling events that led up to it. It is the story of the middle-class dream turned into a nightmare, of parents and children living in mutually alien and hostile worlds, and of a youth culture for which promiscuous sex and every kind of drug are no longer enough.It is a story that cuts to the bone of American life – and strikes inescapably close to home. 

     A CASE FOR SOLOMON: BOBBY DUNBAR AND THE KIDNAPPING THAT HAUNTED A NATION chronicles one of the most celebrated—and most misunderstood—kidnapping cases in American history. In 1912, four-year-old Bobby Dunbar, the son of an upper-middle-class Louisiana family, went missing in the swamps. After an eight-month search that electrified the country and destroyed Bobby’s parents, the boy was found, filthy and hardly recognizable, in the pinewoods of southern Mississippi. A wandering piano tuner who had been shuttling the child throughout the region by wagon for months was arrested and charged with kidnapping—a crime that was punishable by death at the time. But when a destitute single mother came forward from North Carolina to claim the boy as her son, not Bobby Dunbar, the case became a high-pitched battle over custody—and identity—that divided the South. Amid an ever-thickening tangle of suspicion and doubt, two mothers and a father struggled to assert their rightful parenthood over the child, both to the public and to themselves. For two years, lawyers dissected and newspapers sensationalized every aspect of the story. Psychiatrists, physicians, criminologists, and private detectives debated the piano tuner’s guilt and the boy’s identity. And all the while the boy himself remained peculiarly guarded on the question of who he was. It took nearly a century, a curiosity that had been passed down through generations, and the science of DNA to discover the truth. A Case for Solomon is a gripping historical mystery, distilled from a trove of personal and archival research. The story of Bobby Dunbar, fought over by competing New Orleans tabloids, the courts, and the citizenry of two states, offers a case study in yellow journalism, emergent forensic science, and criminal justice in the turn-of-the-century American South. It is a drama of raw poverty and power and an exposé of how that era defined and defended motherhood, childhood, and community. First told in a stunning episode of National Public Radio’s This American Life, A Case for Solomon chronicles the epic struggle to determine one child’s identity, along the way probing unsettling questions about the formation of memory, family, and self.

    A hiker brutally murdered, then thrown off a cliff in a remote mountain range. A devious killer who hid his wife's body under a thick cement patio. For investigators, the story is often the same: they know a murder took place, they may even know who did it. But without key evidence, pursuing a conviction is nearly impossible. That's when they call NecroSearch International. Necrosearch boasts a brain trust of the nation's top scientists, specialists, and behaviourists who use the latest technology and techniques to help solve "unsolvable" crimes, no matter how decayed the corpse, no matter how cleverly the killer has hidden the victim's body. Now, for the first time ever, readers are taken on a fascinating, often-shocking journey into a realm of crime investigation of which few people are aware. Necrosearch's most challenging cases are described, step-by-step, as these modern-day Sherlock Holmes's detect bodies and evidence thought irretrievable, and testify in court to bring cold-blooded killers to justice.

    Los Angeles has legends. Midcentury Los Angeles. A city sold to the world as "the white spot of America," a land of sunshine and orange groves, wholesome Midwestern values and Hollywood stars, protected by the world’s most famous police force, the Dragnet-era LAPD. Behind this public image lies a hidden world of "pleasure girls" and crooked cops, ruthless newspaper tycoons, corrupt politicians, and East Coast gangsters on the make. Into this underworld came two men–one L.A.’s most notorious gangster, the other its most famous police chief–each prepared to battle the other for the soul of the city. Former street thug turned featherweight boxer Mickey Cohen left the ring for the rackets, first as mobster Benjamin "Bugsy" Siegel’s enforcer, then as his protégé. A fastidious dresser and unrepentant killer, the diminutive Cohen was Hollywood’s favorite gangster–and L.A.’s preeminent underworld boss. Frank Sinatra, Robert Mitchum, and Sammy Davis Jr. palled around with him; TV journalist Mike Wallace wanted his stories; evangelist Billy Graham sought his soul. William H. Parker was the proud son of a pioneering law-enforcement family from the fabled frontier town of Deadwood. As a rookie patrolman in the Roaring Twenties, he discovered that L.A. was ruled by a shadowy "Combination"–a triumvirate of tycoons, politicians, and underworld figures where alliances were shifting, loyalties uncertain, and politics were practiced with shotguns and dynamite. Parker’s life mission became to topple it–and to create a police force that would never answer to elected officials again. These two men, one morally unflinching, the other unflinchingly immoral, would soon come head-to-head in a struggle to control the city–a struggle that echoes unforgettably through the fiction of Raymond Chandler and movies such as The Big Sleep, Chinatown, and L.A. Confidential. For more than three decades, from Prohibition through the Watts Riots, the battle between the underworld and the police played out amid the nightclubs of the Sunset Strip and the mansions of Beverly Hills, from the gritty streets of Boyle Heights to the manicured lawns of Brentwood, intersecting in the process with the agendas and ambitions of J. Edgar Hoover, Robert F. Kennedy, and Malcolm X. The outcome of this decades-long entanglement shaped modern American policing–for better and for worse–and helped create the Los Angeles we know today. A fascinating examination of Los Angeles’s underbelly, the Mob, and America’s most admired–and reviled–police department, L.A. Noir is an enlightening, entertaining, and richly detailed narrative about the city originally known as El Pueblo de Nuestra Se–ora la Reina de los Angeles, "The Town of Our Lady the Queen of the Angels."Frank Darabont has adapted this book for a TV series, Mob City.

    What really happened in 1969? In 1999, when Tom O'Neill was assigned a magazine piece about the thirtieth anniversary of the Manson murders, he worried there was nothing new to say. Weren't the facts indisputable? Charles Manson had ordered his teenage followers to commit seven brutal murders, and in his thrall, they'd gladly complied. But when O'Neill began reporting the story, he kept finding holes in the prosecutor Vincent Bugliosi's narrative, long enshrined in the best-selling Helter Skelter. Before long, O'Neill had questions about everything from the motive to the manhunt. Though he'd never considered himself a conspiracy theorist, the Manson murders swallowed the next two decades of his career. He was obsessed. Searching but never speculative, CHAOS follows O'Neill's twenty-year effort to rebut the "official" story behind Manson. Who were his real friends in Hollywood, and how far would they go to hide their ties? Why didn't law enforcement act on their many chances to stop him? And how did he turn a group of peaceful hippies into remorseless killers? O'Neill's hunt for answers leads him from reclusive celebrities to seasoned spies, from the Summer of Love to the shadowy sites of the CIA's mind-control experiments, on a trail rife with cover-ups and coincidences. Featuring 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 Stephen Kay, strong enough to overturn the verdicts on the Manson murders. In those two dark nights in Los Angeles, O'Neill finds the story of California in the sixties: when charlatans mixed with prodigies, free love was as possible as brainwashing, and utopia-or dystopia-was just an acid trip away.

    But what about Tillie Klimek, Moulay Hassan, and Kate Bender? The narrative we're comfortable with is one where women are the victims of violent crime-not the perpetrators. In fact, serial killers are thought to be so universally male that, in 1998, FBI profiler Roy Hazelwood infamously declared that There are no female serial killers. Inspired by Telfer's Jezebel column of the same name, Lady Killers disputes that claim and offers fourteen gruesome examples as evidence. Although largely forgotten by history, female serial killers rival their male counterparts in cunning, cruelty, and appetite. Each chapter explores the crimes and history of a different female serial killer and then proceeds to unpack her legacy and her portrayal in the media as well as the stereotypes and sexist cliches that inevitably surround her.

    The East Area Rapist. The Original Night Stalker. The Visalia Ransacker.The monster who preyed on Californians from 1976 to 1986 was known by many aliases. And while numerous police sketches tried to capture his often-masked visage, the Golden State Killer spent more than 40 years not only faceless, but nameless.For his victims, for their families and for the investigators tasked with finding him, the senselessness and brutality of the Golden State Killer's acts were matched only by the powerlessness they felt at failing to uncover his identity. To be sure, the chances of obtaining closure—or any form of justice—after so many years were slim to none, at best.Then, on April 24, 2018, authorities arrested 72-year-old Joseph James DeAngelo at his home in Citrus Heights, Calif., based on DNA evidence linked to the crimes. After a decades-long hunt, a suspect was behind bars. Could it be that evil finally had a name?Delivering all-new details about the investigation and a stunning final act to the events of Michelle McNamara's haunting bestseller, I'll Be Gone in the Dark, this is the true story of how the suspected Golden State Killer was captured, as told, first-hand, by those closest to the case:Paul Holes—the forensic criminologist and retired Costa County detective who spent 20 years trying to crack the Golden State Killer case, and finally did.Jim Clemente (Host)—a retired FBI profiler and former New York City prosecutor who has investigated some of the highest profile criminal cases in U.S. history, including the Unabomber.Please note: This work contains descriptions of violent crime and sexual assault and may not be suitable for all listeners.

    Covering such turning points as the little-known Celtic and Welsh influences on English, the impact of the Viking raids and the Norman Conquest, and the Germanic invasions that started it all during the fifth century ad, John McWhorter narrates this colorful evolution with vigor. Drawing on revolutionary genetic and linguistic research as well as a cache of remarkable trivia about the origins of English words and syntax patterns, Our Magnificent Bastard Tongue ultimately demonstrates the arbitrary, maddening nature of English--and its ironic simplicity due to its role as a streamlined lingua franca during the early formation of Britain. This is the book that language aficionados worldwide have been waiting for (and no, it's not a sin to end a sentence with a preposition).

    We secretly want to know: could it happen to me? Amanda Montell’s argument is that, on some level, it already has . . .Our culture tends to provide pretty flimsy answers to questions of cult influence, mostly having to do with vague talk of “brainwashing.” But the true answer has nothing to do with freaky mind-control wizardry or Kool-Aid. In Cultish, Montell argues that the key to manufacturing intense ideology, community, and us/them attitudes all comes down to language. In both positive ways and shadowy ones, cultish language is something we hear—and are influenced by—every single day.Through juicy storytelling and cutting original research, Montell exposes the verbal elements that make a wide spectrum of communities “cultish,” revealing how they affect followers of groups as notorious as Heaven’s Gate, but also how they pervade our modern start-ups, Peloton leaderboards, and Instagram feeds. Incisive and darkly funny, this enrapturing take on the curious social science of power and belief will make you hear the fanatical language of “cultish” everywhere.

    . . .--Sherlock Holmes on Professor Moriarty in The Final ProblemThe Victorian era's most infamous thief, Adam Worth was the original Napoleon of crime. Suave, cunning Worth learned early that the best way to succeed was to steal. And steal he did.Following a strict code of honor, Worth won the respect of Victorian society. He also aroused its fear by becoming a chilling phantom, mingling undetected with the upper classes, whose valuables he brazenly stole. His most celebrated heist: Gainsborough's grand portrait of the Duchess of Devonshire--ancestor of Diana, Princess of Wales--a painting Worth adored and often slept with for twenty years.With a brilliant gang that included "Piano" Charley, a jewel thief, train robber, and playboy, and "the Scratch" Becker, master forger, Worth secretly ran operations from New York to London, Paris, and South Africa--until betrayal and a Pinkerton man finally brought him down.In a decadent age, Worth was an icon. His biography is a grand, dazzling tour into the gaslit underworld of the last century. . . and into the doomed genius of a criminal mastermind.

    Within two years he's a multimillionaire. The press calls him "King of the Bootleggers," writing breathless stories about the Gatsby-esque events he and his glamorous second wife, Imogene, host at their Cincinnati mansion, with party favors ranging from diamond jewelry for the men to brand new Pontiacs for the women. By the summer of 1921, Remus owns 35 percent of all the liquor in the United States.Pioneering prosecutor Mabel Walker Willebrandt is determined to bring him down. Willebrandt's bosses at the U.S. Attorney's office hired her right out of law school, assuming she'd pose no real threat to the cozy relationship they maintain with Remus. Eager to prove them wrong, she dispatches her best investigator, Franklin Dodge, to look into his empire. It's a decision with deadly consequences: With Remus behind bars, Dodge and Imogene begin an affair and plot to ruin him, sparking a bitter feud that soon reaches the highest levels of government--and that can only end in murder.