Gruesome Spectacles

Gruesome Spectacles tells the sobering history of botched, mismanaged, and painful executions in the U.S. from 1890 to the present. Since the book's initial publication in 2014, the cruel and unusual executions of a number of people on death row, including Clayton Lockett in Oklahoma and Joseph Wood in Arizona, have made headlines and renewed vigorous debate surrounding the death penalty in America. Austin Sarat's book instantly became an essential resource for citizens, scholars, and lawmakers interested in capital punishment—even the Supreme Court, which cited the book in its recent opinion, Glossip v. Gross. Now in paperback, the book includes a new preface outlining the latest twists and turns in the death penalty debate, including the recent galvanization of citizens and leaders alike as recent botched executions have unfolded in the press. Sarat argues that unlike in the past, today's botched executions seem less like inexplicable mishaps and more like the latest symptoms of a death penalty machinery in disarray. Gruesome Spectacles traces the historical evolution of methods of execution, from hanging or firing squad to electrocution to gas and lethal injection. Even though each of these technologies was developed to "perfect" state killing by decreasing the chance of a cruel death, an estimated three percent of all American executions went awry in one way or another. Sarat recounts the gripping and truly gruesome stories of some of these deaths—stories obscured by history and to some extent, the popular press.

Is capital punishment just? Does it deter people from murder? What is the risk that we will execute innocent people? These are the usual questions at the heart of the increasingly heated debate about capital punishment in America. In this bold and impassioned book, Austin Sarat seeks to change the terms of that debate. Capital punishment must be stopped, Sarat argues, because it undermines our democratic society. Sarat unflinchingly exposes us to the realities of state killing. He examines its foundations in ideas about revenge and retribution. He takes us inside the courtroom of a capital trial, interviews jurors and lawyers who make decisions about life and death, and assesses the arguments swirling around Timothy McVeigh and his trial for the bombing in Oklahoma City. Aided by a series of unsettling color photographs, he traces Americans' evolving quest for new methods of execution, and explores the place of capital punishment in popular culture by examining such films as Dead Man Walking, The Last Dance, and The Green Mile. Sarat argues that state executions, once used by monarchs as symbolic displays of power, gained acceptance among Americans as a sign of the people's sovereignty. Yet today when the state kills, it does so in a bureaucratic procedure hidden from view and for which no one in particular takes responsibility. He uncovers the forces that sustain America's killing culture, including overheated political rhetoric, racial prejudice, and the desire for a world without moral ambiguity. Capital punishment, Sarat shows, ultimately leaves Americans more divided, hostile, indifferent to life's complexities, and much further from solving the nation's ills. In short, it leaves us with an impoverished democracy. The book's powerful and sobering conclusions point to a new abolitionist politics, in which capital punishment should be banned not only on ethical grounds but also for what it does to Americans and what we cherish.

Alex Cross faces two crazed killers in this chilling, suspenseful blockbuster from James Patterson, "the man who can't miss" (Time). A spate of elaborate murders in Washington D.C. have the whole East Coast on edge. They are like nothing Alex Cross and his new girlfriend, Detective Brianna Stone, have ever seen. With each murder, the case becomes increasingly complex. There's only one thing Alex knows: the killer adores an audience. As victims are made into gruesome spectacles citywide, inducing a media hysteria, it becomes clear to Alex that the man he's after is a genius of terror-and he's after fame. The killer has the whole city by its strings-and he'll stop at nothing to become the most terrifying star that Washington D.C. has ever seen.

A shocking exploration of America’s preferred method of capital punishment. In early 2013, Robert Gleason became the latest victim of the electric chair, a peculiarly American execution method. Shouting Póg mo thóin (“Kiss my ass” in Gaelic), he grinned as electricity shot through his system. When the current was switched off, his body slumped against the leather restraints, and Gleeson, who had strangled two fellow inmates to ensure his execution was not postponed, was dead. The execution had gone flawlessly—not a guaranteed result with the electric chair, which has gone horrifically wrong on many occasions. Old Sparky covers the history of capital punishment in America and the “current wars” between Edison and Westinghouse that led to the development of the electric chair. It examines how the electric chair became the most popular method of execution in America before being superseded by lethal injection. Famous executions are explored, alongside quirky last meals and poignant last words. The death penalty remains a hot topic of debate in America, and Old Sparky does not shy away from that controversy. Executions have gone spectacularly wrong, with convicts being set alight or needing up to five jolts of electricity before dying. There have been terrible miscarriages of justice, and the death penalty has not been applied even-handedly. Historically, African Americans, the mentally challenged, and poor defendants have been likely to get the chair, an anomaly which led the Supreme Court to briefly suspend the death penalty. Since the resumption of capital punishment in 1976, Texas alone has executed more than five hundred prisoners, and death row is full.

In the mid-1990s, as public trust in big government was near an all-time low, 80% of Americans told Gallup that they supported the death penalty. Why did people who didn’t trust government to regulate the economy or provide daily services nonetheless believe that it should have the power to put its citizens to death? That question is at the heart of Executing Freedom, a powerful, wide-ranging examination of the place of the death penalty in American culture and how it has changed over the years. Drawing on an array of sources, including congressional hearings and campaign speeches, true crime classics like In Cold Blood, and films like Dead Man Walking, Daniel LaChance shows how attitudes toward the death penalty have reflected broader shifts in Americans’ thinking about the relationship between the individual and the state. Emerging from the height of 1970s disillusion, the simplicity and moral power of the death penalty became a potent symbol for many Americans of what government could do—and LaChance argues, fascinatingly, that it’s the very failure of capital punishment to live up to that mythology that could prove its eventual undoing in the United States.

Investigating the attitudes about capital punishment in contemporary America, this book poses the question: can ending the death penalty be done democratically? How is it that a liberal democracy like the United States shares the distinction of being a leading proponent of the death penalty with some of the world's most repressive regimes? Reporting on the first study of initiative and referendum processes used to decide the fate of the death penalty in the United States, this book explains how these processes have played an important, but generally neglected, role in the recent history of America's death penalty. While numerous scholars have argued that the death penalty is incompatible with democracy and that it cannot be reconciled with democracy's underlying commitment to respect the equal dignity of all, Professor Austin Sarat offers the first study of what happens when the public gets to decide on the fate of capital punishment.

This book provides a history of the electric chair and analyzes its features, its development, and the manner of its use. Chapters cover the early conceptual stages as a humane alternative to hanging, and the rivalry between Edison and Westinghouse that was one of the main forces in the chair's adoption as a mode of execution. Also presented are an account of the terrible first execution and a number of the subsequent gruesome employments of the chair. The text explores the changing attitudes toward the chair as state after state replaced it with lethal injection.

Since Herophilus, the "father of anatomy," performed the first public human dissection in the third century B.C.E., audiences have been spellbound by the cutting apart of cadavers. This volume traces the past and present of public dissection, from Herophilus's first cuts to the revival of anatomy as entertainment through spectacles like Gunther von Hagens' Body Worlds, including the attacks on anatomy in the Middle Ages, the influence of Renaissance anatomist Andreas Vesalius, the procurement of bodies through execution and body snatchers, and the withdrawal of dissectors behind medical school doors in the early 20th century. It reveals that the anatomical spectacle is not new, but has remained in the gray area between education and entertainment for centuries.

"In this wickedly humorous book, Geoffrey Abbott describes the effectiveness of instruments of torture and reveals the macabre origins of familiar phrases such as 'gone west' or 'drawn a blank'. Covering everything from the preparation of the victim to the disposal of the body 'What a Way to Go' is everything you ever wanted to know about the ultimate penalty--and a lot you never thought to ask."--Publisher's description

Documents the infamous 1927 trial and execution of Nicola Sacco and Bartolomeo Vanzetti, from the anarchist bombings in Washington, D.C., for which they may have been wrongfully convicted to the fierce public debates that have subsequently occurred as a result of the case.