The Rise Of True Crime

During the 1950s and 1960s True Detective magazine developed a new way of narrating and understanding murder. It was more sensitive to context, gave more psychologically sophisticated accounts, and was more willing to make conjectures about the unknown thoughts and motivations of killers than others had been before. This turned out to be the start of a revolution, and, after a century of escalating accounts, we have now become a nation of experts, with many ordinary people able to speak intelligently about blood-spatter patterns and organized vs. disorganized serial killers. The Rise of True Crime examines the various genres of true crime using the most popular and well-known examples. And despite its examination of some of the potentially negative effects of the genre, it is written for people who read and enjoy true crime, and wish to learn more about it. With skyrocketing crime rates and the appearance of a frightening trend toward social chaos in the 1970s, books, documentaries, and fiction films in the true crime genre tried to make sense of the Charles Manson crimes and the Gary Gilmore execution events. And in the 1980s and 1990s, true crime taught pop culture consumers about forensics, profiling, and highly technical aspects of criminology. We have thus now become a nation of experts, with many ordinary people able to speak intelligently about blood-spatter patterns and organized vs. disorganized serial killers. Through the suggestion that certain kinds of killers are monstrous or outside the realm of human morality, and through the perpetuation of the stranger-danger idea, the true crime aesthetic has both responded to and fostered our culture's fears. True crime is also the site of a dramatic confrontation with the concept of evil, and one of the few places in American public discourse where moral terms are used without any irony, and notions and definitions of evil are presented without ambiguity. When seen within its historical context, true crime emerges as a vibrant and meaningful strand of popular culture, one that is unfortunately devalued as lurid and meaningless pulp.

During the 1950s and 1960s True Detective magazine developed a new way of narrating and understanding murder. It was more sensitive to context, gave more psychologically sophisticated accounts, and was more willing to make conjectures about the unknown thoughts and motivations of killers than others had been before. This turned out to be the start of a revolution, and, after a century of escalating accounts, we have now become a nation of experts, with many ordinary people able to speak intelligently about blood-spatter patterns and organized vs. disorganized serial killers. The Rise of True Crime examines the various genres of true crime using the most popular and well-known examples. And despite its examination of some of the potentially negative effects of the genre, it is written for people who read and enjoy true crime, and wish to learn more about it. With skyrocketing crime rates and the appearance of a frightening trend toward social chaos in the 1970s, books, documentaries, and fiction films in the true crime genre tried to make sense of the Charles Manson crimes and the Gary Gilmore execution events. And in the 1980s and 1990s, true crime taught pop culture consumers about forensics, profiling, and highly technical aspects of criminology. We have thus now become a nation of experts, with many ordinary people able to speak intelligently about blood-spatter patterns and organized vs. disorganized serial killers. Through the suggestion that certain kinds of killers are monstrous or outside the realm of human morality, and through the perpetuation of the stranger-danger idea, the true crime aesthetic has both responded to and fostered our culture's fears. True crime is also the site of a dramatic confrontation with the concept of evil, and one of the few places in American public discourse where moral terms are used without any irony, and notions and definitions of evil are presented without ambiguity. When seen within its historical context, true crime emerges as a vibrant and meaningful strand of popular culture, one that is unfortunately devalued as lurid and meaningless pulp.

The instant #1 New York Times and USA Today best seller by Karen Kilgariff and Georgia Hardstark, the voices behind the hit podcast My Favorite Murder! Sharing never-before-heard stories ranging from their struggles with depression, eating disorders, and addiction, Karen and Georgia irreverently recount their biggest mistakes and deepest fears, reflecting on the formative life events that shaped them into two of the most followed voices in the nation. In Stay Sexy & Don’t Get Murdered, Karen and Georgia focus on the importance of self-advocating and valuing personal safety over being ‘nice’ or ‘helpful.’ They delve into their own pasts, true crime stories, and beyond to discuss meaningful cultural and societal issues with fierce empathy and unapologetic frankness. “In many respects, Stay Sexy & Don’t Get Murdered distills the My Favorite Murder podcast into its most essential elements: Georgia and Karen. They lay themselves bare on the page, in all of their neuroses, triumphs, failures, and struggles. From eating disorders to substance abuse and kleptomania to the wonders of therapy, Kilgariff and Hardstark recount their lives with honesty, humor, and compassion, offering their best unqualified life-advice along the way.” —Entertainment Weekly “Like the podcast, the book offers funny, feminist advice for survival—both in the sense of not getting killed and just, like, getting a job and working through your personal shit so you can pay your bills and have friends.” —Rolling Stone At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

A “necessary and brilliant” (NPR) exploration of our cultural fascination with true crime told through four “enthralling” (The New York Times Book Review) narratives of obsession. In Savage Appetites, Rachel Monroe links four criminal roles—Detective, Victim, Defender, and Killer—to four true stories about women driven by obsession. From a frustrated and brilliant heiress crafting crime-scene dollhouses to a young woman who became part of a Manson victim’s family, from a landscape architect in love with a convicted murderer to a Columbine fangirl who planned her own mass shooting, these women are alternately mesmerizing, horrifying, and sympathetic. A revealing study of women’s complicated relationship with true crime and the fear and desire it can inspire, together these stories provide a window into why many women are drawn to crime narratives—even as they also recoil from them. Monroe uses these four cases to trace the history of American crime through the growth of forensic science, the evolving role of victims, the Satanic Panic, the rise of online detectives, and the long shadow of the Columbine shooting. Combining personal narrative, reportage, and a sociological examination of violence and media in the 20th and 21st centuries, Savage Appetites is a “corrective to the genre it interrogates” (The New Statesman), scrupulously exploring empathy, justice, and the persistent appeal of crime.

Crime did not take a holiday during the Civil War, far from it. As Tobin Buhk shows in this fast-paced narrative, the war created new opportunities to gain profits from illegal activities, to settle old scores against personal enemies under the cover of fighting the nation's enemies, to pillage, plunder, and murder amid the carnage and destruction that seemed to offer license to legitimize such crimes. Students of the Civil War will find new information in this readable account. --James M. McPherson,Author of Battle Cry of Freedom • Examines criminal cases during the conflict • Cases include currency counterfeiting, tyrannical actions of Gen. Benjamin Butler, the murder of Gen. Earl van Dorn, raids by William Quantrill's Bushwhackers, the Fort Pillow Massacre, the horrific prison conditions at Andersonville, the fate of Lincoln the assassination conspirators, and more

Fans of Mindhunter and true crime podcasts will devour these chilling stories of serial killers from the American "Golden Age" (1950-2000). With books like Serial Killers, Female Serial Killers and Sons of Cain, Peter Vronsky has established himself as the foremost expert on the history of serial killers. In this first definitive history of the "Golden Age" of American serial murder, when the number and body count of serial killers exploded, Vronsky tells the stories of the most unusual and prominent serial killings from the 1950s to the early twenty-first century. From Ted Bundy to the Golden State Killer, our fascination with these classic serial killers seems to grow by the day. American Serial Killers gives true crime junkies what they crave, with both perennial favorites (Ed Kemper, Jeffrey Dahmer) and lesser-known cases (Melvin Rees, Harvey Glatman).

For centuries, people have been drawn to true stories of crime and the justice system. But what began primarily as a literary genre focusing on murder has evolved. From docuseries and podcasts to Facebook groups and events such as CrimeCon, modern true crime has become diverse, complex, and interactive. In Fear, Justice, and Modern True Crime, Dawn Cecil examines the genre to uncover the messages it conveys. Modern true crime, Cecil argues, has the potential to inform people about crime-related issues and the criminal justice system--but it can also reinforce popular stereotypes. Her work deftly unpacks the impact of true crime stories on our perceptions, our fears, and even the process of justice.

Explores the proliferation of true crime audiovisual texts across multiple media platforms. Justice on Demand: True Crime in the Digital Streaming Eraoffers a theoretical rumination on the question asked in countless blogs and opinion pieces of the last decade: Why are we so obsessed with true crime? Author Tanya Horeck takes this question further: Why is true crime thought to be such a good vehicle for the new modes of viewer/listener engagement favored by online streaming and consumption in the twenty-first century? Examining a range of audiovisual true crime texts, from podcasts such as Serialand My Favorite Murderto long-form crime documentaries such as The Jinxand Making a Murderer,Horeck considers the extent to which the true crime genre has come to epitomize participatory media culture where the listener/viewer acts as a "desktop detective" or "internet sleuth." While Facebook and Twitter have re-invigorated the notion of the armchair detective, Horeck questions the rhetoric of interactivity surrounding true crime formats and points to the precarity of justice in the social media era. In a cultural moment in which user-generated videos of real-life violence surface with an alarming frequency, Justice on Demandaddresses what is at stake in the cultural investment in true crime as packaged mainstream entertainment. Paying close attention to the gendered and racialized dimensions of true crime media, Horeck examines objects that are not commonly considered "true crime," including the subgenre of closed-circuit television (CCTV) elevator assault videos and the popularity of trailers for true crime documentaries on YouTube. By analyzing a range of intriguing case studies, Horeck explores how the audience is affectively imagined, addressed, and commodified by contemporary true crime in an "on demand" mediascape. As a fresh investigation of how contemporary variations of true crime raise significant ethical questions regarding what it means to watch, listen, and "witness" in a digital era of accessibility, immediacy, and instantaneity, Justice on Demandwill be of interest to film, media, and digital studies scholars.

"Cleverly blending the real and imagined worlds until the reader can't differentiate the two, Knox has created a twisty, turny thriller that cuts through the heart of the modern true crime fascination, all while keeping us enraptured by it."—BuzzFeed THE #1 INTERNATIONAL BESTSELLER! For fans of true crime documentaries and Only Murders in the Building comes the chilling story of a university student's sudden disappearance, the woman who became obsessed with her case, and the crime writer who uncovered the truth about what happened... What happens to all the girls who go missing? In 2011, Zoe Nolan walked out of her dormitory in Manchester and was never seen or heard from again. Her case went cold. Her story was sad, certainly, but hardly sensational, crime writer Joseph Knox thought. He wouldn't have given her any more thought were it not for his friend, Evelyn Mitchell. Another writer struggling to come up with a new idea, Evelyn was wondering just what happens to all the girls who go missing. What happens to the Zoe Nolans of the world? Evelyn began investigating herself, interviewing Zoe's family and friends, and emailing Joseph with chapters of the book she was writing with her findings. Uneasy with the corkscrew twists and turns, Joseph Knox embedded himself in the case, ultimately discovering a truth more tragic and shocking than he could have possibly imagined... Just remember: Everything you read is fiction. Praise for True Crime Story: "Stunningly unique...For fans of stories with a little something extra, this book is set up like an oral history, complete with emails, newspaper clippings and photos that propel the story all the way to a shocking and satisfying conclusion." —Newsweek "Mr. Knox is a fantastic writer. His ambitious fourth novel satirises and celebrates the true-crime genre with glee. True Crime Story, by turns horrific and hilarious, is scandalously entertaining." —The Times (UK) "The gifted Joseph Knox continues his upwards trajectory with True Crime Story forging something original and innovative." —Financial Times (UK) "This is one of the most engaging cold-case novels I have read." —Literary Review (UK)

Serial killer H.H. Holmes built his murder castle in Chicago, but he met the hangman in Philadelphia. Al Capone served his first prison sentence here. The real-life killers who inspired HBO’s Boardwalk Empire lived and died here. America’s first bank robbery was pulled off here in 1798. The country’s first kidnapping for ransom came off without a hitch in 1874. A South Philadelphia man hatched the largest mass murder plot in U.S. history in the 1930s. His partners in crime were unhappy housewives. Catholics and Protestants aimed cannon at each other in city streets in 1844. Civil rights hero Octavius V. Catto was gunned down on South Street in 1871. Take a walk with us through city history. Would you pass Eastern State Penitentiary on April 3, 1945, just as famed bank robber Willie Sutton popped out of an escape tunnel in broad daylight? Or you might have been one of the invited guests at H.H. Holmes’ hanging at Moyamensing Prison on a gray morning in May 1896. It still ranks as one of the most bizarre executions in city history. Or, if you walked down Washington Lane on July 1, 1874, would you have been alert enough to stop the two men who lured little blond Charley Ross away with candy? You might have stopped America’s first kidnapping for ransom, the one that gave rise to the admonition, “Never take candy from a stranger.” The case inspired the Leopold and Loeb kidnapping. Then there was the bank robber whose funeral drew thousands of spectators and the burglary defendant so alluring that conversation would stop whenever she entered the courtroom. Mix in murderous maids, bumbling burglars, and unflinching local heroes and you have True Crime Philadelphia.