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"True crime stories Fiction."
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None of this is true : a novel
\"Celebrating her forty-fifth birthday at her local pub, popular podcaster Alix Summers crosses paths with an unassuming woman called Josie Fair. Josie, it turns out, is also celebrating her forty-fifth birthday. They are, in fact, birthday twins. A few days later, Alix and Josie bump into each other again, this time outside Alix's children's school. Josie has been listening to Alix's podcasts and thinks she might be an interesting subject for her series. She is, she tells Alix, on the cusp of great changes in her life. Josie's life appears to be strange and complicated, and although Alix finds her unsettling, she can't quite resist the temptation to keep making the podcast. Slowly she starts to realize that Josie has been hiding some very dark secrets, and before she knows it, Josie has inveigled her way into Alix's life--and into her home. But, as quickly as she arrived, Josie disappears. Only then does Alix discover that Josie has left a terrible and terrifying legacy in her wake, and that Alix has become the subject of her own true crime podcast, with her life and her family's lives under mortal threat. Who is Josie Fair? And what has she done?\"-- Provided by publisher.
Book
Language, Ideology and Identity in Serial Killer Narratives
In this book, Gregoriou explores the portrayal of the serial killer identity and its related ideology across a range of contemporary crime narratives, including detective fiction, the true crime genre and media journalism. How exactly is the serial killer consciousness portrayed, how is the killing linguistically justified, and how distinguishing is the language revolving around criminal ideology and identity across these narrative genres? By employing linguistic and content-related methods of analysis, her study aims to work toward the development of a stylistic framework on the representation of serial killer ideology across factual (i.e. media texts), factional (i.e. true crime books) and fictional (i.e. novels) murder narratives. ‘Schema’ is a term commonly used to refer to organised bundles of knowledge in our brains, which are activated once we come across situations we have previously experienced, a ‘group schema’ being one such inventory shared by many. By analysing serial murder narratives across various genres, Gregoriou uncovers a widely shared ‘group schema’ for these murderers, and questions the extent to which real criminal minds are in fact linguistically fictionalised. Gregoriou’s study of the mental functioning and representation of criminal personas can help illuminate our schematic understanding of actual criminal minds.
Christiana Gregoriou is a lecturer in English Stylistics at the University of Leeds. She has an interest in the linguistic make-up of literary texts, and crime narratives in particular. She's published on the criminal mind style, a book on English Literary Stylistics and a monograph on Deviance in Contemporary Crime Fiction .
1. Crime Scenes 2. Killer Headlines 3. True Crime! 4. Buying Crime 5. The Verdict
eBook
The reappearance of Rachel Price
When her mother, who disappeared 16 years before, reappears while a true crime documentary about her case is being filmed, 18-year-old Bel, not buying her mom's unbelievable story about what happened to her, must uncover the real reason Rachel Price is back from the dead.
Book
The wages of corruption
Corruption is endemic in Cameroon. Twice, Transparency International have accorded the country the infamous first place in corruption. As one of many concerned Cameroonians, Sammy Oke Akombi was moved and they realized that something was in fact wrong somewhere and something had to be done somehow. This collection of short stories is his contribution to the collective resolve by concerned Cameroonians to wage a war against this most unusual friend of fairness. The stories seek to elicit awareness about a social ill that is ironically championed by the very politicians, functionaries, educator, leaders and power elite whose duty it is to keep society healthy and on the rails. The stories are on corruption in different segments of society and about the people who perpetrate it. Almost everyone is immersed in it and so must make every effort to resurface from it. It takes only the will to stay alive because the wages of corruption like any other sin can only be death.
eBook
“A Fate Worse than Death”: Four Filicidal Mothers in Short Fiction from the Late Victorian/Progressive Era
Turn-of-the-twentieth-century women were thought to be genetically wired to make home and hearth a protective sphere, safe from the “soiled” world beyond. In short works of fiction, late Victorian/Progressive-era US authors imagine female protagonists who enact this paradigm perversely: they kill beloved children to ensure, in death, a refuge that otherwise they are powerless to provide. Taken together, these stories suggest their authors’ literary problematizing of “true womanhood,” the ideal wherein women of every race and class were to exemplify moral sanctity for the sake of family. Surprisingly, the four authors indict, not their protagonists as mothers “gone bad,” but the patriarchal, misogynist, and racist society that excludes women of both need and privilege from maternal authority over their young. In Kate Chopin’s “Desiree’s Baby,” Mary Wilkins Freeman’s “Old Woman Magoun,” Sui Sin Far’s “The Wisdom of the New,” and Angela Weld Grimké’s “The Closing Door,” four marginalized, desperate women disrupt the aims of men who would do harm. Considering Progressive-era views on motherhood and contemporary perspectives on the gendering of violent crime, this article examines the implications of ideology that presumes women to be morally “good” by nature. Instead of the authors casting murdering mothers as “masculinized” or monstrous, they are, more complexly, aligned with both the “feminine” and with feminist interests. Thus, the devoted caretakers in these stories paradoxically perform the era’s maternal ideal while simultaneously acting to subvert that ideal as they dismantle the looming threat to their young that domineering men impose.
Journal Article
Writing after war : American war fiction from realism to postmodernism
Writing After War develops a theory of the relationship of war in general to literature in general, to make sense of American literary history in particular. The Iliad, Limon argues, inaugurates literary history on the failure of war to be formally beautiful.
eBook
The superhero symbol : media, culture, and politics
\"As a man, I'm flesh and blood, I can be ignored, I can be destroyed; but as a symbol... as a symbol I can be incorruptible, I can be everlasting\". In the 2005 reboot of the Batman film franchise, Batman Begins, Bruce Wayne articulates how the figure of the superhero can serve as a transcendent icon. It is hard to imagine a time when superheroes have been more pervasive in our culture. Today, superheroes are intellectual property jealously guarded by media conglomerates, icons co-opted by grassroots groups as a four-color rebuttal to social inequities, masks people wear to more confidently walk convention floors and city streets, and bulletproof banners that embody regional and national identities. From activism to cosplay, this collection unmasks the symbolic function of superheroes. Bringing together superhero scholars from a range of disciplines, alongside key industry figures such as Harley Quinn co-creator Paul Dini, The Superhero Symbol provides fresh perspectives on how characters like Captain America, Iron Man, and Wonder Woman have engaged with media, culture, and politics, to become the \"everlasting\" symbols to which a young Bruce Wayne once aspired.
eBook