Infanticide, serial killings, war, terrorism, abortion, honour killings, euthanasia, suicide bombings and genocide; all involve taking of life. Put most simply, all involve killing one or more other people. Yet cultural context influences heavily how one perceives all of these, and indeed, some readers of this paragraph may already have thought: 'But surely that doesn't belong with those others, that's not really killing.' Why We Kill examines violence in many of its manifestations, exploring how culture plays a role in people's understanding of violent action. From the first chapter, which tries to understand multiple forms of domestic homicide including infanticide, filicide, spousal homicide and honour killings, to the final chapter's bone-chilling account of the massacre at Murambi in Rwanda, this fascinating book makes compelling reading.
why we kill
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William Rothman argues that the driving force of Hitchcock's work was his struggle to reconcile the dark vision of his favorite Oscar Wilde quote, "Each man kills the thing he loves," with the quintessentially American philosophy, articulated in Emerson's writings, that gave classical Hollywood movies of the New Deal era their extraordinary combination of popularity and artistic seriousness. A Hitchcock thriller could be a comedy of remarriage or a melodrama of an unknown woman, both Emersonian genres, except for the murderous villain and godlike author, Hitchcock, who pulls the villain's strings—and ours. Because Hitchcock believed that the camera has a murderous aspect, the question "What if anything justifies killing?," which every Hitchcock film engages, was for him a disturbing question about his own art. Tracing the trajectory of Hitchcock's career, Rothman discerns a progression in the films' meditations on murder and artistic creation. This progression culminates in Marnie (1964), Hitchcock's most controversial film, in which Hitchcock overcame his ambivalence and fully embraced the Emersonian worldview he had always also resisted. Reading key Emerson passages with the degree of attention he accords to Hitchcock sequences, Rothman discovers surprising affinities between Hitchcock's way of thinking cinematically and the philosophical way of thinking Emerson's essays exemplify. He finds that the terms in which Emerson thought about reality, about our "flux of moods," about what it is within us that never changes, about freedom, about America, about reading, about writing, and about thinking are remarkably pertinent to our experience of films and to thinking and writing about them. He also reflects on the implications of this discovery, not only for Hitchcock scholarship but also for film criticism in general.
Why do some men, women and even children assault, batter, rape, mutilate and murder? In his stunning new book, the Pulitzer Prize-winner Richard Rhodes provides a startling and persuasive answer. Why They Killexplores the discoveries of a maverick American criminologist, Dr. Lonnie Athens -- himself the child of a violent family -- which challenge conventional theories about violent behavior. By interviewing violent criminals in prison, Dr. Athens has identified a pattern of social development common to all seriously violent people -- a four-stage process he calls "violentization": -- First, brutalization: A young person is forced by violence or the threat of violence to submit to an aggressive authority figure; he witnesses the violent subjugation of intimates, and the authority figure coaches him to use violence to settle disputes. -- Second, belligerency: The dispirited subject, determined to prevent his further violent subjugation, heeds his coach and resolves to resort to violence. -- Third, violent performances: His violent response to provocation succeeds, and he reads respect and fear in the eyes of others. -- Fourth, virulency: Exultant, he determines from now on to utilize serious violence as a means of dealing with people -- and he bonds with others who believe as he does. Since all four stages must be fully experienced in sequence and completed to produce a violent individual, we see how intervening to interrupt the process can prevent a tragic outcome. Rhodes supports Athens's theory with historical evidence and shows how it explains such violent careers as those of Perry Smith (the killer central to Truman Capote's narrative In Cold Blood), Mike Tyson, "preppy rapist" Alex Kelly, and Lee Harvey Oswald. Why They Kill challenges with devastating evidence the theory that violent behavior is impulsive, unconsciously motivated and predetermined. It offers compelling insights into the terrible, ongoing dilemma of criminal violence that plagues families, neighborhoods, cities and schools.
A Murdered Husband. . . Gulf War veteran Doug Gissendaner would do anything for a friend, a stranger, or the wife who broke every rule in the marriage book. Now, investigators were scouring the Georgia woods not far from Doug's home. They'd already found the charred wreckage of his car. They knew they were looking for a body. . . A Hitman Who Killed For Love. . . Gregory Owen had been having an on-again, off-again affair with Doug's wife for years. Then Kelly Gissendaner told Greg it was time for her husband to die. With a knife and a plan, Greg forced Doug to drive into the woods. When Greg finished his savage, cold-blooded deed, Kelly showed up to make sure Doug was dead. A Woman On Death Row. . . This is the astounding true story of the only woman on Georgia's Death Row and the chilling, account of how she got there. From the hold Kelly had over a good and decent man to her dramatic, controversial trial, First We'll Kill My Husband captures the lies, schemes, and manipulations of a woman totally bent on murder. . . Includes 16 pages of shocking photos! Lyn Riddle is a freelance writer and journalist whose work regularly appears in The New York Times, the Los Angeles Times, and The Atlanta Constitution. She is the author of Family Blood: The Murder that Shattered an All-American Home and Ashes to Ashes. She lives in Simpsonville (near Greenville), SC.
Come On Shore and We Will Kill And Eat You All is a sensitive and vibrant portrayal of the cultural collision between Westerners and Maoris, from Abel Tasman's discovery of New Zealand in 1642 to the author's unlikely romance with a Maori man. An intimate account of two centuries of friction and fascination, this intriguing and unpredictable book weaves a path through time and around the world in a rich exploration of the past and the future that it leads to.
Beyond the Real Mind focuses more than that outside the box, considering why a person would take a life if we cherish it so much. Moreover, it probes into the behavior that makes a person a criminal and understanding why a person kills. But it does not accept anyone's excuse when there is more to explore into the hypothesis while researching the fact. Beyond the Real Mind continues to open and enlighten readers about why criminals act the way they do and what motivates or influences the killing tendency, thus probing deeper as we reach beyond the real mind.
Zeb Pierce, D.A., is faced with re_election, opposed by Noble Stein, a young, popular, third_generation lawyer from a large firm named Lee, Stein, Brown, & Harris. Before Zeb can decide whether hell run again, suddenly four business men are found murdered with viper venom. Their nude bodies are found one a week apart and in different rooms of the Riverside Hotel. A vipers head is drawn with lipstick on each bathroom mirror. The town raises_up in fear of a serial killer. Zeb cant find a clue. The elected officials blame him for not making an arrest. Zeb and his assistant, Madge, make a two day trip into the Bienville National Forest to visit an old hermit who is supposed to know more about vipers than anyone around. This trip is a winter wonderland excursion; but they find the old hermit, Elmer Crook, and gain evidence about an unidentified horsewoman who contracted with the old hermit for a supply of viper venom. Chancery Judge Bullard becomes the fifth victim and Zeb begins to think hes on the wrong road to a solution; that its not a serial killer. The fact that the Mayors political cronies are getting jittery over how the newly appointed Chancellor Clark will rule on a law affecting gambling suggest to Zeb that gambling interest are involved. After Judge Bullard becomes the fifth victim, the Mayor demands that Zeb make an arrest. The only evidence Zeb has incriminates his girlfriend, Deborah. As a lawyer, Deborah confessed to Zeb previously that she had represented some gambling companies. A search warrant secured by the Mayor, and conducted by the city police, turns up a signed copy of deceased Judge Bullards unfiled opinion in Deborahs possession. Deborah, being the last one to see Judge Bullard alive, becomes a prime suspect. The Mayor demands Deborahs arrest and Zeb prosecutes her reluctantly. Knowing in his mind she is innocent, Zeb throws the trial and deliberately sets up Seth Beamon, Deborahs defense attorney, for a directed verdict. Zeb, bothered by his breach of ethics, keeps on pushing. He discovers that the first four murder victims were on the board of directors for the Riverside Hotel. He also discovers Christian McInnis Uno Nummata gambling company wants to buy the Riverside but the Riversides board has refused to sell. So it all adds up. Not having enough to secure an indictment from the grand jury; Zeb sets a trap for Mayor Rushing and Judge Baremore. The trap works. Judge Baremore is exposed and co_operates. There are two more deaths but justice is served.
When Grotton's boys bushwhacked the herd, they had one grim order: leave no witnesses alive. For justice was rough on the untamed plains of Kansas, and cattle-stealing was a hanging charge. But two men survived the massacre. Rem McAllister was one of them, and seeing his fellow cowpokes die had turned him into a ruthless killing-machine. So as soon as the rustlers realized he was alive and on the loose, another order went out: Kill McAllister - before he kills all of us!
From the author of Pope John Paul II: A Biography comes a chillingly authentic conspiracy thriller based on actual, never-before-revealed facts surrounding the assassination attempt against Pope John Paul II. “One moment, the white-clad figure, holding on to the iron bar at the back seat of the white Jeep with the left hand, was blessing the faithful in a slow, circular motion of the right hand as the vehicle advanced gently through the human mass filling St. Peter's Square in the Vatican under the azure-blue sky of the May afternoon. The next moment, the figure in white was slumped, seemingly lifeless, in a pool of crimson blood sloshing in the rear of the Jeep...” In May 1981, in the middle of the slow tour among pilgrims on St. Peter's Square, Gregory XVII, the beloved but often controversial French pope, is shot at close range. The would-be assassin is quickly caught and identifies himself as Agca Circlic, a Turk belonging to a terrorist group. But the recovering Gregory XVII—who has both deep faith and a philosophical turn of mind—is not satisfied with Circlic's arrest and sets out to discover who really wants him dead. He arranges to recruit Tim Savage, an American Jesuit and former CIA case officer, who soon discovers that the plot to kill the Pope originated not in the Middle East but very close to home. To Kill the Pope is a fictional treatment of the real-life assassination attempt on Pope John Paul II. In the course of researching his acclaimed biography of the Pope, Tad Szulc uncovered the truth about the conspiracy. The fictional format was chosen because, out of deference to his top-level sources, he could not reveal real names or disclose specific details. This information—including actual CIA testimony before United States Senate committees, the Agency's internal reports, French Secret Service involvements, and findings by Italian courts and Interpol—forms the basis for a shocking thriller that sheds new light on a key event in recent history.
Genocide, mass murder, massacres. The words themselves are chilling, evoking images of the slaughter of countless innocents. What dark impulses lurk in our minds that even today can justify the eradication of thousands and even millions of unarmed human beings caught in the crossfire of political, cultural, or ethnic hostilities? This question lies at the heart of Why Not Kill Them All? Cowritten by historical sociologist Daniel Chirot and psychologist Clark McCauley, the book goes beyond exploring the motives that have provided the psychological underpinnings for genocidal killings. It offers a historical and comparative context that adds up to a causal taxonomy of genocidal events. Rather than suggesting that such horrors are the product of abnormal or criminal minds, the authors emphasize the normality of these horrors: killing by category has occurred on every continent and in every century. But genocide is much less common than the imbalance of power that makes it possible. Throughout history human societies have developed techniques aimed at limiting intergroup violence. Incorporating ethnographic, historical, and current political evidence, this book examines the mechanisms of constraint that human societies have employed to temper partisan passions and reduce carnage. Might an understanding of these mechanisms lead the world of the twenty-first century away from mass murder? Why Not Kill Them All? makes clear that there are no simple solutions, but that progress is most likely to be made through a combination of international pressures, new institutions and laws, and education. If genocide is to become a grisly relic of the past, we must fully comprehend the complex history of violent conflict and the struggle between hatred and tolerance that is waged in the human heart. In a new preface, the authors discuss recent mass violence and reaffirm the importance of education and understanding in the prevention of future genocides.