A SCHOLARLY BOOK REPOSITORY
The transition to young adulthood typically includes school completion, full-time employment, leaving the childhood home, marriage, and childbearing, events that are disrupted by incarceration. While one quarter of the young men who participated in the study successfully transitioned into adulthood—achieving employment and residential independence and avoiding arrest and incarceration—the same number of young men remained deeply involved with the criminal justice system, spending on average four out of the seven years after their initial release re-incarcerated. Not surprisingly, whites are more likely to experience success after prison. The authors attribute this racial disparity to the increased stigma of criminal records for blacks, racial discrimination, and differing levels of social network support that connect whites to higher quality jobs. Black men earn less than white men, are more concentrated in industries characterized by low wages and job insecurity, and are less likely to remain employed once they have a job.
The authors demonstrate that families, social networks, neighborhoods, and labor market, educational, and criminal justice institutions can have a profound impact on young people’s lives. Their research indicates that residential stability is key to the transition to adulthood. Harding and Harris make the case for helping families, municipalities, and non-profit organizations provide formerly incarcerated young people access to long-term supportive housing and public housing. A remarkably large number of men in this study eventually enrolled in college, reflecting the growing recognition of college as a gateway to living wage work. But the young men in the study spent only brief spells in college, and the majority failed to earn degrees. They were most likely to enroll in community colleges, trade schools, and for-profit institutions, suggesting that interventions focused on these kinds of schools are more likely to be effective. The authors suggest that, in addition to helping students find employment, educational institutions can aid reentry efforts for the formerly incarcerated by providing supports like childcare and paid apprenticeships.
After Prison offers a set of targeted policy interventions to improve these young people’s chances: lifting restrictions on federal financial aid for education, encouraging criminal record sealing and expungement, and reducing the use of incarceration in response to technical parole violations. This book will be an important contribution to the fields of scholarly work on the criminal justice system and disconnected youth.
Richard Stark's Parker novels are the hardest of hard-boiled, classic crime novels where the heists are huge, the body counts are high, and the bad guys usually win.
The Parker novels have been a huge influence on countless writers and filmmakers, including Quentin Tarantino, George Pelecanos, Colson Whitehead, Lucy Sante, and many more. Their stripped-down language and hard-as-nails amorality create an unforgettable world where the next score could be the big one, but your next mistake could also be your last. There's nothing else like them.
In Ask the Parrot, Parker’s back on the run, dodging dogs, cops, and even a helicopter. His escape brings him to rural Massachusetts, where he meets a small-town recluse who Forced to work with a small-town recluse nursing a grudge against the racetrack that fired him. Even on the run, Parker manages to get up to no good. It'll be a deadly day at the races.
Parker embarks on one of the most complicated heists in the whole of the classic hard-boiled series, knocking over a casino floating on the Hudson
Richard Stark’s Parker novels are the hardest of hard-boiled, classic crime novels where the heists are huge, the body counts are high, and the bad guys usually win.
The Parker novels have been a huge influence on countless writers and filmmakers, including Quentin Tarantino, Stephen King, George Pelecanos, Colson Whitehead, Lucy Sante, John Banville, and many more. Their stripped-down language and hard-as-nails amorality create an unforgettable world where the next score could be the big one, but your next mistake could also be your last. There’s nothing else like them.
Parker's got a couple of rules that have helped keep him alive throughout his long career. One of those is never to work on a boat. But with a gambling boat cruising down the Hudson, stuffed to the gunwales with cash, Parker’s got a plan, a team, and a new rule: a shot at a big enough score makes any rule worth breaking. Parker and his crew hit the boat, hard, but as always, there are a lot of complications—and a lot of bodies—before this one's in the bag.
As the incidence of violent crime rises in the United States, so does the public demand for a solution. But what will work?
Mark S. Fleisher has spent years among inmates in jails and prisons and on the streets with thieves, gang members, addicts, and life-long criminals in Seattle and other cities across the country. In Beggars and Thieves, he writes about how and why they become and remain offenders, and about the actual role of jails and prisons in efforts to deter crime and rehabilitate criminals. Fleisher shows, with wrenching firsthand accounts, that parents who are addicts, abusers, and criminals beget irreversibly damaged children who become addicts, abusers, and criminals. Further, Fleisher contends that many well-intentioned educational and vocational training programs are wasted because they are offered too late to help. And, he provides sobering evidence that many youthful and adult offenders find themselves better off in prison—with work to do, medical care, a clean place to sleep, regular meals, and stable social ties—than they are in America’s cities.
Fleisher calls for anti-crime policies that are bold, practical, and absolutely imperative. He prescribes life terms for violent offenders, but in prisons structured as work communities, where privileges are earned through work in expanded, productive industries that reduce the financial burden of incarceration on the public. But most important, he argues that the only way to prevent street crime, cut prison growth, and reduce the waste of money and human lives is to permanently remove brutalized children from criminal, addicted, and violent parents.
For some people, even prison cannot shut out the natural world.
A teacher and family man incarcerated in Arizona State Prison—the result of a transgression that would cost him a dozen years of his life—Ken Lamberton can see beyond his desert walls. In essays that focus on the natural history of the region and on his own personal experiences with desert places, the author of the Burroughs Medal-winning book Wilderness and Razor Wire takes readers along as he revisits the Southwest he knew when he was free, and as he makes an inner journey toward self-awareness. Whether considering the seemingly eternal cacti or the desolate beauty of the Pinacate, he draws on sharp powers of observation to re-create what lies beyond his six-by-eight cell and to contemplate the thoughts that haunt his mind as tenaciously as the kissing bugs that haunt his sleep.
Ranging from prehistoric ruins on the Colorado Plateau to the shores of the Sea of Cortez, these writings were begun before Wilderness and Razor Wire and serve as a prequel to it. They seamlessly interweave natural and personal history as Lamberton explores caves, canyons, and dry ponds, evoking the mysteries and rhythms of desert life that elude even the most careful observers. He offers new ways of thinking about how we relate to the natural world, and about the links between those relationships and the ones we forge with other people. With the assurance of a gifted writer, he seeks to make sense of his own place in life, crafting words to come to terms with an insanity of his own making, to look inside himself and understand his passions and flaws.
Whether considering rattlesnakes of the hellish summer desert or the fellow inmates of his own personal hell, Lamberton finds meaningful connections—to his crime and his place, to the people who remained in his life and those who didn’t. But what he reveals in Beyond Desert Walls ultimately arises from language itself: a deep, and perhaps even frightening, understanding of a singular human nature.
The American prison system has grown tenfold since the 1970s, but crime rates in the United States have not decreased. This doesn't surprise Michael J. Lynch, a critical criminologist, who argues that our oversized prison system is a product of our consumer culture, the public's inaccurate beliefs about controlling crime, and the government's criminalizing of the poor.
While deterrence and incapacitation theories suggest that imprisoning more criminals and punishing them leads to a reduction in crime, case studies, such as one focusing on the New York City jail system between 1993 and 2003, show that a reduction in crime is unrelated to the size of jail populations. Although we are locking away more people, Lynch explains that we are not targeting the worst offenders. Prison populations are comprised of the poor, and many are incarcerated for relatively minor robberies and violence. America's prison expansion focused on this group to the exclusion of corporate and white collar offenders who create hazardous workplace and environmental conditions that lead to deaths and injuries, and enormous economic crimes. If America truly wants to reduce crime, Lynch urges readers to rethink cultural values that equate bigger with better.
Richard Stark's Parker novels are the hardest of hard-boiled, classic crime novels where the heists are huge, the body counts are high, and the bad guys usually win.
The Parker novels have been a huge influence on countless writers and filmmakers, including Quentin Tarantino, Stephen King, George Pelecanos, Colson Whitehead, Lucy Sante, John Banville, and many more. Their stripped-down language and hard-as-nails amorality create an unforgettable world where the next score could be the big one, but your next mistake could also be your last. There's nothing else like them.
In The Black Ice Score, a corrupt African colonel has converted half his country’s wealth into diamonds and smuggled them to a Manhattan safe house. Four upstanding citizens plan to rescue their new nation by stealing the diamonds back—with the help of a “specialist”: Parker. Will Parker break his rule against working with amateurs and help them because his woman would be disappointed if he doesn’t? Or because three hired morons have threatened to kill him and his woman if he does? They thought they were buying an advantage, but what they get is a predated death certificate.
The biggest, baddest novel in the entire Parker series, Butcher's Moon finds Parker taking on a whole mobbed-up town--and you can guess who comes out on top.
Richard Stark's Parker novels are the hardest of hard-boiled, classic crime novels where the heists are huge, the body counts are high, and the bad guys usually win.
The Parker novels have been a huge influence on countless writers and filmmakers, including Quentin Tarantino, Stephen King, George Pelecanos, Colson Whitehead, Lucy Sante, John Banville, and many more. Their stripped-down language and hard-as-nails amorality create an unforgettable world where the next score could be the big one, but your next mistake could also be your last. There's nothing else like them.
The sixteenth Parker novel, Butcher’s Moon is more than twice as long as most of the master heister’s adventures, and absolutely jammed with the action, violence, and nerve-jangling tension readers have come to expect. Back in the corrupt town where he lost his money, and nearly his life, in Slayground, Parker assembles a stunning cast of characters from throughout his career for one gigantic, blowout job: starting—and finishing—a gang war. It feels like the Parker novel to end all Parker novels, and for nearly twenty-five years that’s what it was. After its publication in 1974, Donald Westlake said, “Richard Stark proved to me that he had a life of his own by simply disappearing. He was gone.”
Featuring a new introduction by Westlake’s close friend and writing partner, Lawrence Block, this classic Parker adventure deserves a place of honor on any crime fan’s bookshelf. More than thirty-five years later, Butcher’s Moon still packs a punch: keep your calendar clear when you pick it up, because once you open it you won’t want to do anything but read until the last shot is fired.
In this riveting true story of coming of age in the Chicago Mob, Charles “Charley” Hager is plucked from his rural West Virginia home by an uncle in the 1960s and thrown into an underworld of money, cars, crime, and murder on the streets of Chicago Heights.
Street-smart and good with his hands, Hager is accepted into the working life of a chauffeur and “street tax” collector, earning the moniker “Little Joe College” by notorious mob boss Albert Tocco. But when his childhood friend is gunned down by a hit man, Hager finds himself a bit player in the events surrounding the mysterious, and yet unsolved, murder of mafia chief Sam Giancana.
Chicago Heights is part rags-to-riches story, part murder mystery, and part redemption tale. Hager, with author David T. Miller, juxtaposes his early years in West Virginia with his life in crime, intricately weaving his own experiences into the fabric of mob life, its many characters, and the murder of Giancana.
Fueled by vivid recollections of turf wars and chop shops, of fix-ridden harness racing and the turbulent politics of the 1960s, Chicago Heights reveals similarities between high-level organized crime in the city and the corrupt lawlessness of Appalachia. Hager candidly reveals how he got caught up in a criminal life, what it cost him, and how he rebuilt his life back in West Virginia with a prison record.
Based on interviews with Hager and supplemented by additional interviews and extensive research by Miller, the book also adds Hager’s unique voice to the volumes of speculation about Giancana’s murder, offering a plausible theory of what happened on that June night in 1975.
In 1924, the murder trials of Beulah Annan and Belva Gaertner shocked the world, providing the real-life inspiration for Maurine Watkins’s unforgettable characters, Roxie Hart and Velma Kelly. Now, a century later, this reissue of Watkins’s play offers a fresh look at the origins of the story that has since become a household name.
From the silent film Chicago produced by Cecil B. DeMille in 1927 to the 1942 film Roxie Hart starring Ginger Rogers and the Broadway sensation created by Bob Fosse, Fred Ebb, and John Kander, this play has continuously evolved. It even inspired the 2002 Oscar-winning film Chicago starring Renée Zellweger, Catherine Zeta-Jones, and Richard Gere. But until recently, as editor Thomas H. Pauly writes in the book’s introduction, the real-life roots of the story were obscured.
While researching for a book on crime-as-entertainment during the 1920s, Pauly came across Maurine Watkins’s play, which was then out of print. After noticing similarities between the play and a series of articles Watkins penned for the Chicago Tribune prior to the creation of her play, Pauly knew he had stumbled upon a revelation: Watkins’s play was based on real people. His republication of the play, alongside substantial background material and a reprinting of Watkins’s news articles, has become an indispensable starting point for all subsequent interest in Watkins and Chicago, whose subject remains as topical as ever.
This special edition includes a new foreword by Charles H. Cosgrove, author of They Both Reached for the Gun: Beulah Annan, Maurine Watkins, and the Trial That Became Chicago. Cosgrove’s extensive research into the real-life cases provides deeper insight into the world that Watkins portrayed with such satirical brilliance. Additionally, the original editor, Thomas H. Pauly, has contributed a new preface, further enhancing understanding of the play and its inspiration, the thrilling true-crime story that captivated a nation and birthed a cultural phenomenon.
By investigating postrevolutionary examples of corruption and organized crime, Piccato shines light on the historical foundations of a social problem that remains the main concern of Mexico City today. Emphasizing the social construction of crime and the way it was interpreted within the moral economy of the urban poor, he describes the capital city during the early twentieth century as a contested territory in which a growing population of urban poor had to negotiate the use of public spaces with more powerful citizens and the police. Probing official discourse on deviance, Piccato reveals how the nineteenth-century rise of positivist criminology—which asserted that criminals could be readily distinguished from the normal population based on psychological and physical traits—was used to lend scientific legitimacy to class stratifications and to criminalize working-class culture. Furthermore, he argues, the authorities’ emphasis on punishment, isolation, and stigmatization effectively created cadres of professional criminals, reshaping crime into a more dangerous problem for all inhabitants of the capital.
This unique investigation into crime in Mexico City will interest Latin Americanists, sociologists, and historians of twentieth-century Mexican history.
Parker returned to action after 23 years away, and he did so with a bang in this classic entry in the long-running hard-boiled crime series
Richard Stark's Parker novels are the hardest of hard-boiled, classic crime novels where the heists are huge, the body counts are high, and the bad guys usually win.
The Parker novels have been a huge influence on countless writers and filmmakers, including Quentin Tarantino, Stephen King, George Pelecanos, Colson Whitehead, Lucy Sante, John Banville, and many more. Their stripped-down language and hard-as-nails amorality create an unforgettable world where the next score could be the big one, but your next mistake could also be your last. There's nothing else like them.
After the bloodbath of Butcher’s Moon, the action-filled blowout Parker adventure, Donald Westlake said, "Richard Stark proved to me that he had a life of his own by simply disappearing. He was gone." And for nearly twenty-five years, he stayed away, while readers waited.
But nothing bad is truly gone forever, and Parker’s as bad as they come. According to Westlake, one day in 1997, “suddenly, he came back from the dead, with a chalky prison pallor”—and the resulting novel, Comeback, showed that neither Stark nor Parker had lost a single step. Knocking over a highly lucrative religious revival show, Parker reminds us that not all criminals don ski masks—some prefer to hide behind the wings of fallen angels.
Originally published in 1876, Criminal Man went through five editions during Lombroso’s lifetime. In each edition Lombroso expanded on his ideas about innate criminality and refined his method for categorizing criminal behavior. In this new translation, Mary Gibson and Nicole Hahn Rafter bring together for the first time excerpts from all five editions in order to represent the development of Lombroso’s thought and his positivistic approach to understanding criminal behavior.
In Criminal Man, Lombroso used modern Darwinian evolutionary theories to “prove” the inferiority of criminals to “honest” people, of women to men, and of blacks to whites, thereby reinforcing the prevailing politics of sexual and racial hierarchy. He was particularly interested in the physical attributes of criminals—the size of their skulls, the shape of their noses—but he also studied the criminals’ various forms of self-expression, such as letters, graffiti, drawings, and tattoos. This volume includes more than forty of Lombroso’s illustrations of the criminal body along with several photographs of his personal collection. Designed to be useful for scholars and to introduce students to Lombroso’s thought, the volume also includes an extensive introduction, notes, appendices, a glossary, and an index.
The editors' introduction situates criminals and enemies in a theoretical context, focusing on the work of Thomas Hobbes and Carl Schmitt, while other essays consider topics ranging from Germany's denazification project to South Africa's pre- and post-apartheid legal regime to the complicating factors introduced by the war on terror. In addition to the editors, the contributors include Stephen Clingman, Jennifer Daskal, Sara Kendall, Devin Pendas, and Annette Weinke.
Drawing on a large collection of prison and administrative records archived at Peru’s Ministry of Justice, Aguirre offers a detailed account of the daily lives of men incarcerated in Lima’s jails. In showing the extent to which the prisoners actively sought to influence prison life, he reveals the dynamic between prisoners and guards as a process of negotiation, accommodation, and resistance. He describes how police and the Peruvian state defined criminality and how their efforts to base a prison system on the latest scientific theories—imported from Europe and the United States—foundered on the shoals of financial constraints, administrative incompetence, corruption, and widespread public indifference. Locating his findings within the political and social mores of Lima society, Aguirre reflects on the connections between punishment, modernization, and authoritarian traditions in Peru.
One of the most hard-boiled and violent entries in the classic series starring Parker, the toughest heister out there
Richard Stark's Parker novels are the hardest of hard-boiled, classic crime novels where the heists are huge, the body counts are high, and the bad guys usually win.
The Parker novels have been a huge influence on countless writers and filmmakers, including Quentin Tarantino, Stephen King, George Pelecanos, Colson Whitehead, Lucy Sante, John Banville, and many more. Their stripped-down language and hard-as-nails amorality create an unforgettable world where the next score could be the big one, but your next mistake could also be your last. There's nothing else like them.
Deadly Edge bids a brutal adieu to the 1960s as Parker robs a rock concert, and the heist goes south. Soon Parker finds himself—and his woman, Claire—menaced by a pair of sadistic, strung-out killers who want anything but a Summer of Love. Parker has a score to settle while Claire’s armed with her first rifle—and they’re both ready to usher in the end of the Age of Aquarius.
What is the role of multi-species ecologies in creating spaces that counteract the violence in carceral systems and environmental destruction? This book brings together, for the first time, contributions on issues related to prison, jail, and reentry programs, community-based interventions, environmental justice, and sustainability. Through rigorous analysis, detailed case studies, poetry, and personal reflections, the book offers ways of thinking and acting at the intersection of environmental issues and the carceral system. It gathers hard-earned wisdom and insight of researchers, activists, practitioners, and community leaders from within and beyond prison walls who have taken up their projects despite profound institutional constraints.
Approaches in the book range from reform to abolition, as authors detail both practical interventions and imaginative courses of action. More than a contribution to academic knowledge, the book also uniquely highlights voices of those who are incarcerated, survivors of crime, and institutional stakeholders. In addition to writing about the carceral system based on research and personal experience, authors describe practices that are creating transformative spaces of environmental education, building effective pipelines for green workforce development, and sustaining reciprocal relationships for eco-social healing.
Visit for more information: ecologiesofjustice.net
When a woman leaves prison, she enters a world of competing messages and conflicting advice. Staff from prison, friends, family members, workers at halfway houses and treatment programs all have something to say about who she is, who she should be, and what she should do. The Ex-Prisoner’s Dilemma offers an in-depth, firsthand look at how the former prisoner manages messages about returning to the community.
Over the course of a year, Andrea Leverentz conducted repeated interviews with forty-nine women as they adjusted to life outside of prison and worked to construct new ideas of themselves as former prisoners and as mothers, daughters, sisters, romantic partners, friends, students, and workers. Listening to these women, along with their family members, friends, and co-workers, Leverentz pieces together the narratives they have created to explain their past records and guide their future behavior. She traces where these narratives came from and how they were shaped by factors such as gender, race, maternal status, age, and experiences in prison, halfway houses, and twelve-step programs—factors that in turn shaped the women’s expectations for themselves, and others’ expectations of them. The women’s stories form a powerful picture of the complex, complicated human experience behind dry statistics and policy statements regarding prisoner reentry into society for women, how the experience is different for men and the influence society plays.
With its unique view of how society’s mixed messages play out in ex-prisoners’ lived realities, The Ex-Prisoner’s Dilemma shows the complexity of these women’s experiences within the broad context of the war on drugs and mass incarceration in America. It offers invaluable lessons for helping such women successfully rejoin society.
Padilla shows us his decision to join the Diamonds. From early childhood, boys develop positive images of the gang. They realize that the dominant culture promises mobility, but that their paths to that mobility are blocked. By joining a gang they can creatively oppose the dominant culture. Padilla does not paint a romanticized picture of the Diamonds. Some members come to understand that when they sell drugs, they benefit the gang's leaders and suppliers more than themselves. Further, they recognize that the gang is also subject to problems of domination and inequality. Padilla shows that though the Diamonds are sometimes violent, they are not psychopaths. While we need not approve of what they do, he urges us to understand it as a rational response to the doors these young men see closed around them.
Richard Stark's Parker novels are the hardest of hard-boiled, classic crime novels where the heists are huge, the body counts are high, and the bad guys usually win.
The Parker novels have been a huge influence on countless writers and filmmakers, including Quentin Tarantino, Stephen King, George Pelecanos, Colson Whitehead, Lucy Sante, John Banville, and many more. Their stripped-down language and hard-as-nails amorality create an unforgettable world where the next score could be the big one, but your next mistake could also be your last. There's nothing else like them.
In The Green Eagle Score, Parker cuts his vacation with Claire short with a new job: stealing the entire payroll of an Air Force base in upstate New York. With help from Marty Fusco, fresh out of the pen, and a smart aleck finance clerk named Devers, Parker tries to shorten the odds on the risky job. But the ice is thinner than Parker likes to think—and a wrench always gets thrown in the works.
Parker takes down a whole illegal casino in this action-packed entry in the classic hard-boiled crime series
Richard Stark's Parker novels are the hardest of hard-boiled, classic crime novels where the heists are huge, the body counts are high, and the bad guys usually win.
The Parker novels have been a huge influence on countless writers and filmmakers, including Quentin Tarantino, Stephen King, George Pelecanos, Colson Whitehead, Lucy Sante, John Banville, and many more. Their stripped-down language and hard-as-nails amorality create an unforgettable world where the next score could be the big one, but your next mistake could also be your last. There's nothing else like them.
In The Handle, Parker is enlisted by the mob to knock off an island casino guarded by speedboats and heavies, forty miles from the Texas coast. Working with his trusted colleague Alan Grofield, but dealing with double-crosses and double-dealings by others from the word go, Parker knows the line between success and failure on this score would be exactly the length of the barrel of a .38.
Richard Stark's Parker novels are the hardest of hard-boiled, classic crime novels where the heists are huge, the body counts are high, and the bad guys usually win.
The Parker novels have been a huge influence on countless writers and filmmakers, including Quentin Tarantino, Stephen King, George Pelecanos, Colson Whitehead, Lucy Sante, John Banville, and many more. Their stripped-down language and hard-as-nails amorality create an unforgettable world where the next score could be the big one, but your next mistake could also be your last. There's nothing else like them.
The Hunter is where it all begin. It opens with Parker's woman shooting him just above the belt and leaving him for dead. She and his partner torch the house, with Parker in it, and take the money he had helped them steal. It all went down just the way they'd planned, except for one thing: Parker didn't die.
From there, our ruthless antihero roars into New York City, seeking revenge on the woman who betrayed him and on the man who took his money, stealing and scamming his way to redemption. The volume that kickstarted Parker's half-century career of larceny—and inspired the classic 1967 motion picture Point Blank, starring Lee Marvin—The Hunter is as thrilling today as it was when it was first published. Pick up your first Parker novel and you won't stop until you're read them all.
To the press and the police, this secretive Don insisted he was nothing more than a simple man who enjoyed puttering about in his beloved vegetable garden on his Livingston, New Jersey, estate. In reality, the Boot was a confidante and kingmaker of politicians, a friend of such celebrities as Joe DiMaggio and George Raft, an acquaintance of Joseph Valachi—who informed on the Boot in 1963—and a sworn enemy of J. Edgar Hoover.
The Boot prospered for more than half a century, remaining an active boss until the day he died at the age of ninety-three. Although he operated in the shadow of bigger Mafia names across the Hudson River (think Charles "Lucky" Luciano and Louis “Lepke” Buchalter, a cofounder of the Mafia killer squad Murder Inc. with Jacob “Gurrah” Shapiro), the Boot was equally as brutal and efficient. In fact, there was a mysterious place in the gloomy woods behind his lovely garden—a furnace where many thought the Boot took certain people who were never seen again.
Richard Linnett provides an intimate look inside the Boot’s once-powerful Mafia crew, based on the recollections of a grandson of the Boot himself and complemented by never-before-published family photos. Chronicled here are the Prohibition gang wars in New Jersey as well as the murder of Dutch Schultz, a Mafia conspiracy to assassinate Newark mayor Kenneth Gibson, and the mob connections to several prominent state politicians.
Although the Boot never saw the 1972 release of The Godfather, he appreciated the similarities between the character of Vito Corleone and himself, so much so that he hung a sign in his beloved vegetable garden that read “The Godfather Garden.” There’s no doubt he would have relished David Chase’s admission that his muse in creating the HBO series The Sopranos was none other than “Newark’s erstwhile Boiardo crew.”
Parker goes under the knife in The Man with the Getaway Face, changing his face to escape the mob and a contract on his life. Along the way he scores his biggest heist yet, but there’s a catch—a beautiful, dangerous catch who goes by the name Alma.
All three women lived for a time in close proximity on the Eastern Shore of Maryland, an isolated region that thrived on tobacco and then lost it, procured slaves and then lost them, and produced strong-minded women and then condemned them. Though they never actually met, and their backgrounds and beliefs differed drastically, these women's lives converged through their active experiences of the conflict over slavery in Maryland and beyond, the uncertainties of economic transformation, the struggles in the legal foundation of slavery and, most of all, the growing dispute in gender relations in America.
Throughout this book, Carole C. Marks gleans historical fact and sociological insight from the persistent myths and exaggerations that color the women's legacies, and she investigates the common roots and motivations of three remarkable figures who bucked the era's expectations for women. She also considers how each woman's public identity reflected changing ideas of domesticity and the public sphere, spirituality, and legal rights and limitations. Cannon, Carroll, and Tubman, each in her own way, passionately fought for the future of Maryland and the United States, and from these unique vantage points, Moses and the Monster and Miss Anne portrays the intersecting and conflicting forces of race, economics, and gender that threatened to rend a nation apart.
Hard-boiled crime fiction doesn't get any better than this, an unforgettable entry in the classic series starring Parker, the deadliest heister around
Richard Stark's Parker novels are the hardest of hard-boiled, classic crime novels where the heists are huge, the body counts are high, and the bad guys usually win.
The Parker novels have been a huge influence on countless writers and filmmakers, including Quentin Tarantino, Stephen King, George Pelecanos, Colson Whitehead, Lucy Sante, John Banville, and many more. Their stripped-down language and hard-as-nails amorality create an unforgettable world where the next score could be the big one, but your next mistake could also be your last. There's nothing else like them.
The Mourner is a story of convergence—of cultures and of guys with guns. Hot on the trail of a statue stolen from a fifteenth-century French tomb, Parker enters a world of eccentric art collectors, greedy foreign officials, and shady KGB agents. Hired by a shifty dame who has something he needs, Parker will find out just who intends to bury whom—and who he needs to kill to finish the job.
Nor Nalla is an anagram for Ron Allan, who spent four years working on a rubber plantation in Malaya shortly before World War I. Like Kipling’s famous colonial spy, Kim, the “yellow sleuth” is a master of undercover operations, and this reissued work explores vast locales, from the forests of Malaya to the ports of Java, from London’s underbelly to the camps of Chinese laborers in WWI Flanders. Throughout, readers are left to differentiate between fiction and fact, and ponder questions of authorship, in this “impossible fantasy of hybridity,” as Phillip Holden calls it in his perceptive introduction.
Contemporary readers will not only savor the book’s tales of adventure and detection, they will also appreciate the ways that the author brings to life— and reveals the contradictions of—late colonial society.
Richard Stark's Parker novels are the hardest of hard-boiled, classic crime novels where the heists are huge, the body counts are high, and the bad guys usually win.
The Parker novels have been a huge influence on countless writers and filmmakers, including Quentin Tarantino, Stephen King, George Pelecanos, Colson Whitehead, Lucy Sante, John Banville, and many more. Their stripped-down language and hard-as-nails amorality create an unforgettable world where the next score could be the big one, but your next mistake could also be your last. There's nothing else like them.
Nobody Runs Forever opens with a job at a poker game that sours into a necktie party. When Parker goes in on a messy scam—stealing an armored car—with someone he barely knows, as usual the amateurs get in the way of the job. From a nervous ex-con and his well-intentioned sister to a bank manager's two-timing wife and a beautiful, relentless cop, too many people have their hands too close to Parker's pie. Even when he sees the job turning bad, he can’t let go of the score—and there just might be nowhere left to run . . .
In The Outfit, Parker goes toe-to-toe with the mob, hellbent on taking him down. The notorious lone wolf has some extra tricks up his sleeve, and the entire underworld will learn an unforgettable lesson: whatever Parker does, he does deadly. This third novel in the series, which was the basis for the classic 1973 film The Outfit, with Robert Duvall in the lead, is chock full of astonishing heists and violent battles of will.
The lives of Netley Lucas are as flamboyant as they are unlikely. In Prince of Tricksters, Matt Houlbrook picks up the threads of Lucas’s colorful lies and lives. Interweaving crime writing and court records, letters and life-writing, Houlbrook tells Lucas’s fascinating story and, in the process, provides a panoramic view of the 1920s and ’30s. In the restless times after the Great War, the gentlemanly trickster was an exemplary figure, whose tall tales and bogus biographies exposed the everyday difficulties of knowing who and what to trust. Tracing how Lucas both evoked and unsettled the world through which he moved, Houlbrook shows how he prompted a pervasive crisis of confidence that encompassed British society, culture, and politics.
Taking readers on a romp through Britain, North America, and eventually into Africa, Houlbrook confronts readers with the limits of our knowledge of the past and challenges us to think anew about what history is and how it might be made differently.
Raising the Living Dead is a history of Puerto Rico’s carceral rehabilitation system that brings to life the interactions of incarcerated people, their wider social networks, and health care professionals. Alberto Ortiz Díaz describes the ways that multiple communities of care came together both inside and outside of prisons to imagine and enact solution-oriented cultures of rehabilitation from the 1930s to the 1960s. Scientific and humanistic approaches to well-being were deliberately fused to raise the “living dead,” an expression that reemerged in the modern Caribbean to refer to prisoners. These reform groups sought to raise incarcerated people physically, mentally, socially, spiritually, and civically.
The book is based on deep, original archival research into the Oso Blanco (White Bear) penitentiary in Puerto Rico, yet it situates its study within Puerto Rico’s broader carceral archipelago and other Caribbean prisons. The agents of this history include not only physical health professionals, but also psychologists and psychiatrists, social workers, spiritual and religious practitioners, and, of course, the prisoners and their families. By following all these groups and emphasizing the interpersonal exercise of power, Ortiz Díaz tells a story that goes beyond debates about structural and social control.
The book addresses key issues in the history of prisons and the histories of medicine and belief, including how prisoners’ different racial, class, and cultural identities shaped their incarceration and how professionals living in a colonial society dealt with the challenge of rehabilitating prisoners for citizenship.
Raising the Living Dead is not just about convicts, their immediate interlocutors, and their contexts, however, but about how together these open a window into the history of social uplift projects within the (neo)colonial societies of the Caribbean. There is no book like this in Caribbean historiography; few examine these themes in the larger literature on the history of prisons.
Parker breaks nearly all his personal rules in this surprising, fast-paced entry in the classic hard-boiled series
Richard Stark's Parker novels are the hardest of hard-boiled, classic crime novels where the heists are huge, the body counts are high, and the bad guys usually win.
The Parker novels have been a huge influence on countless writers and filmmakers, including Quentin Tarantino, Stephen King, George Pelecanos, Colson Whitehead, Lucy Sante, John Banville, and many more. Their stripped-down language and hard-as-nails amorality create an unforgettable world where the next score could be the big one, but your next mistake could also be your last. There's nothing else like them.
When it comes to heists, Parker believes in some cardinal rules. On this job, he breaks two of them: never bring a dame along—especially not one you like—and never, ever, work with amateurs. Nevertheless, with the help of a creepy coin collector named Billy, and the lure of a classy widow, he agrees to set up a heist of a coin convention. But Billy’s a rookie with no idea how to pull off a score, and the lady soon becomes a major distraction. The Rare Coin Score marks the first appearance of Claire, who pulls off her own heist on Parker's heart—while together they steal two million dollars worth of coins.
This collection of case studies by scholars from a range of disciplinary backgrounds turns a critical and reflective eye toward qualitative fieldwork on the topic. Framed by an introduction that sets out key issues in perpetrator research and a conclusion that proposes and outlines a code of best practice, the volume provides an essential starting point for future research while advancing genocide studies, transitional justice, and related fields. This original, important, and welcome contribution will be of value to historians, political scientists, criminologists, anthropologists, lawyers, and legal scholars.
Saint Genet is Jean-Paul Sartre’s classic biography of Jean Genet—thief, convict, and great artist—a character of almost legendary proportions whose influence grows stronger with time. Bringing together two of the century’s greatest minds and artists, Saint Genet is at once a compelling psychological portrait, masterpiece of literary criticism, and one of Sartre’s most personal and inspired philosophical creations.
An action-packed entry in the classic hard-boiled crime series starring Parker, the heister you don't want to cross!
Richard Stark's Parker novels are the hardest of hard-boiled, classic crime novels where the heists are huge, the body counts are high, and the bad guys usually win.
The Parker novels have been a huge influence on countless writers and filmmakers, including Quentin Tarantino, Stephen King, George Pelecanos, Colson Whitehead, Lucy Sante, John Banville, and many more. Their stripped-down language and hard-as-nails amorality create an unforgettable world where the next score could be the big one, but your next mistake could also be your last. There's nothing else like them.
The robbery was a piece of cake. The getaway was clean. The only thing left to do is split the cash—then it all goes wrong. In The Seventh, the heist of a college football game turns sour and the take is stolen from right under Parker’s nose. With the cops on his tail, Parker must figure out who crossed him—and how he can pay the culprit back.
What would you do if you were trapped in an abandoned amusement park full of gunmen trying to kill you? If you were Parker, you'd simply set to work . . .
Richard Stark's Parker novels are the hardest of hard-boiled, classic crime novels where the heists are huge, the body counts are high, and the bad guys usually win.
The Parker novels have been a huge influence on countless writers and filmmakers, including Quentin Tarantino, Stephen King, George Pelecanos, Colson Whitehead, Lucy Sante, John Banville, and many more. Their stripped-down language and hard-as-nails amorality create an unforgettable world where the next score could be the big one, but your next mistake could also be your last. There's nothing else like them.
The hunter becomes prey, as a heist goes sour and Parker finds himself trapped in a shuttered amusement park, besieged by a bevy of local mobsters, in Slayground. There are no exits from Fun Island. Outnumbered and outgunned, Parker can’t afford a single miscalculation. He’s low on bullets and making it out alive is a long shot—but, as anyone who’s crossed his path knows, no one is better at playing higher stakes with shorter odds.
The wildest of all Parker novels, Slayground offers nonstop action, shuddering suspense, and jaw-dropping surprises.
Richard Stark's Parker novels are the hardest of hard-boiled, classic crime novels where the heists are huge, the body counts are high, and the bad guys usually win.
The Parker novels have been a huge influence on countless writers and filmmakers, including Quentin Tarantino, Stephen King, George Pelecanos, Colson Whitehead, Lucy Sante, John Banville, and many more. Their stripped-down language and hard-as-nails amorality create an unforgettable world where the next score could be the big one, but your next mistake could also be your last. There's nothing else like them.
Bank robberies should run like clockwork, right? If your name’s Parker, you expect nothing less. The Sour Lemon Score finds Parker wrapping up a heist where everything has gone right. But then one of his partners gets too greedy for his own good. The four-way split following a job leaves too small a take for George Uhl, who begins to pick off his fellow heisters, one by one. The first mistake? That he doesn’t begin things by putting a bullet in Parker. That means he won’t get the chance to make a second. One of the darkest novels in the series, this caper proves the adage that no one crosses Parker and lives.
Since 1973, one magazine has covered crime in Texas like no one else, delving deep into stories that may turn your stomach—but won't let you turn away. Texas Monthly On... Texas True Crime is a high-speed read around Texas, chasing criminals from the Panhandle to the Piney Woods, through gated mansions and trailer parks, from 1938 to the twenty-first century. The stories, which originally appeared as articles in the magazine, come from some of its most notable writers: Cecilia Ballí investigates the drug-fueled violence of the border; Pamela Colloff reports on Amarillo's lethal feud between jocks and punks; Michael Hall re-visits the legend of Joe Ball, a saloon owner who allegedly fed his waitresses to pet alligators; Skip Hollandsworth uncovers the computer nerd who became Dallas' most notorious jewel thief; and Katy Vine tracks a pair of teenage lesbians inspired by Thelma and Louise.
Texas Monthly On... Texas True Crime is the second in a series of books in which the editors of Texas Monthly offer the magazine's inimitable perspective on various aspects of Texas culture, including food, politics, travel, and music, among other topics. Texas Monthly On... Texas Women was released in 2006.
Prison is where Zeke Caligiuri is. Powderhorn Park in South Minneapolis, dubbed “Murderapolis” the year he turned eighteen, is where he comes from. It was the same neighborhood his father grew up in but had changed dramatically by the early 1990s. Yet in Zeke’s family, father and mother and grandmother kept things together while all around them the houses decayed and once-safe streets gave way to the crush of poverty and crime.
This Is Where I Am is Zeke Caligiuri’s clear-eyed account of how he got from there to here, how a boy who had every hope went from dreaming of freedom to losing it, along with nearly everything and everyone he loved. Tenderhearted in its reflections on his lost childhood, brutally candid in its description of a life of hanging and hustling, Zeke’s memoir recreates a world of tagging and goofing gone awry, of moving from smoking pot to unsuccessful attempts at dealing crack, of watching his father weep at the funeral of a seventeen-year-old boy, of going to jail: first strike. It is a place where, when asked what he's going to do with his life, a friend can only answer: “What the fuck are you talking about?”
This Is Where I Am is Zeke's own answer: he is going to tell his story, every sharp detail and sobering word, with the natural grace of a gifted writer and the hard-won wisdom of hindsight.
Time of Grace is a remarkable book, written with great eloquence by a former science teacher who was incarcerated for twelve years for his sexual liaison with a teenage student. Far more than a “prison memoir,” it is an intimate and revealing look at relationships—with fellow humans and with the surprising wildlife of the Sonoran Desert, both inside and beyond prison walls. Throughout, Ken Lamberton reflects on human relations as they mimic and defy those of the natural world, whose rhythms calibrate Lamberton’s days and years behind bars. He writes with candor about his life, while observing desert flora and fauna with the insight and enthusiasm of a professional naturalist.
While he studies a tarantula digging her way out of the packed earth and observes Mexican freetail bats sailing into the evening sky, Lamberton ruminates on his crime and on the wrenching effects it has had on his wife and three daughters. He writes of his connections with his fellow inmates—some of whom he teaches in prison classes—and with the guards who control them, sometimes with inexplicable cruelty. And he unflinchingly describes a prison system that has gone horribly wrong—a system entrapped in a self-created web of secrecy, fear, and lies.
This is the final book of Lamberton’s trilogy about the twelve years he spent in prison. Readers of his earlier books will savor this last volume. Those who are only now discovering Lamberton’s distinctive voice—part poet, part scientist, part teacher, and always deeply, achingly human—will feel as if they are making a new friend.
Gripping, sobering, and beautifully written, Lamberton’s memoir is an unforgettable exploration of crime, punishment, and the power of the human spirit.
Though his fame was later eclipsed by peers such as Bertolt Brecht, Bruckner was the celebrity dramatist of his time, and a new generation of readers is discovering his groundbreaking plays known for their strong cultural critique and unflinching portrayals of social ills, outcasts, and misfits. Youth Is a Sickness (1924) explores the lives of Germany's "lost generation," those who grew up during and after the cataclysm of the First World War, devoid of hope and ideals, lost in a haze of sex and drugs. Criminals (1926) traces several court cases about a failed double suicide, theft, abortion, and homosexual blackmail, controversial topics for the audience of its time and even today. Its innovative staging and interwoven storylines illuminate the imposed social tensions and legal injustice faced by the characters.
In this expert translation, readers can see Bruckner as a public intellectual, a man committed to commenting on the fate of Germany; humane values; and the past, present, and future in his work. With an introduction by the translator, this volume will be the definitive version for readers, actors, playwrights, and scholars.
So it went on the outskirts of Utah Territory. In this case it was the little town of Bluff where the Mormon bishop served for some ten years as de facto sheriff and his congregation as deputies. As elsewhere, law and order developed organically rather than by legislation.
In this anthology several aspects of the process are considered, including one of the worst manifestations of citizen action: vigilantism. Territorial Utah witnessed more lynchings than legal executions. Another citizen trait was an unexpected indifference to vice. In 1908 Salt Lake City had 148 registered prostitutes overseen by a madam who was recruited for the position by the mayor and city council. During Prohibition one of the largest distilleries in the West operated in a Salt Lake warehouse.
What is to be learned from this? The contributors to these fourteen articles leave moral considerations to the reader’s contemplation, while providing surprises along the way in an extremely engaging—dare we say arresting—read.
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