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The job seems simple enough: Reporter Lee Hershey needs protection for a couple of weeks as he pursues the biggest story of his career with all eyes on swing state Ohio in the midst of a presidential election. Columbus private eye Andy Hayes, broke as usual, doesn’t have much choice but to sign on, even with his girlfriend falling for the charming journalist.

Then murder strikes at the Statehouse and Andy finds himself partly responsible for the death. With an innocent man behind bars, a mysterious vehicle following Andy around the city, and more lives in danger, the detective has his hands full trying to solve a killing in a poisonous political environment where everyone has a motive for murder and anyone could be the next target.

In 1974, Dennis Lynn Rader stalked and murdered a family of four in Wichita, Kansas. Since adolescence, he had read about serial killers and imagined becoming one. Soon after killing the family, he murdered a young woman and then another, until he had ten victims. He named himself “B.T.K.” (bind, torture, kill) and wrote notes that terrorized the city. He remained on the loose for thirty years. No one who knew him guessed his dark secret. He nearly got away with his crimes, but in 2004, he began to play risky games with the police. He made a mistake. When he was arrested, Rader’s family, friends, and coworkers were shocked to discover that B.T.K. had been among them, going to work, raising his children, and acting normal. This case stands out both for the brutal treatment of victims and for the ordinary public face that Rader, a church council president, had shown to the outside world. Through jailhouse visits, telephone calls, and written correspondence, Katherine Ramsland worked with Rader himself to analyze the layers of his psyche. Using his drawings, letters, interviews, and Rader’s unique codes, she presents in meticulous detail the childhood roots and development of one man’s motivation to stalk, torture, and kill. She reveals aspects of the dark motivations of this most famous of living serial killers that have never before been revealed. In this book Katherine Ramsland presents an intelligent, original, and rare glimpse into the making of a serial killer and the potential darkness that lives next door.

Over the last few decades, Victorian scholars have produced many nuanced studies connecting the politics of crime to the generic developments of the novel—and vice versa. Ellen L. O’Brien’s Crime in Verse grants the same attention and status to poetic representations of crime. Considering the literary achievements and cultural engagements of poetry while historicizing murder’s entanglement in legal fictions, punitive practices, medical theories, class conflicts, and gender codes, O’Brien argues that shifting approaches to poetry and conflicted understandings of murder allowed poets to align problems of legal and literary interpretation in provocative, disruptive, and innovative ways.
 

Developing focused analyses of generic and discursive meanings, individual chapters examine the classed politics of crime and punishment in the broadside ballad, the epistemological tensions of homicidal lunacy and criminal responsibility in the dramatic monologue, and the legal and ideological frictions of domestic violence in the verse novel and verse drama. Their juxtaposition of the rhymes of anonymous street balladeers, the underexamined verse of “minor” poets, and the familiar poems of canonical figures suggests the interactive and intertextual relationships informing poetic agendas and political arguments. As it simultaneously reconsiders the institutional and ideological status of murder and the aesthetic and political interests of poetry, Crime in Verse offers new ways of thinking about Victorian poetry’s contents and contexts.