The young woman has a new but mysterious boyfriend she met at Dyer Cleaners' open house party. But when Ardith turns up dead a couple of days later, Mandy suspects the worst.

[P]roviding a fly-on-the-wall vantage of the rising diplomatic panic that sent shudders through world capitals'' (Toronto Star), Kill Khalid unfolds as a masterpiece of investigative journalism. In 1997, the Israeli intelligence agency Mossad poisoned Hamas leader Khalid Mishal in broad daylight on the streets of Amman, Jordan. As the little-known Palestinian leader slipped into a coma, the Mossad agents' escape was bungled and the episode quickly spiraled into a diplomatic crisis. A series of high-stakes negotiations followed, which ultimately saved Mishal and set the stage for his phenomenal political ascendancy.In Kill Khalid, acclaimed reporter Paul McGeough reconstructs the history of Hamas through exclusive interviews with key players across the Middle East and in Washington, including unprecedented access to Mishal himself, who remains to this day one of the most powerful and enigmatic figures in the region. A ''sobering reminder of how little has been achieved during sixty years of Israeli efforts in Palestine'' (Kirkus), Kill Khalid tracks Hamas's political fortunes across a decade of suicide bombings, political infighting, and increasing public support, culminating in the battle for Gaza in 2007 and the current-day political stalemate.

"We taught our girls to pray every day. What we didn't know was that the devil himself had moved in right across the street." Maddie Clifton is dead. Her killer is a young teenage neighbor, Joshua Phillips, who beats her with a baseball bat and stabs her multiple times. He then stuffs her body under his waterbed that he sleeps on for a week. With a lingering smell coming from the decomposing body, Joshua's mother finally makes the gruesome discovery. How is it possible Josh can hide her body under his bed for that length of time without either of his parents noticing the distinct smell of decomposing flesh? Who is the real Joshua Phillips? There is a dark side to this young teenager that shocks the community to the core. He is a burglar, a thief, a destroyer of property, a possible sexual deviant and a murderer. He pleads that Maddie's murder was a terrible mistake. But was it? There is a lot more to this macabre murder. The Kids who Kill series is written by the bestselling author and researcher, Kathryn McMaster. This nonfiction true crime series covers murder cases of young killers. If you enjoy books by Anne Rule, Jack Rosewood and Kathryn Casey you will enjoy this author's books. Kathryn McMaster specializes in true crime and unsolved murder cases while digging deep to explore the dark side of the human mind.

“A remarkable book.”—Malcolm Gladwell, San Francisco Chronicle Deaths of civilians at the hands of on-duty police are in the national spotlight as never before. How many killings by police occur annually? What circumstances provoke police to shoot to kill? Who dies? The lack of answers to these basic questions points to a crisis in American government that urgently requires the attention of policy experts. When Police Kill is a groundbreaking analysis of the use of lethal force by police in the United States and how its death toll can be reduced. Franklin Zimring compiles data from federal records, crowdsourced research, and investigative journalism to provide a comprehensive, fact-based picture of how, when, where, and why police resort to deadly force. Of the 1,100 killings by police in the United States in 2015, he shows, 85 percent were fatal shootings and 95 percent of victims were male. The death rates for African Americans and Native Americans are twice their share of the population. Civilian deaths from shootings and other police actions are vastly higher in the United States than in other developed nations, but American police also confront an unusually high risk of fatal assault. Zimring offers policy prescriptions for how federal, state, and local governments can reduce killings by police without risking the lives of officers. Criminal prosecution of police officers involved in killings is rare and only necessary in extreme cases. But clear administrative rules could save hundreds of lives without endangering police officers. “Roughly 1,000 Americans die each year at the hands of the police...The civilian body count does not seem to be declining, even though violent crime generally and the on-duty deaths of police officers are down sharply...Zimring’s most explosive assertion—which leaps out...—is that police leaders don’t care...To paraphrase the French philosopher Joseph de Maistre, every country gets the police it deserves.” —Bill Keller, New York Times “If you think for one second that the issue of cop killings doesn’t go to the heart of the debate about gun violence, think again. Because what Zimring shows is that not only are most fatalities which occur at the hands of police the result of cops using guns, but the number of such deaths each year is undercounted by more than half!...[A] valuable and important book...It needs to be read.” —Mike Weisser, Huffington Post

"Kill class is based on two years of fieldwork the author conducted within combat trainings in simulated Middle Eastern villages erected by the US military across America"--

What motivates suicide bombers in Iraq and around the world? Can winning the hearts and minds of local populations stop them? Will the phenomenon spread to the United States? These vital questions are at the heart of this important book. Mia Bloom examines the use, strategies, successes, and failures of suicide bombing in Asia, the Middle East, and Europe and assesses the effectiveness of government responses. She argues that in many instances the efforts of Israel, Russia, and the United States in Iraq have failed to deter terrorism and suicide bombings. Bloom also considers how terrorist groups learn from one another, how they respond to counterterror tactics, the financing of terrorism, and the role of suicide attacks against the backdrop of larger ethnic and political conflicts. Dying to Kill begins with a review of the long history of terrorism, from ancient times to modernity, from the Japanese Kamikazes during World War II, to the Palestinian, Tamil, Iraqi, and Chechen terrorists of today. Bloom explores how suicide terror is used to achieve the goals of terrorist groups: to instill public fear, attract international news coverage, gain support for their cause, and create solidarity or competition between disparate terrorist organizations. She contends that it is often social and political motivations rather than inherently religious ones that inspire suicide bombers. In her chapter focusing on the increasing number of women suicide bombers and terrorists, Bloom examines Sri Lanka, where 33 percent of bombers have been women; Turkey, where the PKK used women feigning pregnancy as bombers; and the role of the Black Widows in the Chechen struggle against Moscow. The motives of individuals, whether religious or nationalist, are important but the larger question is, what external factors make it possible for suicide terrorism to flourish? Bloom describes these conditions and develops a theory of why terrorist tactics work in some instances and fail in others.

Can the documentary be useful? Can a film change how its viewers think about the world and their potential role in it? In Kill the Documentary, the award-winning director Jill Godmilow issues an urgent call for a new kind of nonfiction filmmaking. She critiques documentary films from Nanook of the North to the recent Ken Burns/Lynn Novick series The Vietnam War. Tethered to what Godmilow calls the “pedigree of the real” and the “pornography of the real,” they fail to activate their viewers’ engagement with historical or present-day problems. Whether depicting the hardships of poverty or the horrors of war, conventional documentaries produce an “us-watching-them” mode that ultimately reinforces self-satisfaction and self-absorption. In place of the conventional documentary, Godmilow advocates for a “postrealist” cinema. Instead of offering the faux empathy and sentimental spectacle of mainstream documentaries, postrealist nonfiction films are acts of resistance. They are experimental, interventionist, performative, and transformative. Godmilow demonstrates how a film can produce meaningful, useful experience by forcefully challenging ways of knowing and how viewers come to understand the world. She considers her own career as a filmmaker as well as the formal and political strategies of artists such as Luis Buñuel, Georges Franju, Harun Farocki, Trinh T. Minh-ha, Rithy Panh, and other directors. Both manifesto and guidebook, Kill the Documentary proposes provocative new ways of making and watching films.

The late nineteenth and early twentieth centuries were a revolutionary period in the lives of women, and the shifting perceptions of women and their role in society were equally apparent in the courtroom. Women Who Kill Men examines eighteen sensational cases of women on trial for murder from 1870 to 1958. The fascinating details of these murder trials, documented in court records and embellished newspaper coverage, mirrored the changing public image of women. Although murder was clearly outside the norm for standard female behavior, most women and their attorneys relied on gendered stereotypes and language to create their defense and sometimes to leverage their status in a patriarchal system. Those who could successfully dress and act the part of the victim were most often able to win the sympathies of the jury. Gender mattered. And though the norms shifted over time, the press, attorneys, and juries were all informed by contemporary gender stereotypes.

A study of women murderers in America from precolonial times to the present reveals a social history of the United States in terms of the women who murdered and their crimes

Best friends Lucy, Elena, and Michael are excited to see "To Kill A Mockingbird" on their summer reading list. But not everyone in their class shares the same enthusiasm. So they hatch a plot to get the entire town talking about Harper Lee's classic novel.