Feeling like she does not fit in with the other members of her family, who are all thin, brilliant, and good-looking, fifteen-year-old Virginia Shreves tries to deal with her self-image, her first physical relationship, and her disillusionment with some of the people closest to her. 10,000 first printing.

Immaculee Ilibagiza grew up in a country she loved, surrounded by a family she cherished. But in 1994 her idyllic world was ripped apart as Rwanda descended into a bloody genocide. Immaculee’s family was brutally murdered during a killing spree that lasted three months and claimed the lives of nearly a million Rwandans. Incredibly, Immaculee survived the slaughter. For 91 days, she and seven other women huddled silently together in the cramped bathroom of a local pastor while hundreds of machete-wielding killers hunted for them. It was during those endless hours of unspeakable terror that Immaculee discovered the power of prayer, eventually shedding her fear of death and forging a profound and lasting relationship with God. She emerged from her bathroom hideout having discovered the meaning of truly unconditional love—a love so strong she was able seek out and forgive her family’s killers. The triumphant story of this remarkable young woman’s journey through the darkness of genocide will inspire anyone whose life has been touched by fear, suffering, and loss.

In this pioneering work, Bill McClanahan provides a concise overview of visual criminology. With examples of the most prominent methods at work in visual criminology, this book explores the visual perspective in relation to prisons, police, the environment, and drugs, while noting the complex ethical implications embedded in visual research.

The infusion of digital technology into contemporary society has had significant effects for everyday life and for everyday crimes. Digital Criminology: Crime and Justice in Digital Society is the first interdisciplinary scholarly investigation extending beyond traditional topics of cybercrime, policing and the law to consider the implications of digital society for public engagement with crime and justice movements. This book seeks to connect the disparate fields of criminology, sociology, legal studies, politics, media and cultural studies in the study of crime and justice. Drawing together intersecting conceptual frameworks, Digital Criminology examines conceptual, legal, political and cultural framings of crime, formal justice responses and informal citizen-led justice movements in our increasingly connected global and digital society. Building on case study examples from across Australia, Canada, Europe, China, the UK and the United States, Digital Criminology explores key questions including: What are the implications of an increasingly digital society for crime and justice? What effects will emergent technologies have for how we respond to crime and participate in crime debates? What will be the foundational shifts in criminological research and frameworks for understanding crime and justice in this technologically mediated context? What does it mean to be a ‘just’ digital citizen? How will digital communications and social networks enable new forms of justice and justice movements? Ultimately, the book advances the case for an emerging digital criminology: extending the practical and conceptual analyses of ‘cyber’ or ‘e’ crime beyond a focus foremost on the novelty, pathology and illegality of technology-enabled crimes, to understandings of online crime as inherently social. Twitter: @DigiCrimRMIT ‏

Dynamically written and richly illustrated, the Routledge International Handbook of Visual Criminology offers the first foundational primer on visual criminology. Spanning a variety of media and visual modes, this volume assembles established researchers whose work is essential to understanding the role of the visual in criminology and emergent thinkers whose work is taking visual criminology in new directions. This book is divided into five parts that each highlight a key aspect of visual criminology, exploring the diversity of methods, techniques and theoretical approaches currently shaping the field: • Part I introduces formative positions in the developments of visual criminology and explores the different disciplines that have contributed to analysing images. • Part II explores visual representations of crime across film, graphic art, documentary, police photography, press coverage and graffiti and urban aesthetics. • Part III discusses the relationship of visual criminology to criminal justice institutions like policing, punishment and law. • Part IV focuses on the distinctive ethical problems posed by the image, reflecting on the historical development, theoretical disputes and methodological issues involved. • Part V identifies new frameworks and emergent perspectives and reflects upon the distinctive challenges and limits that can be seen in this emerging field. This book includes a vibrant colour plate section and over a hundred black and white images, breaking down the barriers between original photography and artwork, historic paintings and illustrations and modern comics and films. This interdisciplinary book will be of interest to criminologists, sociologists, visual ethnographers, art historians and those engaged with media studies.

The twentieth century will be remembered for great innovation in two particular areas: art and culture, and technological advancement. Much of its prodigious technical inventiveness, however, was pressed into service in the conduct of warfare. Why, asks Margot Norris, did violence and suffering on such an immense scale fail to arouse artistic and cultural expressions powerful enough to prevent the recurrence of these horrors? Why was art not more successful--through its use of dramatic, emotionally charged material, its ability to stir imagination and arouse empathy and outrage--in producing an alternative to the military logic that legitimates war? Military argument in the twentieth century has been fortified by the authority of the rationalism that we attribute to science, Norris argues. Warfare is therefore legitimized by powerful discourses that art's own arsenal of styles and genres has limited power to counter. Art's difficulty in representing the violent death of entire generations or populations has been particularly acute. Choosing works that have become representative of their historically violent moment, Norris explores not only their aesthetic strategies and perspectives but also the nature of the power they wield and the ethical engagements they enable or impede. She begins by mapping the altered ethical terrain of modern technological warfare, with its increasing targeting of civilian populations for destruction. She then proceeds historically with chapters on the trench poetry and modernist poetry of World War I, Hemingway's A Farewell to Arms and Erich Maria Remarque's All Quiet on the Western Front, both the book and the film of Schindler's List, the conflicting historical stories of the Manhattan Project, a comparison of American and Japanese accounts of Hiroshima, Francis Ford Coppola's film Apocalypse Now, and the effects of press censorship in the Persian Gulf War. By looking at the whole span of the century's writing on war, Norris provides a fascinating critique of art's ethical power and limitations, along with its participation in--as well as protest against--the suffering that human beings have brought upon themselves.

The slave narrative has become a crucial genre within African American literary studies and an invaluable record of the experience and history of slavery in the United States. This Companion examines the slave narrative's relation to British and American abolitionism, Anglo-American literary traditions such as autobiography and sentimental literature, and the larger African American literary tradition. Special attention is paid to leading exponents of the genre such as Olaudah Equiano, Frederick Douglass and Harriet Jacobs, as well as many other, less well known examples. Further essays explore the rediscovery of the slave narrative and its subsequent critical reception, as well as the uses to which the genre is put by modern authors such as Toni Morrison. With its chronology and guide to further reading, the Companion provides both an easy entry point for students new to the subject and comprehensive coverage and original insights for scholars in the field.