of murder in Utah and sentenced to death by firing squad, igniting international controversy. Many believed Hill was innocent, condemned for his association with the Industrial Workers of the World—the radical Wobblies. Now, following four years of intensive investigation, William M. Adler gives us the first full-scale biography of Joe Hill, and presents never-before-published documentary evidence that comes close to definitively exonerating him./DIVP/PDIVHill’s gripping tale is set against a brief but electrifying moment in American history, between the century’s turn and World War I, when the call for industrial unionism struck a deep chord among disenfranchised workers; when class warfare raged and capitalism was on the run. Hill was the IWW’s preeminent songwriter, and in death, he became organized labor’s most venerated martyr, celebrated by Woody Guthrie and Bob Dylan, and immortalized in the ballad “I Dreamed I Saw Joe Hill Last Night.”/DIVDIV /DIVDIVIThe Man Who Never Died/Idoes justice both to Hill’s extraordinary life and to the crime that ended it. Drawing on extensive new evidence, Adler deconstructs the case against his subject and argues convincingly for the guilt of another man. Reading like a murder mystery, and set against the backdrop of the raw, turn-of-the-century West, this essential American story will make news and expose the roots of critical contemporary issues./DIV/DIVDIVDIVBWilliam M. Adler/Bis a freelance writer who has contributed to numerous publications, includingIEsquire/I,IRolling Stone/I,IMother Jones/I,ITexas Monthly/I, and theITexas Observer/I. He is th@ÌÌÌÌÌÍÿ¾Û€  (less)

Greg Locke),iDying Hard/i, andiThe Myth of Delinquency/i.bChapter 1/bbrbrbThe Panic/bbrbrA great wave of anxiety hit the North American public during the mid-1980s. New incarnations of serial and mass killers seemed to be among us everywhere, and we were no longer safe. The newspapers, television, magazines, books, films, and the Internet all dwelt in frenzied detail on these “new” killers while, as always, providing no context for understanding the phenomenon. To compound matters, the hysteria was legitimized by a U.S. Department of Justice proclamation that there were as many as one hundred multiple murderers killing in America at any given time, stealing the lives of thousands each year.brbrIt was as if a bloodthirsty race of space aliens had come to live among and prey upon us. The intensely publicized cross-country rampages of kidnapping and sexual murder perpetrated by Ted Bundy on young university women (or believed to have been committed by Henry Lee Lucas), or by the lesbian killer Aileen Wuornos as she prowled the highways of Florida, or by James Huberty’s murderous siege of the McDonald’s restaurant in San Ysidro, all seemed a declaration that what had in the past been a rare and isolated event was now the norm. We lived in an ugly new moonscape in which cold and remorseless killers stalked the land, invaded our homes, and murdered our loved ones.brbrTo make the killers even more memorably frightening, the media, police, and public together often gave them nicknames. To Jack the Ripper, the Zodiac Killer, the Boston Strangler, and the Moors Murderers we now added the Nightstalker, the Gree@5½p£×ÿ¾Û€  (less)

Philip Haas (Angels & Insects). When Anna (Connie Nielsen), an American journalist, travels to Iraq to report on the conflict, she quickly becomes familiar with the grim day-to-day realities of the conflict. After an Iraqi leader and friend is assassinated, she is determined to uncover the truth behind his death. As she becomes more entrenched, Anna finds herself pulled between the affections of Dan (Damian Lewis), an American intelligence official and Zaid (Mido Hamada), a photographer. After the death of an Iraqi boy at the hands of American soldiers sets off a perilous chain of events that exposes corrupt associations, blurs the lines of justice, and ultimately leads Anna into grave danger.  (less)