Cover

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pp. 1-1

Title Page, Copyright

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pp. 2-7

Contents

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pp. vii-9

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Acknowledgments

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pp. ix-x

Russian novelist Vladimir Nabokov once wrote, ‘‘You can always count on a murderer for a fancy prose style’’ (9). This book examines a variety of homicide-themed narratives that possess, if not a ‘‘fancy prose style,’’ then certainly gripping plots and interesting characters. Accordingly, it seems appropriate...

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Introduction: Once upon a Crime: Homicide in American Culture and Popular Children’s Literature from ‘‘Bluebeard’’ to Harry Potter

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pp. 1-35

In 2007, David F. Schmid, a professor of English and author of Natural Born Celebrities: Serial Killers in American Culture (2005), told a journalist that ‘‘most societies, perhaps all, find murder and murderers of compelling interest, but Americans have taken this fascination to another level entirely’’ (qtd. in Donovan, par. 8). Patricia...

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1.‘‘You Must Kill Her and Bring Me Her Lungs and Liver as Proof’’: ‘‘Snow White’’ and the Fact as well as Fantasy of Filicide

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pp. 36-59

Psychologists Geoffrey R. McKee and Steven J. Shea assert that ‘‘few crimes generate greater public reaction than the intentional murder of children’’ (678). Given prevailing views about the innocence and defenselessness of young people, the slaying of a boy or girl is seen as particularly heinous. While individuals can imagine an array...

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2. ‘‘The Queen Had Only One Way of Settling All Difficulties . . . ‘Off with His Head!’ ’’: Alice’s Adventures in Wonderland and the Antigallows Movement

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pp. 60-91

Of all the villainous characters in children’s literature, the Queen of Hearts from Lewis Carroll’s Alice’s Adventures in Wonderland (1865) is one the most infamous. With her haughty attitude, volatile mood, and tempestuous personality, she has become arguably as well known as the book’s title character. Even those who...

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3. ‘‘Swarthy, Sun-Tanned, Villainous Looking Fellows’’: Tarzan of the Apes and Criminal Anthropology

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pp. 92-117

Perhaps more than any other author of boys’ adventure novels, Edgar Rice Burroughs is known for the gory violence of his narratives. As biographer Richard A. Lupoff observes, ‘‘There is the unquestioned sanguinary tone of the great bulk of Burroughs’ tales’’ (193). Whether it is ‘‘John Carter or Carson Napier slashing...

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4. ‘‘A Sixth Sense Seemed to Tell Her That She Had Encountered Something Unusual’’: Psychic Sleuthing in the Nancy Drew Mystery Stories

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pp. 118-147

Of all the myriad forms of print material that discuss murder, perhaps none is more popular than mystery novels. Detective fiction ‘‘is possibly the most widely read kind of literature’’ (Mansfield-Kelley and Marchino 2), and statistical surveys taken during the 1990s indicated ‘‘that 20 to 22 percent of all books sold in the United...

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5. ‘‘How’d You Like That Haircut to Begin Just Below the Chin?’’: Juvenile Delinquency, Teenage Killers, and a Pulp Aesthetic in The Outsiders

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pp. 148-174

Since its appearance in 1967, The Outsiders, S. E. Hinton’s novel about a group of working-class boys struggling to survive in an environment riddled with gang violence, has been heralded as a landmark in the history of literature for young readers. For more than four decades, Hinton’s novel has been...

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6 ‘‘My Job Is . . . to Make You a Human Being in the Eyes of the Jury’’: Confronting the Demonization—and Dramatization—of Murder in Walter Dean Myers’s Monster

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pp. 175-204

As the twentieth century drew to a close, the murder rate in the United States revealed a powerful paradox. On one hand, this figure had declined steadily throughout the 1990s. As Peter Vronsky has written, criminal homicides stood at 9.8 per 100,000 citizens in 1991 but, by 2000, had dropped ‘‘to a record...

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Epilogue. ‘‘Just Because You Don’t Have a Pulse Doesn’t Mean You Can’t Be Perky’’: My So-Called Death, Young Adult Zombie Fiction, and Murder in the Posthuman Age

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pp. 205-225

By the dawn of the twenty-first century, literature in the United States had seemingly presented every conceivable type of murder. After centuries of featuring killings by family members, friends, coworkers, neighbors, and strangers, both fiction and nonfiction narratives had ostensibly exhausted all of the possible combinations...

Works Cited

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pp. 227-250

Index

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pp. 251-266