Albert Borowitz provides a guide to “fact-based crime literature” focusing on two principal groups of works: non-fictional accounts of crimes and criminal trials, including essays, monographs, journalism, editions of court transcripts, prison histories, and criminal and police biographies and memoirs; and works of imaginative literature, such as novels, stories, or stage works, based on or inspired by actual crimes or criminals. Blood and Ink, with forewords by Jacques Barzun and true-crime writer/historian Jonathan Goodman, will prove to be an invaluable resource to true-crime aficionados as well as to students and scholars of literature, cultural studies, and social history.

Ripperology—a sometimes obsessive interest in studying the crimes of Jack the Ripper—is a subject of timeless interest that has suffered from confusion, exaggeration, and hyperbole for over a century. Jack the Ripper was probably the first serial killer to appear in a large metropolis at a time when the general populace was literate and the press was a force for social change. The press was also partly responsible for creating many myths surrounding the Ripper.

James Jessen Badal reexamines the events leading up to Beverly Potts’s disappearance and the subsequent police investigation and over-the-top, sensational publicity in the Cleveland press. His interviews with detectives assigned to this still-open case and his examination of police records provide a chronology of the false leads and hoaxes that culminated in this disturbing case of dead end after dead end. Badal draws comparisons between investigative techniques of the time and more modern ones and examines the social and historical context in his analysis of the more than half-century of public fascination with this case.

Intrigue, deception, bribery, poison, murder—all play a central role in the story of Minnie Walkup, a young woman from New Orleans who began her life of crime when she was only sixteen years old

Crime has formed the basis of countless plots in music theater and opera. Several famous composers were murder victims or believed to be murdered, and one of the greatest Renaissance composers slaughtered his wife and her lover. In Musical Mysteries, renowned true crime historian Albert Borowitz turns his attention to the long and complex history of music and crime. The book is divided into two parts. The first addresses three aspects of musical crime: the clashes between envious and competitive musicians, the recurrent question of whether genius and criminality can coexist in the same soul, and the jarring contrast between the creative artist and the violent melodrama of everyday life. Borowitz explores eight infamous crimes and crime legends, including the suspected killing of Robert Cambert by his rival, opera composer Jean-Baptiste Lully; the lurid slaying by sixteenth-century madrigal composer Carlo Gesualdo of his unfaithful wife; Wolfgang Amadeus Mozart’s supposed murder at the hands of Antonio Salieri; and the stalking and murder of John Lennon by Mark Chapman. The second part examines crimes in music, looking at such diverse examples as the “Song of Lamech”, the second biblical killer; the preoccupation of the Gilbert and Sullivan operettas with corporate law and fraud; and the violent character of Jud Fry in Rodgers and Hammerstein’s Oklahoma!

Though Murder Has No Tongue tells the story of Frank Dolezal, the only man actually arrested and charged with the infamous “Torso Murders” in Cleveland, Ohio, during the late 1930s. Dolezal, a fifty-two-year-old Slav immigrant, came to the attention of sheriff ’s investigators because of his reputation as a strange man who possessed a stockpile of butcher knives. According to rumors, he threatened imagined transgressors and had a penchant for frequenting bars in the seedy neighborhood where the dismembered bodies of victims had been discovered. Dolezal was arrested in July 1939 and never saw freedom again.