Bloody Versicles. The Rhymes of Crime by Jonathan Goodman

By Jonathan Goodman

An up-to-date and enlarged version of an annotated assortment initially released greater than twenty years in the past, Bloody Versicles serves as books in a single: an anthology of ribald, moralistic, unhappy, but fun and unique verse when it comes to particular crimes; and a small encyclopedia of choose criminals and their wrongdoings.Some of the “crhymes,” corresponding to “Lizzie Borden took an awl… ,” are recognized, yet such a lot are usual simply to scholars of specific instances. they've been chosen from resources within the usa, England and Scotland, Australia, and France and are consultant of all significant different types of offenses, with homicide inspiring the most important part.

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Sample text

Though there were offers of substantial rewards—first from Mr. Briggs’s employers, then from the government, lastly from the North London Railway—it was not until the next Monday that a cab driver, Jonathan Matthews, came forward to identify the left-behind hat as the property of Franz Müller, a German expatriate tailor who was a friend of the Matthews family, and to say that Müller had lately given the youngest of the Matthews children a little box bearing the gilt-lettered name of Death. By the time the police got to Müller’s lodgings, he had set sail for New York on the SS Victoria.

Ed. p. cm. Includes index. ISBN 0-87338-470-9 (alk. paper) ∞ 1. English poetry—History and criticism. 2. Crime—Great Britain—History—Poetry. 3. Crime—United States—History— Poetry. 4. American poetry—History and criticism. 5. Criminals in literature. 6. Crime in literature. I. Title. 008’0355—dc20 92-26985 British Library Cataloging-in-Publication data are available. Once again for Susan Contents List of Illustrations Foreword Introduction Murder Adultery Attempted Suicide Bigamy Delinquency Fraudulent Conversion Incest Larceny Perjury Prostitution Rape Treason Poetic Justice A Medico-Legal Expert Acknowledgments Index List of Illustrations “The Murder at Fall River” (Thomas M.

Of the two likeliest motives authorities postulated for Williams’s deed—thwarted love for the first victim’s pretty wife or desire for monetary gain—DeQuincey chooses, of course, the romantic one. ” And, as his impressions of the murderer become more hectic and hypnagogic, DeQuincey turns him into Medusa’s head. In this fashion a very real murderer becomes an allegory of the romantic ego in its extremity of pride, the autonomous self that, as Byron said, could make a Heaven of Hell or a Hell of Heaven, but somehow always chose the latter.

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