Here are 70 books that Murder Machine fans have personally recommended if you like
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It’s no wonder South Brooklyn, in the latter half of the last century, is the setting for so many remarkable dramas for both page and screen. In fact, when legendary former NYPD Detective Thomas Dades offered to make introductions to a Colombo Crime Family associate who cooperated with the federal government, I leapt at the opportunity. I was born in Greenpoint in 1971 and grew up on 16th Avenue in the heart of Bensonhurst. It’s not just South Brooklyn’s raw, urban chaotic physical setting, but the sheer volatility of this period in time, where so many transformational trends of the larger culture were evident, and some even epi-centered.
Hubert Selby Jr. delivers another dark indictment of life along the outer shores of South Brooklyn, in the form of both this 1978 novel and the grim 2000 film Darren Aronofsky film adaptation (co-written with Selby, with a cameo as prison guard).
The characters of this disturbing drama are as marginalized as the bleak 1970s backdrop they infect. Selby’s prose holds us by the back of the neck as his characters descend down awful spirals of addiction: Sara Goldfarb with her diet pills, and her son Harry, his girlfriend Marion, and his best friend Tyrone, all heroin addicts. Electroconvulsive therapy, reluctant prostitution, and amputation abound, harrowing hallmarks you’d expect from Selby.
For this trip to Coney Island, think more Warriors, less Woody Allen, and buckle up. It’s going to be a spectacularly gruesome ride.
Locations of interest: Coney Island Clam Bar; Brighton Beach Boardwalk; Surf Avenue Second-hand Shops; 3152 Brighton…
Harry Goldfarb, heroin addict and son of lonely widow Sara, cares only about enjoying the good life with girlfriend Marion and best friend Tyrone C Love, and making the most of all the hash, poppers and dope they can get. Sara Goldfarb sits at home with the TV, dreaming of the life she could have and struggling with her own addictions - food and diet pills. But these four will pay a terrible price for the pleasures they believe they are entitled to. A passionate, heart-breaking tale of the crushing weight of hope and expectation, Requiem for a Dream is…
It is April 1st, 2038. Day 60 of China's blockade of the rebel island of Taiwan.
The US government has agreed to provide Taiwan with a weapons system so advanced that it can disrupt the balance of power in the region. But what pilot would be crazy enough to run…
I consider myself a disruptor of sorts, both in my life and in the art I make (I’m an actor, too). So I am by nature drawn to novels that bend and reshape (and sometimes ignore altogether) the rules and conventions that are supposed to govern the novelist’s craft and lead me to experience the world—and often the art of writing fiction itself—in ways I have never experienced either before. The novels on my list do just that.
I once heard a friend of mine describe Last Exit to Brooklyn as “a significant minor novel.” He was wrong. It’s a good deal more than that.
Set in the same Brooklyn in which one will find Herschel Cain, the main character in my own novel, before he becomes professional wrestler Haystacks Kane, yet light years away, Last Exit is a searing portrayal of life in the raw amongst the American underclass, profoundly disturbing and terribly, terribly sad. It shook me to my core when I read it not long after it was published in the mid-1960s, and has remained with me ever since.
In countless ways, Selby’s novel thumbs its nose at traditional novel structure and the customary rules of grammar, spelling, and punctuation in order to present virtually every moment of its bleak and upsetting narrative with a ferocious immediacy rarely found anywhere else.
Last Exit to Brooklyn remains undiminished in its awesome power and magnitude as the novel that first showed us the fierce, primal rage seething in America’s cities. Selby brings out the dope addicts, hoodlums, prostitutes, workers, and thieves brawling in the back alleys of Brooklyn. This explosive best-seller has come to be regarded as a classic of modern American writing.
I had the passion to write Necessary Deeds because: 1) as someone who'd spent 20+ years writing novels, dealing with untrustworthy literary agents, and book-doctoring other writers’ novels in order to pay rent, I'd come to know betrayal (“best friend” writers who stole drafts of mine and called them their own, novelists who backstabbed me after I helped them land agents and book contracts, and so on); 2) like many people who lived through the drug-and-alcohol-laced Eighties, I had a long relationship with someone that ended because they cheated on me. So I never doubted that, as I wrote Necessary Deeds, my heart knew well what motivated its characters.
In this case, I saw the film before I read the book, and if I’m going to call myself an honest man, I’d have to say I enjoyed the film more than the book.
Still, the book struck me as a great read because it embraced and portrayed the extraordinary amount of tension an undercover agent deals with 24/7. I mean, when you’re trying to make an arrest undercover, you’re two people at the same time, but you’d better not mess up and let anyone know you are or it’s game over—and very probably, bang-bang, pal, you’re history.
Add to that being undercover for the FBI and you’re guaranteed a high-stakes conundrum. Which is to say, after reading this book, how could I not have had my book’s character working undercover for what he and his partner Jonas refer to as “the Bureau”?
In 1978, the US government waged a war against organised crime. One man was left behind the lines. From 1976 until 1981, Special Agent Pistone lived undercover with the Mafia. Only able to visit his young family once every few months, Pistone - under the alias Donnie Brasco - ate, drank, partied, worked and sometimes killed with the wiseguys. He got so close that his Mafia partner, Lefty Ruggiero, asked him to officiate as best man at his wedding. Pistone's eventual testimony, in such spectacular prosecutions as 'the Pizza Connection' and 'the Mafia Commission' resulted in more than 200 indictments…
The Year Mrs. Cooper Got Out More
by
Meredith Marple,
The coastal tourist town of Great Wharf, Maine, boasts a crime rate so low you might suspect someone’s lying.
Nevertheless, jobless empty nester Mallory Cooper has become increasingly reclusive and fearful. Careful to keep the red wine handy and loath to leave the house, Mallory misses her happier self—and so…
It’s no wonder South Brooklyn, in the latter half of the last century, is the setting for so many remarkable dramas for both page and screen. In fact, when legendary former NYPD Detective Thomas Dades offered to make introductions to a Colombo Crime Family associate who cooperated with the federal government, I leapt at the opportunity. I was born in Greenpoint in 1971 and grew up on 16th Avenue in the heart of Bensonhurst. It’s not just South Brooklyn’s raw, urban chaotic physical setting, but the sheer volatility of this period in time, where so many transformational trends of the larger culture were evident, and some even epi-centered.
In adapting Nicholas Pileggi’s 1985 non-fiction Wiseguy for film, Martin Scorsese delivered a “staged documentary,” depicting a far more gritty and authentic account of organized crime than Mario Puzo’s Godfather trilogy.
Much of what makes Pileggi’s masterpiece work is how he captures South Brooklyn culture as it morphs from the 1950s through the 1980s. Pileggi’s tale of the tarnishing of the Golden Era of Italian American organized crime is recounted from the pedestrian perspective of un-makeable underling and ultimate-turncoat Henry Hill.
That bygone Brooklyn landscape leaps off the pages, from its gambling dens and gangster bars, to its corner cafes, criminal courts, and cab stands. BONUS: Pileggi’s no-nonsense non-fiction prose, peppered with Hill’s verbatim account, delivers even more days-in-the-lives of lowlifes than Scorsese could ever have packed into his classic film.
Locations of interest: The Prospect Park Zoo (stand-in for The Tampa Zoo); Smith Street in Red Hook (Jimmy Conway’s…
A longtime member of organized crime recounts his criminal career, his involvement in the six-million dollar Lufthansa robbery, and his decision to become a federal witness
I have been researching and writing about 19th-century American murders since 2009, and my blog, Murder by Gaslight (murderbygaslight.com), includes illustrated stories of more than 500 murder cases. My book, The Bloody Century: True Tales of Murder in 19th Century America, compiled fifty of the most famous murders. In researching these stories, I prefer to use primary sources such as newspaper articles, pamphlets, and books from the time of the murder. They present the attitudes surrounding the crime without modern analysis and preserve details that tend to disappear over time. My latest book, So Far from Home: The Pearl Bryan Murder, draws almost exclusively from newspaper accounts in 1896 and 1897.
Carlyle W. Harris was a promising young medical student in 1891 with an unfortunate obsession with sex. He would constantly regale his friends and associates with tales of his sexual conquests. When he failed to seduce 19-year-old Helen Potts, he convinced her to marry him but keep the marriage a secret. Six Capsules tells the story of Harris’s plot to murder Helen with a poisoned capsule to keep the secret from being revealed. The author, George R. Dekle Sr., a retired law professor and former prosecutor, provides a detailed analysis of Harris’s sensational trial for murder. The book’s vivid account of the murder and its consequences contrasts the moral and legal atmosphere of the 1890s with that of today.
As Ted Bundy was to the 20th century, so Carlyle Harris was to the 19th. Harris was a charismatic, handsome young medical student with an insatiable appetite. His trail of debauched women ended with Helen Potts, a beautiful young woman of wealth and privilege who was determined to keep herself pure for marriage. Unable to conquer her by other means, Harris talked her into a secret marriage under assumed names, and when threatened with exposure, he poisoned her.
The resulting trial garnered national headlines and launched the careers of two of New York's most famous prosecutors, Francis L. Wellman and…
I grew up watching every cop show on the air with my father. I always wanted to be a detective, but one that didn’t have to do a lot of chasing, like Starsky and Hutch, or get beat up a lot, like Mannix—one who could take a laid-back approach and work his own hours, like Ellery Queen. I wound up becoming a forensic specialist who also writes thrillers. The protagonists have my same job, only with smarter criminals and better-looking colleagues. I also grew up playing the clarinet—not, I admit, particularly well—in a band and/or orchestra from the fourth grade until well after I married.
In July of 1980, a beautiful violinist disappeared during a 45-minute break while the visiting ballet company used a prerecorded piece. Helen Hagnes Mintiks was a Julliard grad who had played with professionals since her teens. After the evening’s performance ended, her colleagues knew—as any musician would—that Helen would neverhave left the building without her violin. It took another nine hours to find her body, thrown down a ventilation shaft, hands tied with knots that stagehands used. A witness led them to the killer, who promptly confessed—a real villain, robbing the world of a kind-hearted talent out of lust. I read this book probably 30 years ago, while I was reading my way through the entire true crime section of the Cleveland Public Library.
Don’t mess with the hothead—or he might just mess with you. Slater Ibáñez is only interested in two kinds of guys: the ones he wants to punch, and the ones he sleeps with. Things get interesting when they start to overlap. A freelance investigator, Slater trolls the dark side of…
As an academic, I have been researching Canadian police and criminal justice history since the 1980s and I teach courses on the history of policing, crime, drugs and homicide, and capital punishment. In 2014 I began to cover a high-profile murder trial in my region of Canada and ended up writing a best-selling book on the case. The Oland case reinforced my interest in true crime, both as a research topic and a cultural phenomenon. True crime, whether set in the distant past or contemporary times, offers writers and readers alike fascinating forays into specific societies and communities as well as human nature.
Similar to my second choice, this American study explores the impact of a sensational unsolved death on early Victorian New York and America in general. In 1841 Marie Rogers, an attractive young woman who worked in a tobacco shop, was found dead in the Hudson River, suspected to be a victim of murder. The case was well covered in the press and exposed weaknesses in the city’s system of policing. The author details how Edgar Allen Poe furthered early detective fiction in his story The Mystery Marie Roger, which although set in Paris borrowed heavily from the New York events. An example of how the public can make a celebrity out of a murder victim who is not from the elite.
On July 28, 1841, the body of Mary Rogers, a twenty-year-old cigar girl, was found floating in the Hudson-and New York's unregulated police force proved incapable of solving the crime. One year later, a struggling writer named Edgar Allan Poe decided to take on the case-and sent his fictional detective, C. Auguste Dupin, to solve the baffling murder of Mary Rogers in "The Mystery of Marie Rogt."
I love history. I’ve loved it ever since I was a kid, listening to my dad’s history lectures. And in my history classes, I always tucked away stories about women. There weren’t many; most were trailblazers like Amelia Earhart or Susan B. Anthony. They were completely admirable, but I wanted to know about the women who had strayed from the straight and narrow: the murderers, the liars, and the thieves. Now, I write about women committing crimes throughout history. As a reader, I can never resist a story about a woman from the past doing things she shouldn’t. These books were endlessly entertaining and sometimes downright chilling to read.
In June of 1897, a group of New York children discovered a human torso, catapulting the city into a brutal mystery. Who was this man? And who killed him? I could not put this book down.
The central mystery kept me riveted, and the cold-blooded woman at the heart of it truly chilled me to my core. I also found my jaw on the floor reading about the antics of reporters for the warring New York Journal and New York World as they threw ethics out the window to get the best scoop.
"No writer better articulates our interest in the confluence of hope, eccentricity, and the timelessness of the bold and strange than Paul Collins."--DAVE EGGERS
On Long Island, a farmer finds a duck pond turned red with blood. On the Lower East Side, two boys playing at a pier discover a floating human torso wrapped tightly in oilcloth. Blueberry pickers near Harlem stumble upon neatly severed limbs in an overgrown ditch. Clues to a horrifying crime are turning up all over New York, but the police are baffled: There are no witnesses, no motives, no suspects.
Ever since I was a child, I would hide in my special place and dream away. Reality was rarely the best place to be, even as an adult I fantasize, I step away from reality without ever truly stepping away. Mafia Romance, paranormal, and fantasy excite me, but add in a little touch of real to the story and now even reality makes you wonder. This was the basis for The Devil’s Eyes. I took a new world and mixed in a little bit of what we know is true and a little bit of what-if and a lot of dark and sexy.
The bad boy falls in love with the young innocent girl, and for her sake, he fully intends to keep her at a distance. The only problem is she won’t stay away. It’s the heart deep inside of the bad boy that we are always drawn to, that need to protect her, but finding she’s too stubborn for her own good so the only way to protect her is to be with her.
For college student Emily Sheppard, the thought of spending a summer alone in New York is much more preferable than spending it in France with her parents. Just completing her freshman year at Callister University, Emily faces a quiet summer in the city slums, supporting herself by working at the campus library.
During one of her jogs through the nearby cemetery while visiting her brother Bills grave, Emily witnesses a brutal killingand then she blacks out. When Emily regains consciousness, she realizes shes been kidnapped by a young crime boss and his gang. She is hurled into a secret underworld,…
I wanted to write crime fiction from a young age. I took a Biomedical Science degree, hoping to follow this with a PhD in Forensics but soon realised I didn’t want to spend the rest of my working life in a lab. So I took a Master’s degree in Science Communication and became a health journalist and editor instead. I knew my own crime novel needed to feature a journalist. My main character, Shanna Regan, has spent her life travelling, whereas my own job has always been desk-based in the UK. Maybe this is why I love reading crime novels that whisk me off to other countries (in my head)!
Invisible City is the first book in Julia Dahl’s Rebekah Roberts series. Julia Dahl cleverly weaves together Jewish culture and a murder mystery, using a rookie journalist as her main character.
I think journalists make great detectives in crime fiction, with their investigative skills, enthusiasm, communication skills, persistence, and perseverance. They bridge the gap between amateur sleuths and the police (not that different from a private investigator).
Invisible City portrays journalists in a positive light and also provides an insight into an unknown world, with a non-judgmental portrayal of the ultra-religious Hassidic Jewish community in Brooklyn. I enjoyed following the main character’s personal journey too.
If you enjoyed UNORTHODOX, you will be riveted by Rebekah Roberts . . .
'An absolutely crackling, unputdownable mystery. I loved it.' GILLIAN FLYNN
Fresh out of journalism school, Rebekah Roberts is working for the New York Tribune, trying to make a name for herself. Assigned a story about the murder of a woman in Brooklyn, Rebekah finds a case from inside a closed, secretive Hasidic Jewish community - the same Brooklyn neighbourhood her estranged mother was brought up in.
Shocked to discover that the victim is set to be buried without an autopsy, Rebekah knows there is a story…