Who Is Mary Ann Cotton's Whose Crime Is It Anyway?

The Lizzie Borden case has mystified and fascinated those interested in crime forover on hundred years. Very few cases in American history have attracted as much attention as the hatchet murders of Andrew J. Borden and his wife, Abby Borden. The bloodiness of the acts in an otherwise respectable late nineteenth century domestic setting is startling. Along with the gruesome nature of the crimes is the unexpected character of the accused, not a hatchet-wielding maniac, but a church-going, Sunday-school-teaching, respectable, spinster-

When we hear about a killing on the news, our natural instincts are to immediately antagonize the killers. More likely than not, we hate the killers, and hope they get a vengeful prison sentence. In Truman Capote’s true crime non-fiction book, In Cold Blood, we learn about the murders that took place in Holcomb. The story is about much more than the slaying of a respectful family, its focus is on the killers, Dick Hickock and Perry Smith. One of Capote’s main purposes in the book is to convey the multiple perspectives of a crime in order for the readers to view the killers as more than just the bad guys, and he achieves his purpose primarily through the use of pathos, anecdotes, and his chosen narrative.

Mary Warren’s behavior foreshadow about her testimony in court by giving Elizabeth a doll she made, “a popper,” which later leads to her arrest. They found a needle inside the doll, in the same spot Abigail was stabbed in. She seems to be manipulated by Abigail, due to the fact that she feared to have to testify against her in court. “She’ll kill me for sayin’ that! Abby’ll charge lechery on you, Mr. Proctor!” Mary kept saying over and over again that she cannot, which also indicates that she knows that Abigail will do something terrible to her.

Mary Reibey becoming a convict made a huge impact on her life because she wouldn’t have had the same experiences and opportunities that she would have had if she lived in England than if she hadn’t had been transported to Australia when she was so young. If she didn’t become an convict she wouldn’t have become of on Australia’s most successful business women and would have made a big impact of the trade industry in Australia either.

left and right to people undeserving. No one should stand down to what they believe in.

In the story Cohen makes use of the most trivial murder of 1836 to show the twisted societal accommodations of those who are considered privileged, hypocritical channelled views towards sexuality and legal codes exploitation with a mingling of tabloids journalism and mere politics. In her story Cohen brings out a really sensational fact that a place for women is determined by a man.

Susan Glaspell’s one-act play covers issues regarding female oppression and patriarchal domination. The play still exists as a fascinating hybrid of murder mystery and social commentary on the oppression of women. When Margaret Hossack was charged with the murder of her sixty year old husband John, the man she had been married to for thirty three years. Killed by two blows to his head with an ax, John Hossack was thought to be a cold mannered and difficult man to be married to, but he didn’t deserve his

“A Jury of Her Peers” is a short story written by Susan Glaspell in 1917 illustrates early feminist literature. The two female characters, Mrs. Peters and Mrs. Hale, is able to solve the mystery of who the murderer of John Wright while their male counterparts could not. This short story had been adapted from Glaspell’s one-act play Trifles written the previous year. The play consists of the same characters and plotline as the story. In both works, Glaspell depicts how the men, Sheriff Peters and Mr. Hale, disregard the most important area in the house, the kitchen, when it comes to their investigation. In the end, the women are the ones who find clues that lead to the conclusion of Minnie Wright, John Wright’s wife, is the one who murdered him. Both of Glaspell’s female characters illustrate the ability to step into a male dominated profession by taking on the role of detective. According to Critical Theory Today: A User-Friendly Guide, written by Lois Tyson, a reader-response critique “focuses on readers’ response to literary texts” and it’s a diverse area (169). Through a reader-response criticism from a feminist lens, we are able to analyze how “A Jury of Her Peers” and Trifles depict how a patriarchal society oppresses women in the early twentieth century, gender stereotypes confined both men and women and the emergence of the New Woman is illustrated.

Day’s, ‘The Life and Crimes of Harry Lavender’, powerfully engages with the responder and effectively subverts the crime fiction genre to create a new era of crime fiction. Day critics modern society through the protagonistic voices of Claudia Valentine and Harry Lavender to challenge the audience's perception of what crime and criminality is. Day uses the subversion of female characters to challenge and question our perceptions of gender stereotypes. Day also effectively synthesises the insight that the dynamic personality of criminals, like Sydney, is evolving. Ultimately, “The Life and Crimes of Harry Lavender” highlights these fundamental ideas to examine the impact of the narrative voices in order to gain insight into crime fiction and to address traditional conventions of modern society.

In 2008, Susan Branson published Dangerous to Know: Women, Crime, and Notoriety in the Early Republic. The book follows the lives of Ann Carson and Mary Clarke, two women who had to support their families without the benefits of their husbands. Both women lived in an era, the early 1800s, where women were beginning to step outside of their domestic sphere. There was a rise in middle-class women who had fallen on hard times entering the job market. Ann Carson and Mary Clarke were two such women who knew what they need to do to provide for their families while staying within social norms of the time. However, the path that Ann Carson and Mary Clare chose was distinctive, with one leading a respectable life and the other a life of crime. Both women challenged gender conventions

Criminality is still assumed to be a masculine characteristic and women lawbreakers are therefore observed to be either ‘not women’ or ‘not criminals’ (Worrall 1990, p. 31). Female offenders are hallmarked for tireless and inescapable coverage if they fit into the rewarding newsworthy categories of violent or sexual. It is always important to note the reason for overrepresentation of women criminals in the media. “Women who commit serious offences are judged to have transgressed two sets of laws: criminal laws and the laws of nature” (Jewkes 2011, p. 125). Such women are hence “doubly deviant and doubly damned” (Lloyd, 1995). When women commit very serious crimes, such as murder, they attract

Lisa Scottoline in the novel, Lady Killer, skillfully illustrates the reality between the law and relationships. Scottoline supports her demonstration by telling the story between Mary DiNunzio, her work, and friendships. Scottoline’s purpose is to capture the reader with realistic events that are normally not talked about in order to grasp the interest of her readers, and reveal the reality of criminal justice. Scottoline writes in a conversational tone for her young readers without previous knowledge about criminals nor law.

Marylou sounds like a hoot. She seemed to have a lot of stories to share with you. I wonder why the drugs she used are now illegal, and if she suffered any of the side effects that caused the drug to become illegal. Sounds like a mean trick her friends played on her giving her underwear in class. I wonder if she found it funny.

While most of the violent crimes that happens most are them are belongs to men, women have not been the wilting flowers promoted so heartily by Victorian adorers and (right or wrong) often evident in today's society. Before we get into detail about the fascinating phenomenon of the Black Widow, it is worth a brief overview of women's escalating role in the world of violent crime, particularly in the United States.

Though set in entirely dissimilar countries at different points in history, Margaret Atwood’s ‘Alias Grace’ and Hannah Kent’s ‘Burial Rites’ possess significant comparisons. Both for instance, are fictionalized historical novels following the tribulations of a female protagonist convicted of murder and both have been widely acclaimed for their incredible literary style which merges classic poetry, epigraphs, folklore and historical articles with fiction. The most striking parallel between each novel that can be drawn, however, is the way in which authors masterfully craft the stories of untrustworthy, cunning and deceptive criminals to elicit sympathy from their audiences. Readers of the novel and secondary characters alike are gradually pulled into sympathising with ambiguous and untrustworthy female leads, Grace Marks (Alias Grace) and Agnes Magnusdottir (Burial Rites). Despite the heavy suspicions of others and a lack of evidence to support their claims of innocence, these characters present artfully manipulated features of their defence stories to provoke empathy, sympathy and trust from those within the novel, and those reading it.