"This book is informative and interesting and would be useful both in academic and professional settings."--"Feminism & Psychology"

A special kind of horror is reserved for mothers who kill their children. Cases such as those of Susan Smith, who drowned her two young sons by driving her car into a lake, and Melissa Drexler, who disposed of her newborn baby in a restroom at her prom, become media sensations. Unfortunately, in addition to these high-profile cases, hundreds of mothers kill their children in the United States each year. The question most often asked is, why? What would drive a mother to kill her own child?

Those who work with such cases, whether in clinical psychology, social services, law enforcement or academia, often lack basic understandings about the types of circumstances and patterns which might lead to these tragic deaths, and the social constructions of motherhood which may affect women's actions. These mothers oftentimes defy the myths and media exploitation of them as evil, insane, or lacking moral principles, and they are not a homogenous group. In obvious ways, intervention strategies should differ for a teenager who denies her pregnancy and then kills her newborn and a mother who kills her two toddlers out of mental illness or to further a relationship. A typology is needed to help us to understand the different cases that commonly occur and the patterns they follow in order to make possible more effective prevention plans.

Mothers Who Kill Their Children draws on extensive research to identify clear patterns among the cases of women who kill their children, shedding light on why some women commit these acts. The characteristics the authorsestablish will be helpful in creating more meaningful policies, more targeted intervention strategies, and more knowledgeable evaluations of these cases when they arise.

Winner of the 2008 Outstanding Book Award by the Academy of Criminal Justice Sciences Michelle Oberman and Cheryl L. Meyer don't write for news magazines or prime-time investigative television shows, but the stories they tell hold the same fascination. When Mothers Kill is compelling. In a clear, direct fashion the authors recount what they have learned from interviewing women imprisoned for killing their children. Readers will be shocked and outraged-as much by the violence the women have endured in their own lives as by the violence they engaged in-but they will also be informed and even enlightened. Oberman and Meyer are leading authorities on their subject. Their 2001 book, Mothers Who Kill Their Children, drew from hundreds of newspaper articles as well as from medical and social science journals to propose a comprehensive typology of maternal filicide. In that same year, driven by a desire to test their typology-and to better understand child-killing women not just as types but as individuals-Oberman and Meyer began interviewing women who had been incarcerated for the crime. After conducting lengthy, face-to-face interviews with forty prison inmates, they returned and selected eight women to speak with at even greater length. This new book begins with these stories, recounted in the matter-of-fact words of the inmates themselves. There are collective themes that emerge from these individual accounts, including histories of relentless interpersonal violence, troubled relationships with parents (particularly with mothers), twisted notions of romantic love, and deep conflicts about motherhood. These themes structure the books overall narrative, which also includes an insightful examination of the social and institutional systems that have failed these women. Neither the mothers nor the authors offer these stories as excuses for these crimes.

"This book is informative and interesting and would be useful both in academic and professional settings."--"Feminism & Psychology"

A special kind of horror is reserved for mothers who kill their children. Cases such as those of Susan Smith, who drowned her two young sons by driving her car into a lake, and Melissa Drexler, who disposed of her newborn baby in a restroom at her prom, become media sensations. Unfortunately, in addition to these high-profile cases, hundreds of mothers kill their children in the United States each year. The question most often asked is, why? What would drive a mother to kill her own child?

Those who work with such cases, whether in clinical psychology, social services, law enforcement or academia, often lack basic understandings about the types of circumstances and patterns which might lead to these tragic deaths, and the social constructions of motherhood which may affect women's actions. These mothers oftentimes defy the myths and media exploitation of them as evil, insane, or lacking moral principles, and they are not a homogenous group. In obvious ways, intervention strategies should differ for a teenager who denies her pregnancy and then kills her newborn and a mother who kills her two toddlers out of mental illness or to further a relationship. A typology is needed to help us to understand the different cases that commonly occur and the patterns they follow in order to make possible more effective prevention plans.

Mothers Who Kill Their Children draws on extensive research to identify clear patterns among the cases of women who kill their children, shedding light on why some women commit these acts. The characteristics the authorsestablish will be helpful in creating more meaningful policies, more targeted intervention strategies, and more knowledgeable evaluations of these cases when they arise.

The Doors, James Brown, the Grateful Dead, the Sir Douglas Quintet, David Bowie-the list goes on. . . . From 1967 to 1973, Michael Oberman interviewed more than three hundred top musical artists. Collected together for the first time, Fast Forward, Play and Rewind presents more than one hundred interviews Oberman conducted with the most important musical artists of the day. Along the way, Oberman touches on the influence of his brother, who interviewed the Beatles and other top artists from 1964 to 1967. He also recounts stories from his later career working for the major Warner-Elektra-Atlantic recording company, where he produced concerts for Cellar Door Productions and managed recording artists. Want to know the true story of how David Bowie became Ziggy Stardust? That and dozens more true tales that might seem like fiction are waiting inside the pages of Fast Forward, Play and Rewind. Each short interview is an invitation for readers to relive (or live for the first time) one of the greatest periods in rock 'n' roll history.