- Tapa blanda: 336 páginas
- Editor: Broadway Books (A Division of Bantam Doubleday Dell Publishing Group Inc) (15 de junio de 2012)
- Idioma: Inglés
- ISBN-10: 0307592219
- ISBN-13: 978-0307592217
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The Murder Of The Century (Inglés) Tapa blanda – 15 jun 2012
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Descripción del producto
"[Collins'] exploration of the newspaper world, at the very moment when tabloid values were being born, is revealing but also enormously entertaining....Collins has a clear eye, a good sense of telling detail, and a fine narrative ability." --Wall Street Journal"Riveting....Collins has mined enough newspaper clippings and other archives to artfully recreate the era, the crime and the newspaper wars it touched off." --New York Times "[A] richly detailed book that reads like a novel and yet maintains a strict fidelity to facts. THE MURDER OF THE CENTURY isn't a case of history with a moral. It's simply a fantastic, factual yarn, and a reminder that abhorrent violence is nothing new under the sun." --Oregonian
"A wonderful reminder that we have often been just as we are: fools for spectacle, short of memory, cheered by the invigorating shock of the immoral." --Willamette Week "Paul Collins' account of the headless torso murder that led to an all-out newspaper war and then a dramatic trial has all the timeless elements of a great yarn--a baffling mystery, intriguing suspects, and flawed detectives. It's compelling history that's also great page-turning entertainment." --Howard Blum, author of The Floor of Heaven and American Lightning
"Wonderfully rich in period detail, salacious facts about the case and infectious wonder at the chutzpah and inventiveness displayed by Pulitzer's and Hearst's minions. Both a gripping true-crime narrative and an astonishing portrait of fin de siecle yellow journalism." --Kirkus Reviews
"A dismembered corpse and rival newspapers squabbling for headlines fuel Collins's intriguing look at the birth of "yellow journalism" in late-19th-century New York. an in-depth account of the exponential growth of lurid news and the public's (continuing) insatiable appetite for it." --Publishers Weekly
Reseña del editor
No writer better articulates ourinterest 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.
The grisly finds that began on the afternoon of June 26, 1897, plunged detectives
headlong into the eras most baffling murder mystery. Seized upon by battling media moguls Joseph Pulitzer and William Randolph Hearst, the case became a publicity circus. Reenactments of the murder were staged in Times Square, armed reporters lurked in the streets of Hells Kitchen in pursuit of suspects, and an unlikely trioa hard-luck cop, a cub reporter, and an eccentric professorall raced to solve the crime.
What emerged was a sensational love triangle and an even more sensational trial: an unprecedented capital case hinging on circumstantial evidence around a victim whom the police couldnt identify with certainty, and who the defense claimed wasnt even dead.The Murder of the Century is a rollicking talea rich evocation of America during the Gilded Age and a colorful re-creation of the tabloid wars that have dominated media to this day.
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I'm a huge fan of Erik Larsen, and so I was looking forward to getting into this book. I love to read historical non-fiction, and if it's about an event or person I've never even heard of, all the better. Mr. Collins did an alright job of interspersing some small historical tidbits of interest, but it's not as interesting as Erik Larsen, where with the latter, almost every page you're like "Oh wow, I didn't know that!" or "That's where that expression comes from!" etc. In "Murder of the Century", the little bits of color that are added are pretty localized to the area and time, and they're not that interesting or mentioned in such a way, with enough context, to make them interesting.
In any case though, it's an interesting read. As I mentioned above, because of the large chunk of references at the end of the book, I thought there was a lot more to the story than there was. In addition, the murder, the trial.. it's just really not that suspenseful. I expected a big twist or shocking moment. There was just nothing. I feel like I learned more about NYC in this time frame by my own wandering around wikipedia while I was reading this book.
It's a good book, but only 'good.'
is in love, an era when reporters collared and interrogated witnesses with or without the police, the police hustled to try to know as much as the journalists, a haircut, shave or massage could be taken way too literally, the streets were dominated by horses, immigrant groups knew their tribal members, and among the chief entertainments were competing, screaming morning and evening newspapers, each pulling out all the stops.
Sitting atop the "yellow journalism" pile were two giants: Hearst, young and up-start, willing to apply any amount of yellow ink to sensationalize his "Journal" and out-do the others; and, Joseph Pulitzer, hardly the epitome of journalistic integrity we think of today when his eponymous awards are given. This Pulitzer, much older and venerated, seems willing to "yellow up" his "World" almost against his better instincts.
To convey a meaty sense of what these end-of-the-Gilded Era times and journalism wars were like, Collins resurrects the Guldensuppe "Scattered Dutchman" murder case--seemingly lost up to now to general readers. In fact, an internet search today of "Guldensuppe murder case" reveals primarily 114 year-old press clippings. Collins, to his immense credit, has done exhaustive primary research to draw us in to the times, the personalities, the case, the papers. What's more, his chapters are supported by substantial end notes that often also delight and inform the reader. Throughout, Collins writes with a sense of immediacy and wonder, a you-are-there style that builds as quickly as one can turn the pages.
I found this a captivating and engrossing read. Even more, permit me to suggest that one read it alongside Pete Hamill's wonderful new "Tabloid City." These two books neatly encapsulate the "birth" of modern print journalism and its seeming demise.
PS One year later--so many readers have delighted in this book, and been unable to match it in so many respects; hence, I've added "2012" to the title. Enjoy!