Rebecca Biron breaks new ground in this study of masculinity, violence, and the strategic construction of collective political identities in twentieth-century Latin American fiction. By engaging current sociological, psychoanalytic, and feminist theories, Murder and Masculinity analyzes the cliche of proving virility through violence against women. Biron develops her argument through close readings of five works: Jorge Luis Borges's "La intrusa," Armonia Somer's "El despojo," Clarice Lispector's A Maca no Escuro, Manuel Puig's The Buenos Aires Affair, and Reinaldo Arenas's El Asalto. Although men murdering women is often interpreted as nothing more than machista misogyny, Biron argues that the five narratives addressed in this book show that healed masculinities are essential to the achievement of cultural identity and political autonomy in Latin America. The introduction to this study deftly situates Biron's work in relation to previous theoretical arguments on the social and political dimensions of Latin American writing. The five subsequent chapters offer superb analyses of the individual texts. Like their male protagonists who experiment with the psychological and legal extremes of gender division, these narratives risk nonconformity to the laws of genre in their quest for liberation from violent social and literary conventions. In combining elements of detective stories, crime narratives, psychological case studies, and magical or grotesque realism, they offer metafictional commentary on a network of discourses that confuses images of masculinity, national identity, and political autonomy in postcolonial Latin America.

Important policy issues regarding the role of gender and class in homicide are raised by descriptions of various patterns of crimes committed exclusively by males. Case studies of four specific "scenarios of violence" supplement this qualitative statistical analysis.

"[W]e can't come off as a bunch of angry white men.” Robert Bennett, chairman of the Ohio Republican Party One of the enduring legacies of the 2012 Presidential campaign was the demise of the white American male voter as a dominant force in the political landscape. On election night, after Obama was announced the winner, a distressed Bill O'Reilly lamented that he didn't live in “a traditional America anymore.” He was joined by others who bellowed their grief on the talk radio airwaves, the traditional redoubt of angry white men. Why were they so angry? Sociologist Michael Kimmel, one of the leading writers on men and masculinity in the world today, has spent hundreds of hours in the company of America's angry white men – from white supremacists to men's rights activists to young students –in pursuit of an answer. Angry White Men presents a comprehensive diagnosis of their fears, anxieties, and rage. Kimmel locates this increase in anger in the seismic economic, social and political shifts that have so transformed the American landscape. Downward mobility, increased racial and gender equality, and a tenacious clinging to an anachronistic ideology of masculinity has left many men feeling betrayed and bewildered. Raised to expect unparalleled social and economic privilege, white men are suffering today from what Kimmel calls "aggrieved entitlement": a sense that those benefits that white men believed were their due have been snatched away from them. Angry White Men discusses, among others, the sons of small town America, scarred by underemployment and wage stagnation. When America's white men feel they've lived their lives the ‘right' way – worked hard and stayed out of trouble – and still do not get economic rewards, then they have to blame somebody else. Even more terrifying is the phenomenon of angry young boys. School shootings in the United States are not just the work of “misguided youth” or “troubled teens”—they're all committed by boys. These alienated young men are transformed into mass murderers by a sense that using violence against others is their right. The future of America is more inclusive and diverse. The choice for angry white men is not whether or not they can stem the tide of history: they cannot. Their choice is whether or not they will be dragged kicking and screaming into that inevitable future, or whether they will walk openly and honorably – far happier and healthier incidentally – alongside those they've spent so long trying to exclude.

From prison interviews with violent offenders and a wealth of experience and research, an Australian psychologist explores the complex interaction between crime and culture. Fifteen convicted adult male violent offenders explain their understanding, motivations and rationalisations for their actions in relation to values. This nuanced understanding adds significantly to criminological theory, as well as providing suggestions for better policing, offender management, and rehabilitation.

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"I sat down to read A Good Man and didn't move until I'd finished...I loved this book." —Caroline Kepnes, author of You A dark and gripping novel of psychological suspense about a family man driven to unspeakable acts, in the vein of The Perfect Nanny and We Need to Talk About Kevin. Thomas Martin was a devoted family man who had all the trappings of an enviable life: a beautiful wife and daughter, a well-appointed home on Long Island's north shore, a job at a prestigious Manhattan advertising firm. He was also a devoted son and brother, shielding the women in his orbit from the everyday brutalities of the world. But what happens when Thomas’s fragile ego is rocked? After committing a horrific deed — that he can never undo — Thomas grapples with his sense of self. Sometimes he casts himself as a victim and, at other times, a monster. All he ever did was try to be a good man, but maybe if he tells his version of the story, he might uncover how and why things unraveled so horribly.

Detecting Men examines the history of the Hollywood detective genre and the ways that detective films have negotiated changing social attitudes toward masculinity, heroism, law enforcement, and justice. Genre film can be a site for the expression and resolution of problematic social issues, but while there have been many studies of such other male genres as war films, gangster films, and Westerns, relatively little attention has been paid to detective films beyond film noir. In this volume, Philippa Gates examines classical films of the thirties and forties as well as recent examples of the genre, including Die Hard, the Lethal Weapon films, The Usual Suspects, Seven, Devil in a Blue Dress, and Murder by Numbers, in order to explore social anxieties about masculinity and crime and Hollywood's conceptions of gender. Up until the early 1990s, Gates argues, the primary focus of the detective genre was the masculinity of the hero. However, from the mid-1990s onward, the genre has shifted to more technical portrayals of crime scene investigation, forensic science, and criminal profiling, offering a reassuring image of law enforcement in the face of violent crime. By investigating the evolution of the detective film, Gates suggests, perhaps we can detect the male.