This is the story of Oscar Slater, a Jewish immigrant in Glasgow, Scotland and two fellow Scottish scammers, Helen Lambie and Patrick Nugent. In the Christmas season of 1908, the trio conspired to rob an elderly, wealthy lady of her diamonds, and, in the course of which burglary, Oscar Slater murdered her on December 21, 1908. All, not some, authors and sleuths who researched the 1909 conviction emphatically supported Oscar Slater's innocence, that he was misidentified and wrongfully convicted. In an effort to place guilt for Marion Gilchrist's murder squarely on Oscar Slater, the conclusions here reach further back in the crime's timeline to January 1908, about a year before the murder-the month that Patrick Nugent and Helen Lambie attended a New Year's party. The Glasgow police investigation tarried at only 30 days leading up to the murder. FROM THE INTRODUCTION "When you have eliminated all which is impossible, then whatever remains, however improbable, must be the truth." Sherlock Holmes, Sign of Four. "If you're looking for Trouble, you've come to the right place." Trouble, by Elvis Presley. "I am Woman, hear me roar." I am Woman, by Helen Reddy.

Adopting a microhistory approach, Fair and Unfair Trials in the British Isles, 1800-1940 provides an in-depth examination of the evolution of the modern justice system. Drawing upon criminal cases and trials from England, Scotland, and Ireland, the book examines the errors, procedural systems, and the ways in which adverse influences of social and cultural forces impacted upon individual instances of justice. The book investigates several case studies of both justice and injustice which prompted the development of forensic toxicology, the implementation of state propaganda and an increased interest in press sensationalism. One such case study considers the trial of William Sheen, who was prosecuted and later acquitted of the murder of his infant child at the Old Baily in 1827, an extraordinary miscarriage of justice that prompted outrage amongst the general public. Other case studies include trials for treason, theft, obscenity and blasphemy. Nash and Kilday root each of these cases within their relevant historical, cultural, and political contexts, highlighting changing attitudes to popular culture, public criticism, protest and activism as significant factors in the transformation of the criminal trial and the British judicial system as a whole. Drawing upon a wealth of primary sources, including legal records, newspaper articles and photographs, this book provides a unique insight into the evolution of modern criminal justice in Britain.

In 1925 William Gordon was released from Peterhead Prison in Scotland. Unbeknownst to the authorities Gordon smuggled out a message from fellow prisoner, Oscar Slater. The message, written on waterproof paper and hidden under Gordon’s tongue, was a plea for help. It was to be delivered to none other than Sir Arthur Conan Doyle. Conan Doyle first heard the name Oscar Slater years earlier. He became aware of the case when Slater was sentenced to death for the murder of Marion Gilchrist. The crime occurred on December 21, 1908 in Glasgow. There was a public outcry against the brutal murder. The police and the public wanted the crime to be solved quickly and the murderer put behind bars. Within five days the police announced that they were looking for a suspect. His name was Oscar Slater. Slater was discovered in America. Once he was made aware of the accusations against him Slater willingly returned. He was positive that he could prove his innocence. The trial was held in 1909. Despite the conflicting evidence Oscar Slater was found guilty of the murder of Marion Gilchrist and sentenced to death. Slater’s lawyers started a petition that urged mercy. Two days before he was scheduled to die, Slater’s sentence was changed to imprisonment with hard labor for life. Slater’s lawyers also contacted Sir Arthur Conan Doyle. While Conan Doyle didn’t approve of Slater or his lifestyle it was clear that he was not the murderer of Marion Gilchrist. In 1912 Conan Doyle published "The Case of Oscar Slater". It examined evidence brought forward at the trial and point by point proved that Slater was not the killer.

Was Jack the Ripper an artist called Frank Miles? Toughill suggests that this former 'friend' of Oscar Wilde was indeed the killer, and that Wilde dropped hints about this in several of his works, most notably The Picture of Dorian Gray, which Wilde wrote in 1889, the year after the Ripper murders took place. In fascinating detail, the author argues that Wilde's story, that of a privileged man whose life of vice in the East End of London turns him into a murderer, is in fact a coded message about the Ripper's identity. However, The Ripper Code is not just a fascinating voyage through the writings of Oscar Wilde and others. It is also a striking example of original detective work. Here, as in his previous books, Toughill unveils stunning evidence from a hitherto untapped source and uses it to devastating effect in arguing his case. The result is a book which is as original as it is enthralling.

In 1909, Oscar Slater, a German Jew, was convicted and sentenced to death for the brutal murder of Marion Gilchrist, an elderly Glasweigan spinster. His trial is known to have been one of the most scandalous miscarriages of justice in the annals of legal history. This book is provides an account of this infamous case.

As a working cotton mill, a space for varied types of manufacturing, and eventually as a project of historical preservation, the Slater Mill has played many roles in the history of Pawtucket. Leavitt's work includes such illuminating images as a turn-of-the-century bicycle shop, a crowded mill scene in the early twentieth century, and the transformation of the site into a tourist attraction in the 1920s. This volume also shows how the site was re-configured as a community museum in the 1950s and '60s, as well as how the industrial emphasis of the curators eventually resulted in the addition of a working water wheel to the site. Well-illustrated, with fact-filled text, Slater Mill is a charming look back at a pivotal part of Pawtucket life that will interest young and old alike.

Not a story about me through their eyes then. Find the beginning, the slight silver key to unlock it, to dig it out. Here then is a maze to begin, be in. (p. 20) Funny yet horrifying, improvisational yet highly distilled, unflinchingly violent yet tender and elegiac, Michael Ondaatje’s ground-breaking book The Collected Works of Billy the Kid is a highly polished and self-aware lens focused on the era of one of the most mythologized anti-heroes of the American West. This revolutionary collage of poetry and prose, layered with photos, illustrations and “clippings,” astounded Canada and the world when it was first published in 1969. It earned then-little-known Ondaatje his first of several Governor General’s Awards and brazenly challenged the world’s notions of history and literature. Ondaatje’s Billy the Kid (aka William H. Bonney / Henry McCarty / Henry Antrim) is not the clichéd dimestore comicbook gunslinger later parodied within the pages of this book. Instead, he is a beautiful and dangerous chimera with a voice: driven and kinetic, he also yearns for blankness and rest. A poet and lover, possessing intelligence and sensory discernment far beyond his life’s 21 year allotment, he is also a resolute killer. His friend and nemesis is Sheriff Pat Garrett, who will go on to his own fame (or infamy) for Billy’s execution. Himself a web of contradictions, Ondaatje’s Garrett is “a sane assassin sane assassin sane assassin sane assassin sane assassin sane” (p. 29) who has taught himself a language he’ll never use and has trained himself to be immune to intoxication. As the hero and anti-hero engage in the counterpoint that will lead to Billy’s predetermined death, they are joined by figures both real and imagined, including the homesteaders John and Sallie Chisum, Billy’s lover Angela D, and a passel of outlaws and lawmakers. The voices and images meld, joined by Ondaatje’s own, in a magnificent polyphonic dream of what it means to feel and think and freely act, knowing this breath is your last and you are about to be trapped by history. I am here with the range for everything corpuscle muscle hair hands that need the rub of metal those senses that that want to crash things with an axe that listen to deep buried veins in our palms those who move in dreams over your women night near you, every paw, the invisible hooves the mind’s invisible blackout the intricate never the body’s waiting rut. (p. 72)