At 14 years old, Christian Picciolini, a bright and well-loved child from a good family, had been targeted and trained to spread a violent racist agenda, quickly ascending to a highly visible leadership position in America's first neo-Nazi skinhead gang. Just how did this young boy from the suburbs of Chicago, who had so much going for him, become so lost in extremist ideologies that would horrify any decent person? 'Romantic Violence: Memoirs of an American Skinhead' is a poignant and gripping cautionary tale that details Christian's indoctrination when he was barely a teen, a lonely outsider who, more than anything, just wanted to belong. A fateful meeting with a charismatic man who recognized and took advantage of Christian's deep need for connection sent the next decade of his life into a dangerous spiral. When his mentor went to prison for a vicious hate crime, Christian stepped forward, and at 18, he was overseeing the most brutal extremist skinhead cells across the country. From fierce street brawls to drunken white power rallies, recruitment by foreign terrorist dictators to riotous white power rock music, Picciolini immersed himself in racist skinhead culture, hateful propaganda, and violence. Ultimately Christian began to see that his hate-filled life was built on lies. After years of battling the monster he created, he was able to reinvent himself. Picciolini went on to become an advocate for peace, inclusion, and racial diversity, co-founding the nonprofit Life After Hate, which helps people disengage from hate groups and to love themselves and accept others, regardless of skin color, religious belief, or sexual preference.

The New York Times bestseller: “[A] brutally honest memoir of a brave, smart, fresh-faced young woman’s descent into domestic hell.” —Monica Holloway, author of Driving with Dead People At 22, Leslie Morgan Steiner seemed to have it all: a Harvard diploma, a glamorous job at Seventeen magazine, a downtown New York City apartment. Plus a handsome, funny, street-smart boyfriend who adored her. But behind her façade of success, this golden girl hid a dark secret. She’d made a mistake shared by millions: she fell in love with the wrong person. At first Leslie and Conor seemed as perfect together as their fairy-tale wedding. Then came the fights she tried to ignore: he pushed her down the stairs of the house they bought together, poured coffee grinds over her hair as she dressed for a critical job interview, choked her during an argument, and threatened her with a gun. Several times, he came close to making good on his threat to kill her. With each attack, Leslie lost another piece of herself. Gripping and utterly compelling, Crazy Love takes you inside the violent, devastating world of abusive love. Conor said he’d been abused since he was a young boy, and love and rage danced intimately together in his psyche. Why didn’t Leslie leave? She stayed because she loved him. Find out for yourself if she had fallen truly in love—or into a psychological trap. Crazy Love will draw you in—and never let go. “Compulsively readable.” —People “A must read for anyone in a consuming relationship.” —Iris Krasnow, New York Times–bestselling author

The unbelievable journey of an average Chicago teen from the world of sex, drugs and street gangs, through the empire of Chicago's political corruption, and into an underground spy network of American revolutionaries - emerging as one of the few survivors who lived to tell the story - the story of tomorrow's American revolution. WARNING: The following material contains violent and sexually explicit language and depictions. For mature audiences only.

Why are there so few 'happily ever afters' in the Romantic-period verse romance? Why do so many poets utilise the romance and its parts to such devastating effect? Why is gender so often the first victim? The Romantic Paradox investigates the prevalence of death in the poetic romances of the Della Cruscans, Coleridge, Keats, Mary Robinson, Felicia Hemans, Letitia Landon, and Byron, and posits that understanding the romance and its violent tendencies is vital to understanding Romanticism itself.

Romantic Terrorism offers an innovative methodology in exploring the ways in which domestic violence offenders terrorise their victims. Its focus on the insidious use of tactics of coercive control by abusers opens up much-needed discussion on the damage caused to victims by emotional and psychological abuse.

Combining queer theory with theories of affect, psychoanalysis, and Foucauldian genealogy, Romanticism, Gender, and Violence: Blake to George Sodini theorizes performative melancholia, a condition where, regardless of sexual orientation, overinvestment in gender norms causes subjects who are unable to embody those norms to experience socially expected (‘normal’) gender as something unattainable or lost. This perceived loss causes an ambivalence within the subject that can lead to self-inflicted violence (masochism, suicide) or violence toward others (sadism, murder). Reading a range of Romantic poetry and novels between 1790-1820, but ultimately moving beyond the period to show its contemporary cultural relevance through readings of Eliot’s The Mill on the Floss, Virginia Woolf’s Mrs. Dalloway, Andrew Holleran’s Dancer from the Dance, and George Sodini’s 2009 murder-suicide case, this study argues that we need to move beyond focusing on bullying, teens, and LGBT students and look at our cultural investment in gender normativity itself. Doing so allows us to recognize that the relationship between non-normative gender performance and violence is not simply a gay problem; it is a human problem that can affect people of any sex, sexuality, age, race, or ethnicity and one that we can trace back to the Romantic period. Bringing late 18th-century novels into conversation with both canonical and lesser-known Romantic poetry, allows us to see that, as people whose performance of gender occasionally exceeds the normal, we too often internalize these norms and punish ourselves or others for our inability to adhere to them. Contrasting paired chapters by male and female authors and including sections on failed romantic coupling, melancholic femininities, melancholic masculinities, failed gender performance and madness, and ending with a section titled After Romanticism, this study works on multiple levels to complicate previous understandings of gender and violence in Romanticism while also offering a model for contemporary issues relating to gender and violence among people who ‘fail’ to perform gender according to social norms.

Concerned with the intermingled thematic and formal preoccupations of Romantic thought and literary practice in works by twentieth-century British, Irish, and American artists, this collection examines the complicated legacy of Romanticism in twentieth-century novels, poetry, and film. Even as key twentieth-century cultural movements have tried to subvert or debunk Romantic narratives of redemptive nature, individualism, perfectibility, and the transcendence of art, the forms and modes of feeling associated with the Romantic period continue to exert a signal influence on the modern moment - both as a source of tension and as creative stimulus. As the essays here show, the exact meaning of the Romantic bequest may be bitterly contested, but it has been difficult to leave behind. The contributors take up a wide range of authors, including Virginia Woolf, F. Scott Fitzgerald, W. H. Auden, Doris Lessing, Seamus Heaney, Hart Crane, William Faulkner, Don DeLillo, and Jonathan Franzen. What emerges from this lively volume is a fuller picture of the persistence and variety of the Romantic period's influence on the twentieth-century.