A genre-bending feminist account of four Chilean women who committed the double transgression of murder, violating not only criminal law but also the invisible laws of gender. Women Who Kill: Four Crimes Retold analyzes four homicides carried out by Chilean women over the course of the twentieth century. Drawing on her training as a lawyer, Alia Trabucco Zerán offers a nuanced close reading of their lives and crimes, foregoing sensationalism in order to dissect how all four were both perpetrators of violent acts and victims of another, more insidious kind of violence. This radical retelling challenges the archetype of the woman murderer and reveals another narrative, one as disturbing and provocative as the transgressions themselves: What makes women lash out against the restraints of gendered domesticity, and how do we—readers, viewers, the media, the art world, the political establishment—treat them when they do? Expertly intertwining true crime, critical essay, and research diary, International Booker Prize finalist Alia Trabucco Zerán (The Remainder), in a translation by Sophie Hughes, brings an overdue feminist perspective to the study of deviant women.

A fascinating profile of female homicide offenders emerges from this analysis of the characteristics of women murderers in six cities in the United States, including the circumstances of the murders, the role of the victims, the role of the perpetrators, and their fates in court.

Based on case studies from the US, UK and Australia, this book looks at the ways in which female killers are constructed in the media, in law and in feminist discourse almost invariably as victims rather than actors in the crimes they commit.

Traditional homicide indicators are based on male violence - and do little to predict when, or whom, women will kill. Vickie Jensen shows that gender equality plays an important role in predicting female homicide patterns. Jensen's analysis of the occurrence of women's homicide reveals that lethal violence is most likely when severe gender inequalities exist in the family group. Her conclusions establish the clear relationship between political, economic, legal, and social equality for women and the reduction of all forms of domestic violence.

Why are we so reluctant to believe that women can mean to kill? Based on case-studies from the US, UK and Australia, this book looks at the ways in which female killers are constructed in the media, in law and in feminist discourse almost invariably as victims rather than actors in the crimes they commit. Morrissey argues that by denying the possibility of female agency in crimes of torture, rape and murder, feminist theorists are, with the best of intentions, actually denying women the full freedom to be human. Case studies cover among others the battered wife, Pamela Sainsbury, who garrotted her husband as he slept, the serial killer, Aileen Wournos, who killed seven middle-aged men in Florida between 1989 and 1990, Tracey Wiggington, the so-called "lesbian vampire killer", and Karla Homolka who helped her husband kill two teenage girls in St. Catherines Ontario in 1993.

A compassionate look at 42 battered women who felt "locked in with danger and so desperate that they killed a man they loved"; scholarly and compelling.

The late nineteenth and early twentieth centuries were a revolutionary period in the lives of women, and the shifting perceptions of women and their role in society were equally apparent in the courtroom. Women Who Kill Men examines eighteen sensational cases of women on trial for murder from 1870 to 1958. The fascinating details of these murder trials, documented in court records and embellished newspaper coverage, mirrored the changing public image of women. Although murder was clearly outside the norm for standard female behavior, most women and their attorneys relied on gendered stereotypes and language to create their defense and sometimes to leverage their status in a patriarchal system. Those who could successfully dress and act the part of the victim were most often able to win the sympathies of the jury. Gender mattered. And though the norms shifted over time, the press, attorneys, and juries were all informed by contemporary gender stereotypes.