Forensic science is in crisis and at a cross-roads. Movies and television dramas depict forensic heroes with high-tech tools and dazzling intellects who—inside an hour, notwithstanding commercials—piece together past-event puzzles from crime scenes and autopsies. Likewise, Sherlock Holmes—the iconic fictional detective, and the invention of forensic doctor Sir Arthur Conan Doyle—is held up as a paragon of forensic and scientific inspiration—does not "reason forward" as most people do, but "reasons backwards." Put more plainly, rather than learning the train of events and seeing whether the resultant clues match those events, Holmes determines what happened in the past by looking at the clues. Impressive and infallible as this technique appears to be—it must be recognized that infallibility lies only in works of fiction. Reasoning backward does not work in real life: reality is far less tidy. In courtrooms everywhere, innocent people pay the price of life imitating art, of science following detective fiction. In particular, this book looks at the long and disastrous shadow cast by that icon of deductive reasoning, Sherlock Holmes. In The Sherlock Effect, author Dr. Thomas W. Young shows why this Sherlock-Holmes-style reasoning does not work and, furthermore, how it can—and has led—to wrongful convictions. Dr. Alan Moritz, one of the early pioneers of forensic pathology in the United States, warned his colleagues in the 1950’s about making the Sherlock Holmes error. Little did Moritz realize how widespread the problem would eventually become, involving physicians in all other specialties of medicine and not just forensic pathologists. Dr. Young traces back how this situation evolved, looking back over the history of forensic medicine, revealing the chilling degree to which forensic experts fail us every day. While Dr. Young did not want to be the one to write this book, he has felt compelled in the interest of science and truth. This book is measured, well-reasoned, accessible, insightful, and—above all—compelling. As such, it is a must-read treatise for forensic doctors, forensic practitioners and students, judges, lawyers adjudicating cases in court, and anyone with an interest in forensic science.

Brings 'new formalist' approaches to Chaucer, focusing on formal agency, bodies, disability, ethics, poetics, reception, and scale.

What does it mean to call something “contemporary”? More than simply denoting what’s new, it speaks to how we come to know the present we’re living in and how we develop a shared story about it. The story of trying to understand the present is an integral, yet often unnoticed, part of the literature and film of our moment. In Contemporary Drift, Theodore Martin argues that the contemporary is not just a historical period but also a conceptual problem, and he claims that contemporary genre fiction offers a much-needed resource for resolving that problem. Contemporary Drift combines a theoretical focus on the challenge of conceptualizing the present with a historical account of contemporary literature and film. Emphasizing both the difficulty and the necessity of historicizing the contemporary, the book explores how recent works of fiction depict life in an age of global capitalism, postindustrialism, and climate change. Through new histories of the novel of manners, film noir, the Western, detective fiction, and the postapocalyptic novel, Martin shows how the problem of the contemporary preoccupies a wide range of novelists and filmmakers, including Zadie Smith, Colson Whitehead, Vikram Chandra, China Miéville, Kelly Reichardt, and the Coen brothers. Martin argues that genre provides these artists with a formal strategy for understanding both the content and the concept of the contemporary. Genre writing, with its mix of old and new, brings to light the complicated process by which we make sense of our present and determine what belongs to our time.