Serial killer Robert Eugene Pennington not only
murdered Sayers, but was a suspect in killing Dorothy Minor-Hindman in
Fresno and possibly fifteen other innocent victims from coast to coast
including one victim attributed to the Boston Strangler.
Extensive research provides the reader with details of Pennington’s life before and after his encounter with Brenda.
The salacious and scandalous murders of a series of couples on Texarkana's "lovers lanes" in seemingly idyllic post-WWII America created a media maelstrom and cast a pall of fear over an entire region. What is even more surprising is that the case has remained cold for decades. Combining archival research and investigative journalism, Pulitzer Prize nominated historian James Presley reveals evidence that provides crucial keys to unlocking this decades-old puzzle.
Dubbed "the Phantom murders" by the press, these grisly crimes took place in an America before dial telephones, DNA science, and criminal profiling. Even pre-television, print and radio media stirred emotions to a fever pitch. The Phantom Killer, exhaustively researched, is the only definitive nonfiction book on the case, and includes details from an unpublished account by a survivor, and rare, never-before-published photographs.
Although the case lives on today on television, the Internet, a revived fictional movie and even an off-Broadway play, with so much of the investigation shrouded in mystery since 1946, rumors and fractured facts have distorted the reality. Now, for the first time, a careful examination of the archival record, personal interviews, and stubborn fact checking come together to produce new insights and revelations on the old slayings.
No-No Boy tells the story of Ichiro Yamada, a fictional version of the real-life “no-no boys.” Yamada answered “no” twice in a compulsory government questionnaire as to whether he would serve in the armed forces and swear loyalty to the United States. Unwilling to pledge himself to the country that interned him and his family, Ichiro earns two years in prison and the hostility of his family and community when he returns home to Seattle. As Ozeki writes, Ichiro’s “obsessive, tormented” voice subverts Japanese postwar “model-minority” stereotypes, showing a fractured community and one man’s “threnody of guilt, rage, and blame as he tries to negotiate his reentry into a shattered world.”
The first edition of No-No Boy since 1979 presents this important work to new generations of readers.