A New York City police lieutenant is facing trial for attempted murder of a prostitute he shot while off duty. The Police Department has proclaimed him a hero who justly defended himself when he was attacked by two hookers with a knife. He is being prosecuted by a young Manhattan assistant D.A. newly assigned the case for trial. The shooting happened four years earlier, when the prosecutor was still in law school, and no one in the D.A.s Office has brought it to trial in all that time. It falls to him to try to penetrate the cover-up and prove that the police framed the two hookers with phony robbery charges and planted a knife at the scene to protect the lieutenant. This would present a daunting challenge for even a veteran trial advocate, much less a lawyer of limited experience. Reminiscent of prosecutor Vincent Bugliosis account of the Charlie Manson case in "Helter Skelter," "Flake" is as real as a true-crime story can get. You the reader sit at the prosecutors table in the Manhattan courthouse as the young but resourceful prosecutor takes on the challenge of going up "against" the police, usually a prosecutors ally in battling crime. You are in on his stratagems - indeed his very thoughts - as he engages in courtroom combat against the cop and his highly experienced defense lawyer. Woven throughout are connections to the Watergate scandal, the N.Y.C. Knapp Commission investigation into police corruption, the shameful Kitty Genovese episode which led to New York being labeled a city of people who didnt care. With a mid-1970s Manhattan backdrop, "Flake" grapples with the centuries-old quandary which continues to challenge our criminal justice system and our society as a whole: Whopolices the police?
Excerpt from Chapter One: All Tanenbaum said was “And then what happened, Eddie?” He appeared to enter some weirdly hypnotic, catatonic trance—his already breathy voice became monotonal, his eyes glazed over, his face drained of expression—and he went on and on and on. “She said, ‘Wait until your mother hears this; this is going to break her heart.’ And I said, ‘Please don’t tell my mother, Sherrald; please don’t tell my mother, Sherrald; please don’t tell my mother.’” And while Eddie Hurdle continued to mouth that refrain, “please don’t tell my mother,” both of his hands gripped an imaginary knife and repeatedly, metronomically, plunged it down and raised it up and plunged it down and raised it up, over and over and over again. The three observers—Davin, Tanenbaum, and the stenotypist—sat in stunned silence as Eddie Hurdle reenacted his crime. * * * * “Other sins only speak; murder shrieks out,” wrote playwright John Webster in 1623, and our fascination with murder and murder trials has continued unabated to the present. Murder is, after all, the most dramatically unlawful thing a person can do to another. It runs counter to the very fundaments of human society, breaching what social philosophers have termed the social contract. Society speaks with its firmest voice in addressing the conduct of its members who kill another, and murder prosecutions have the direst of consequences of any court proceeding, as they may occasion the loss of a violator’s liberty for life or even the loss of his or her life itself. But most murder cases, while fascinating in the motives or personalities of the killers or the circumstances of the killings and the ensuing trials, receive little attention and recede into ordinariness. Only rarely does a murder case become a cause célèbre, notorious enough to capture wide attention; the O. J. Simpson–, Scott Peterson–, Claus von Bülow–type cases prove the exception rather than the rule. For the most part, the public’s perception of garden-variety murder trials quickly becomes only memory’s ashes strewn sparsely on the fields of public awareness. Brought to life by the prosecutor who tried the six “everyday murders” narrated here, three in Manhattan and three in San Francisco, these true stories prove redolent with drama, encapsulating raw human emotions that often impel man to murder—greed, lust, jealousy, hatred, as well as mere folly—and actually are quite extraordinary in their own context. Sit at the prosecution’s table with masterful prosecutor Hugh Anthony Levine as he represents the People of the State of New York or the People of the State of California in the trials of some everyday murders.
Excerpt from Chapter One: All Tanenbaum said was “And then what happened, Eddie?” He appeared to enter some weirdly hypnotic, catatonic trance—his already breathy voice became monotonal, his eyes glazed over, his face drained of expression—and he went on and on and on. “She said, ‘Wait until your mother hears this; this is going to break her heart.’ And I said, ‘Please don’t tell my mother, Sherrald; please don’t tell my mother, Sherrald; please don’t tell my mother.’” And while Eddie Hurdle continued to mouth that refrain, “please don’t tell my mother,” both of his hands gripped an imaginary knife and repeatedly, metronomically, plunged it down and raised it up and plunged it down and raised it up, over and over and over again. The three observers—Davin, Tanenbaum, and the stenotypist—sat in stunned silence as Eddie Hurdle reenacted his crime. * * * * “Other sins only speak; murder shrieks out,” wrote playwright John Webster in 1623, and our fascination with murder and murder trials has continued unabated to the present. Murder is, after all, the most dramatically unlawful thing a person can do to another. It runs counter to the very fundaments of human society, breaching what social philosophers have termed the social contract. Society speaks with its firmest voice in addressing the conduct of its members who kill another, and murder prosecutions have the direst of consequences of any court proceeding, as they may occasion the loss of a violator’s liberty for life or even the loss of his or her life itself. But most murder cases, while fascinating in the motives or personalities of the killers or the circumstances of the killings and the ensuing trials, receive little attention and recede into ordinariness. Only rarely does a murder case become a cause célèbre, notorious enough to capture wide attention; the O. J. Simpson–, Scott Peterson–, Claus von Bülow–type cases prove the exception rather than the rule. For the most part, the public’s perception of garden-variety murder trials quickly becomes only memory’s ashes strewn sparsely on the fields of public awareness. Brought to life by the prosecutor who tried the six “everyday murders” narrated here, three in Manhattan and three in San Francisco, these true stories prove redolent with drama, encapsulating raw human emotions that often impel man to murder—greed, lust, jealousy, hatred, as well as mere folly—and actually are quite extraordinary in their own context. Sit at the prosecution’s table with masterful prosecutor Hugh Anthony Levine as he represents the People of the State of New York or the People of the State of California in the trials of some everyday murders.
A New York City police lieutenant is facing trial for attempted murder of a prostitute he shot while off duty. The Police Department has proclaimed him a hero who justly defended himself when he was attacked by two hookers with a knife. He is being prosecuted by a young Manhattan assistant D.A. newly assigned the case for trial. The shooting happened four years earlier, when the prosecutor was still in law school, and no one in the D.A.s Office has brought it to trial in all that time. It falls to him to try to penetrate the cover-up and prove that the police framed the two hookers with phony robbery charges and planted a knife at the scene to protect the lieutenant. This would present a daunting challenge for even a veteran trial advocate, much less a lawyer of limited experience. Reminiscent of prosecutor Vincent Bugliosis account of the Charlie Manson case in "Helter Skelter," "Flake" is as real as a true-crime story can get. You the reader sit at the prosecutors table in the Manhattan courthouse as the young but resourceful prosecutor takes on the challenge of going up "against" the police, usually a prosecutors ally in battling crime. You are in on his stratagems - indeed his very thoughts - as he engages in courtroom combat against the cop and his highly experienced defense lawyer. Woven throughout are connections to the Watergate scandal, the N.Y.C. Knapp Commission investigation into police corruption, the shameful Kitty Genovese episode which led to New York being labeled a city of people who didnt care. With a mid-1970s Manhattan backdrop, "Flake" grapples with the centuries-old quandary which continues to challenge our criminal justice system and our society as a whole: Whopolices the police?
“How odd, she reflected, to need to protect ourselves against something we cannot live without, the sun; something millions of miles away yet can harm us. Even kill us . . .” This innovatively crafted novel tracks the lives of a girl and boy who as next-door neighbors and lifelong friends confront sunlight in a way that wins the attention of the federal government at its highest levels and impacts modern aviation. Both of them face adversities threatening but not derailing their life quests, while readers take a fact-driven flight with them that begins in a tiny hamlet in rural New Jersey and touches down in the Colorado Rockies, war-torn Vietnam, Japan, Turkey, South Korea, Arizona, Maryland, Saudi Arabia, Kuwait, and the Oval Office of the President of the United States. Sunlight spans the half-century-plus from 1946 to 2001, recounting real events of that tumultuous era through fictional characters so realistic and credible that readers may need to remind themselves they are holding a novel. Shining throughout is the author’s skill, honed during decades as a trial lawyer, at weaving an engrossing plot tapestry threaded with flying both in combat and for sport, as well as dreams and romance, success and tragedy, triumph and misgivings, lessons both taught and learned.
The articles contained in [this book] are a collection of facts, issues, and perspectives designed to provide the reader with a framework for examining current drug-related issues.--Preface.
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