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'Under that veneer of charm there lies a most evil, violent and horrible side to your character. You should never be at liberty outside of prison walls.' - Mr Justice Drake, Exeter Crown Court, 28 April 1989Before being sentenced to three life terms for the murder of Bristol newlywed Shirley Banks in April 1989, John Cannan boasted of over a hundred one-night stands. He was charming, he was handsome and he wooed his conquests - among them professional women - with flowers and champagne.When Suzy Lamplugh disappeared in July 1986 following her meeting with 'Mr Kipper', Cannan had only been out of prison for three days following an eight-year sentence for rape. After Cannan was convicted of the murder of Shirley Banks, the Lamplugh case was closed. To this day Cannan denies his involvement in the Lamplugh cash and protests his innocence in the murder of Shirley Banks. His appeal has been dismissed.Drawing on the latest psychological profiling knowledge developed in American by the FBI and, most importantly, an intense three-year correspondence with Cannan, Christopher Berry-Dee provides a chillingly personal, comprehensive portrait of a complex, intelligent but disturbed man.
Bestselling true crime writer and criminologist Christopher Berry-Dee turns his attention to a new kind of victim: the wives and partners of serial murderers who remained unaware of exactly who they had fallen for until after their other half’s arrest or, in some cases, conviction. Only upon Peter’s arrest did Sonia Sutcliffe first discover that her husband was leading a secret existence as the Yorkshire Ripper. The wife of the Hillside Strangler only learned of her husband’s crimes when state police smashed down her door in search of him. When finding out the truth, these innocents have to face the grim reality of betrayal and deceit and often experience guilt for not having recognized the killer in their home. Christopher Berry-Dee speaks directly with killers and their oblivious loved ones to get inside the minds of the men and women who fall for murderers.
Focusing on dramatic criticism, this book explores the self authorizing strategies of writers such as Jonson, Dryden, Aphra Behn, Thomas Rymer, Jeremy Collier and Joseph Addison. Cannan focuses on how they established themselves as critics, and paved the way for the birth of dramatic criticism in seventeenth and early eighteenth-century England.