Free PDF If I Can't Have You: Susan Powell, Her Mysterious Disappearance, and the Murder of Her Children, by Gregg Olsen Rebecca Morris

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If I Can't Have You: Susan Powell, Her Mysterious Disappearance, and the Murder of Her Children, by Gregg Olsen Rebecca Morris

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Review

“Olsen's [writing] is both gossipy and sympathetic, searing and brilliant. . . . A must read for true crime aficionados and students of abnormal psychology! I read until 3 a.m.!” ―Ann Rule on If Loving You is Wrong“Gregg Olsen is one of this country's favorite true crime writers…Olsen takes readers behind the scenes of this fascinating case.” ―Tucson Citizen on A Twisted Faith“As good as it gets.” ―Lee Child on A Wicked Snow“A rapid-fire page-turner.” ―Seattle Times on A Twisted Faith“A disturbing portrait of a community undone by its appealing young pastor…. An unsettling story of a man who committed murdered and then used his charm and his power as a man of God to exploit his congregants and satisfy his sexual obsession.” ―Publishers Weekly on A Twisted Faith“Dark, atmospheric, riveting suspense . . . Gregg Olsen is one of the best.” ―Allison Brennan, New York Times bestselling author of Fear No Evil on A Cold Dark Place

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About the Author

A New York Times and Wall Street Journal bestselling author, gregg olsen has written nine nonfiction books, ten novels, a novella, and has contributed a short story to a collection edited by Lee Child. rebecca morris is the New York Times bestselling author of Bodies of Evidence (with Gregg Olsen) and Ted and Ann. She is an award-winning reporter and has worked in journalism in New York City; Portland, Oregon; and Seattle, Washington.

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Product details

Mass Market Paperback: 320 pages

Publisher: St. Martin's True Crime; Reissue edition (May 5, 2015)

Language: English

ISBN-10: 9781250066688

ISBN-13: 978-1250066688

ASIN: 1250066689

Product Dimensions:

4.3 x 0.9 x 6.8 inches

Shipping Weight: 5.6 ounces (View shipping rates and policies)

Average Customer Review:

4.5 out of 5 stars

356 customer reviews

Amazon Best Sellers Rank:

#34,464 in Books (See Top 100 in Books)

IF I CAN'T HAVE YOU by Gregg Olsen and Rebecca Morris is the best book of Olsen's that I've read. In addition, it's the best book on the true crime case of Susan Powell on the market. As much as I love Ann Rule' s books, IF I CAN'T HAVE YOU surpasses the book which includes her version of this case by far.This is due to the authors having in depth access to the case through a connection with Susan's parents, Chuck and Judy Cox. Thereby an entire other dimension is given to this story's rendering and details.Having followed this case from the first day Susan was reported missing, tragedy is heaped upon tragedy in the storyline's unfolding. Olsen and Morris do a superb job of capturing the sadness, horror, and dismay of the circumstances surrounding the disappearance of Susan and the deaths of her two young sons, Braden and Charlie.One of the most tragic aspects of this case is that the Coxes made repeated attempts to warn both law enforcement and CPS that Susan's husband, Josh, (also the main suspect in her disappearance) could prove to be a danger to the children. It was a warning that went unheeded to their horrifying detriment.The moral of this part of the story is never, ever back a narcissist into a corner, because he will win at all costs. And Josh Powell proved to be a diagnosed narcissist through the child custody court case. He was totally underestimated except by those who were closest to Susan and her sons.Ultimately it comes to be known after her disappearance that Susan was in way over her head with the toxic, dysfunctional and sexually perverted Powell family system. Although she trusted her instincts to a degree, she was much to naive a young woman to recognize the depth of depravity surrounding her. This, by far, is one of the most horrific true crime cases I've ever read about.

As I am Susan Powells sister I read the book to to check out the facts of my sister's case. I was impressed with how accurate and well written the information is Gregg and Rebecca did an excellent job telling my family's story. This is the best book I have read so far about my sister. I encourage anyone and everyone to read this book. Although this is a sad story, it is a well written account of my family's struggle.

Gripping story which is very well written by Olsen. Before reading this I had only heard the headlines about this case. The book brings you into the community and the families and all the heartache.What is so shocking is the behavior of the Powell family. Maybe it's not so shocking as shameful of this dysfunctional evil family. They would not cooperate with police, they circled their wagons and kept quiet about what they knew but used the internet to smear the reputation of the missing woman. They cared nothing about Susan or where she was and only wanted to protect their brother Josh. The creepy narcissistic perverted father of Josh Powell, Steve Powell who was convicted on voyeurism for taking pictures of his young neighbors in the bathroom, is still refusing to say what he knows. The brother who committed suicide one year after Josh's murder suicide rampage, probably helped dispose of the body and he died keeping his secrets. Maybe if the Powells had cooperated, the children would not have been murdered as Josh would have been arrested before that horrible day. Some reviewers speak ill of the social worker who took the children to visit their father that fateful day, but she was doing what the court mandated. The judge and legal system should have listened to the many warnings given by Susan's father and the Cox family attorney.

This is a relatively well-written story about a young wife and mother who goes missing and presumed dead, though her body was never found, and the subsequent murder-suicide of her husband, who was a person of interest, and their two children. There is little doubt, in my mind, that the husband murdered her and was later aided by his brother and possibly his father in the cover-up of his crime.What stands out in this book is the quality of the police work, which I thought left a lot to be desired, and the fact that the children were left in the care and custody of the suspect, despite the fact that they there were signs that he was not providing a suitable home nor a suitable environment. Moreover, the suspect's father, with whom he was living for a time, had serious sexual issues of a disturbing nature, many centered around the children's mother.It is a sad story all around, and a bit unsatisfying, due to the fact that the reader does not know what exactly happened to this young wife and mother other than she was presumably murdered. It is also quite frustrating to know that the children were kept with their father. The book may have had a different ending, if the court had only done what would have been in the best interest of the children.

'If I Can't Have You' is one of those books in the True Crime genre that cause you to question whether you're reading real life or fiction. The sick part about this case is that with every turn you can only wish it was fiction. Not only was Josh obviously warped, his family/pedo dad was a disgrace. Even worse, due to what police continued to believe was a 'lack of sufficient evidence', a psychopath was able to wipe out his entire family. Holy crap, have I woken up yet?!The only criticism I have is that it seemed repetitive and long winded in parts where it needn't have been. Perhaps it's because I knew how the story would end, but nonetheless, I found this book to be especially dry at times.If you've yet to read about the Powell case, I do recommend 'If I Can't Have You'. I don't know about others, but from Susan's disappearance to the way her poor boys met their end, I was questioning law enforcement's strategy and involvement. It was bad enough that Susan paid with her life... yet a few years later, law enforcement and the justice system allowed her two sons to also die at the hands of their father. Mind blowing... And tragically, too little, too late.

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Product details

Paperback: 1344 pages

Publisher: Tyndale House Publishers, Inc. (September 1, 1998)

Language: English

ISBN-10: 0842333894

ISBN-13: 978-0842333894

Product Dimensions:

6 x 1.5 x 9 inches

Shipping Weight: 2.4 pounds (View shipping rates and policies)

Average Customer Review:

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7 customer reviews

Amazon Best Sellers Rank:

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Audible Audiobook

Listening Length: 8 hours and 38 minutes

Program Type: Audiobook

Version: Unabridged

Publisher: Audible Studios

Audible.com Release Date: January 14, 2005

Whispersync for Voice: Ready

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I'll often buy a premium kindle edition of a book that I could otherwise get for a much cheaper price, to get a well-designed reading experience, paragraphs that look like paragraphs, and perhaps some useful scholarship in introductions and annotations. Generally I'm trying to avoid the kind of type layout where there is a blank line between non-indented paragraphs, which is very common in free editions. Hack-job introductions are also a turn-off.I bought the Harcourt/Harvest kindle edtion of "Orlando", edited by Mark Hussey, about three years ago, and I'm reading it now. It has way too many typos. There are dozens of times when "tl" becomes "d", so "title" becomes "tide", etc. Disappointing in what should be a quality edition. OCR with shoddy QC, perhaps.Others have complained that the footnotes are not tied to the text. That's true, but it doesn't bother me much, since I just finished reading the Penguin Deluxe "Les Miserables", which did the same thing in a physical (non-kindle) book. Avoiding the intrusiveness of a bunch of superscripted endnotes: to me, that's a reasonable design choice.Overall, this kindle edition of "Orlando" isn't really worth paying extra for, so I would recommend rummaging around among the cheaper editions before buying this one.

The most brilliant portrayal of a transsexual experience in modern history. Even when Magnus Hirshfield was publishing his treatise on the transsexual phenomenah, Woolf relates an account of the intracies of gender identity undiscovered by social scientists and biologists. Published in 1928, Orlando has been billed as one of Woolf's best imaginative works however, such criticism was never seen in the light of reality but a surreal depiction of the writer's portrayal of a young man who wakes up one day as a woman, as if in the ordinary course of his life. As Woolf suggests of her character's reaction to the change "Orlando herself showed no surprise at it.(Woolf, 139. Modern transsexuals have explained only recently in their writings, their internal thinking stays the same, only the external body appears different to others. ALthough Woolf's work set the precedent for post modernist literature, infusing elements of fiction into biography, she weaves the internal stuggle of her former lover, Vita Sachville-West's life, together with her own perceptions of gender and sexuality, with an historical account of a young transsexual aristocrat's adventures over the span of centuries. Unlike a biography of her time, the action is secondary to the internal story. This is more of an account of how her lover (and as suggested by this author--Woolf herself), struggles with her own gender identity; a thinking so similar to transsexualism and conflict with a Eurocentric binary gender system. Here, the biographer (narrator) describes: the reaction to Orlando's change of sex, as it may appear in a scientific journal today;"[b]ut in every other respect, Orlando remained preceisely as he had been. The change of sex, though it altered their future, did nothing whatever to alter their identity. (Woolf, 138). Woolf captures the failure of the general public to grasp the concept of gender reassignment when she has the narrator express dismay in the lack of Orlando's reaction where "Orlando was a man till the age of thirty (Similar to our understanding of modern transsexuals who start their transition at middle age) when he became a woman and has remained ever since." (Woolf, 139)'. Woolfe's use of metaphor and foreshadowing is uncanny. The pyrotechnic displays prior to the deep sleep of Orlando depicts change. She puts Orlando on a ship called the 'Enamoured Lady,' and she is suddenly the object of the Captain's and other males' attention and realizes that the sexual fantacies of men creates a dillemma for her as a woman, where she must sheild her own desires as a woman. Woolfe precisely proclaims that '(Orlando) remembered how, as a young man, she had insisted that women must be obedient, chaste, scented, and exquisitely apparelled... (and) "Now I shall have to pay in my own person for those desires ... for women are not (judging by my own short experience of the sex) obedient, chaste, scented, and exquisitely apparelled by nature." Woolfe does not stop at her proclivity to undress Orlando's gender identity but lays bare the confusion of sexual preference. Although a woman herself, Orlando proclaims that "it was still a woman she loved; and if the consciousness of being of the same sex had any effect at all, it was to quicken and deepen those feeling which she had had as a man." (Woolf, 161). Where she gives in to sensual thoughts of a man, the Captain on whose arm she trembles and remembers that she had once been a Duke and Ambassador, "that she, who had been lapped like a lily in folds of paduasoy, had hacked heads off, and lain with loose women amoung treasure sacks in holds of pirate ships..." Woolfe reveals a metaphoric character, the Archduchess Harriet Griselda of Finster-Aarhorn and Scan-op-Boom in the Roumanian territory, seen in chapter three as a woman, and in a later chapter is shown to be a man, the Archduke, who suddently professes his love for her. Woolfe's ability to produce a character like the Arduke Harry who today would fall somewhere on the transgendered scale, is amazing, for a woman in her time. Yet through all its carefully crafted language and delightful parody, the gender message she professes is much the same today as it may have been then, that "Clothes ... change our view of the world and the world's view of us...." Orlando challenges the Eurocentric binary gender construct of the world she lived in. Here, the writer's own indictment of the unrealistic bounds placed on women is evident and transposed by her narrator and Orlando's own expository reflections, "In every human bing a vacillation from one sex to the other takes place, and often it is only that clothes that keep the male or female likeness, while underneath the sex is the very opposite of what it is above." (Woolfe, 189). Here, Woolfe appears to challenge more than the unfairness and imperfections of gender traditions on women. She uses comparaisons of the formalities of being a nieteenth century man and woman to make her point. Additionally, the most introspective journey in Orlando, is of a person who is not questioning her own gender identity, but defining it. Woolfe appears to depict, not confusion, but knowledge by the transsexual main character of her own identity, and chosing to adapt to it by changing the way the world looks at her, by changing sex. It is the world that suffers the confusion. Woolfe makes generalities about other persons hiding their sex in the clothing of the other gender, suggesting there are numerous persons in her era that suffer from some sort of gender dysphoria. After reading Orlando, and comparing it with the writings of transsexual, transgendered and social scientists,Woolfe describes so clearly the struggle a transgendered person experiences, that critics should look more closely at this writing. Woolfe's narrator states: "Of complications and confusions which thus result every one has had experience;" and as though afraid to delve deeper, she leaves this general question to "note only the odd effect it had in the particualr case of Orlando herself." As Woolfe so eloquently portrays the posttranssexual eptiome, "having now worn skirts for a considerable time, a certain change was visible in Orlando, which is to be found even in her face..." and where the narrator wonders, had both the man and woman of Orlando's time.worn the same clothes (in other words, different sexes but same gender) it is possible their outlook may have been the same too." (Woolfe, 188). Yet the most profound statement made in the text reveals Woolfe's secret exposition: "The difference between the sexes is, happily, one of great profundity. Clothes are but a symbol of soemthing hid deep beneath. It was a change in Orlando herself that dicated her choise of a woman's dress and of a woman's sex. And perhaps in this she was only exprssing rather than mor openly than usual---openness indeed was the soul of her nature---(Woolf, 189). Thus, Woolfe explains that Orlando chose to change his sex because he was in fact a woman, a woman's soul in a man's body. This book is highly recommended to all who are ever wonder what it is like for a transsexual to alter his sex, and begin living as the gender opposite of his or her sex. And for those who never wondered, it is a great read, full of insightful commentary on the possibility of a gender continuum and expanding the boundaries of a binary gender system of a phallocentric society.

I admit I went into this novel with some pre conceived thoughts about Orlando. The synopsis on various sites really doesn't do the book justice. I'd read To The Lighthouse prior to this novel and I admit I was somewhat prejudiced.To say I was surprised by Orlando is an understatment. The concept, the style and prose was for this reader an eye opener. Prose that I could fall into and savour.I'm rating it highly because of it's uniqueness and it is a book that you can not be ambivalent about. To me that is what reading is all about.

If you have an interest in witnessing the perfect use of the English language in narrative, anything written by Woolf will do and Orlando is not exception although it is an atypical Woolf work. It is an interesting mix of humor and serious comments on maleness and femaleness, English class history, and insider jokes some of which require a knowledge of Woolf's personal relationships. It helped me to have finished a recent biography of Virginia Woolf to better understand her work generally and especially this one.

The product description does not state the notes in this edition are END NOTES, not foot notes. The text does not indicate at all which terms/etc. are annotated. The notes are listed by page number at the end of the novel. Basically, you need to flip to the back of the book to see if there are any notes for each page. I found the notes themselves helpful but inconvenient to use.The playwright Sarah Ruhl (two-time Pulitzer finalist, 2006 recipient of the MacArthur Fellowship) recently released a stage adaptation of this novel. In her introductory notes, she recommends the Penguin Classics version annotated by Sandra M. Gilbert.

Orlando is a significant story to say the least. It's perhaps one of the most important reflections on gender identity that we have available to us. Just don't buy this version! No page numbers, weird line spacing, random hyphens placed throughout the text; all of these print issues make it really hard to lose yourself in the writing. Spring for a better edition because this isn't worth the $5. Feels like it was pulled from another edition and no further editing was done to the format.

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Book Description

The Book That Should Have Been in the Box

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About the Author

Chris Grover is a veteran of the San Francisco Bay Area advertising and design community, with 25 years experience in print, video, and electronic media. He is the author of Office 2011: The Missing Manual, Google SketchUp: The Missing Manual, Flash CS5.5: The Missing Manual, and Premiere Elements 8: The Missing Manual. When not writing popular technical books, Chris runs Bolinas Road Creative, an agency that helps small businesses promote their products and services.

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Product details

Series: Missing Manuals

Paperback: 848 pages

Publisher: O'Reilly Media; 1 edition (June 29, 2012)

Language: English

ISBN-10: 1449316255

ISBN-13: 978-1449316259

Product Dimensions:

7 x 1.6 x 9.2 inches

Shipping Weight: 2.6 pounds (View shipping rates and policies)

Average Customer Review:

3.9 out of 5 stars

11 customer reviews

Amazon Best Sellers Rank:

#1,807,305 in Books (See Top 100 in Books)

The book goes into great detail and was usually quite helpful. My only complaint is that it is a CS6 book with examples in ActionScript 2.0. CS6 has ActionScript 3.0. Also, some of the screenshots must be of CS5 because they don't always match my screen.

the book is a good reference if you are new to flash, it shows you how to work with flash, I gave it three stars because there isn't much actionscript included and I think that working with flash without actionscript is using about 40% of what flash has to offer

Very detailed manual but really meant for the professional. Not what I was looking for. But a terrific book for someone who really needs a detailed desk reference quality book for Flash CS6.

A fact filled manual designed to let you learn all the nuts and bolts of Flash CS6. Easy to read and understand. A treasure-trove of practical information and demonstrations. With this book you'll be a "Flash Pro" as quickly as you have time to assimilate all this information.Highly recommended for someone wanting a thorough knowledge of Flash CS6. For a quick start "How to Cheat" in Adobe Flash CS6 may be more in your line.

This is a very good source of information for Flash CS6, although the chapters are laid out a little bit oddle and seem to jump from topic to topic. I found this to be a more thorough discussion of the topics that the traditional classroom in a book series

Very enlightening. A lot of the information presented in Flash CS6 - The Missing Manual really needed to be included in their Classroom in a Book series. It's good to see they were clever enough to make sure the information gaps were filled with the Missing Manual series.

This is a great book for someone just starting to learn Flash. I got it for a required college course. I had some previous experience with Flash before taking the course with this book so there were times when the book didn't have enough in it for me, especially when it came to doing advanced ActionScript programming. But it's a perfect book if you want to get the basic down Flash and ActionScript.

This is a great resource for anyone interested in web design who is using the latest Adobe software, Dreamweaver CS6.

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Flash CS6: The Missing Manual (Missing Manuals) PDF

Flash CS6: The Missing Manual (Missing Manuals) PDF

Flash CS6: The Missing Manual (Missing Manuals) PDF

Flash CS6: The Missing Manual (Missing Manuals) PDF