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Dead Man Walking

The Eyewitness Account of the Death Penalty That Sparked a National Debate
Narrated by: Helen Prejean
Length: 13 hrs and 50 mins

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Publisher's Summary

In 1982, Sister Helen Prejean became the spiritual advisor to Patrick Sonnier, the convicted killer of two teenagers who was sentenced to die in the electric chair of Louisiana’s Angola State Prison. In the months before Sonnier’s death, the Roman Catholic nun came to know a man who was as terrified as he had once been terrifying. She also came to know the families of the victims and the men whose job it was to execute - men who often harbored doubts about the rightness of what they were doing.

Out of that dreadful intimacy comes a profoundly moving spiritual journey through our system of capital punishment. Here Sister Helen confronts both the plight of the condemned and the rage of the bereaved, the fears of a society shattered by violence and the Christian imperative of love. On its original publication in 1993, Dead Man Walking emerged as an unprecedented look at the human consequences of the death penalty. Now, some two decades later, this story - which has inspired a film, a stage play, an opera and a musical album - is more gut-wrenching than ever, stirring deep and life-changing reflection in all who encounter it.

Read by the author, Helen Prejean

Preface written by Archbishop Desmond Tutu and read by Dominic Hoffman

Afterwords written and read by Susan Sarandon and Tim Robbins

©1993, 2013 Helen Prejean (P)2019 Random House Audio

Critic Reviews

“Deeply moving... Sister Prejean is an excellent writer, direct and honest and unsentimental.... She almost palpably extends a hand to her readers.” (The New York Times Book Review)

"An immensely moving affirmation of the power of religious vocation.... Stunning moral clarity." (The Washington Post Book World)

"An intimate meditation on crime and punishment, life and death, justice and mercy and - above all - Christian love in its most all-embracing sense.... [Prejean] never shrinks from the horror of what she has seen. She never resorts to something so predictable as pathos or a play for sympathy." (Los Angeles Times)

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