From Publishers Weekly
Burrough, an award-winning financial journalist and Vanity Fair special correspondent, best known for Barbarians at the Gate: The Fall of RJR Nabisco, switches gears to produce the definitive account of the 1930s crime wave that brought notorious criminals like John Dillinger and Bonnie and Clyde to America's front pages. Burrough's fascination with his subject matter stems from a family connection—his paternal grandfather manned a roadblock in Arkansas during the hunt for Bonnie and Clyde—and he successfully translates years of dogged research, which included thorough review of recently disclosed FBI files, into a graceful narrative. This true crime history appropriately balances violent shootouts and schemes for daring prison breaks with a detailed account of how the slew of robberies and headlines helped an ambitious federal bureaucrat named J. Edgar Hoover transform a small agency into the FBI we know today. While some of the details (e.g., that Dillinger got a traffic ticket) are trivial, this book compellingly brings back to life people and times distorted in the popular imagination by hagiographic bureau memoirs and Hollywood. Burrough's recent New York Times op-ed piece drawing parallels between the bureau's "reinvention" in the 1930s and today's reform efforts to combat the war on terror will help attract readers looking for lessons from history. Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.


From The Washington Post's Book World/washingtonpost.com
This fascinating book tells, in detail, the events of the War on Crime waged in the years 1933 and '34. A rich and colorful cast of characters parades through the pages. On the bad guy side, we find Bonnie and Clyde, John Dillinger, Baby Face Nelson, Pretty Boy Floyd and Alvin Karpis and the Barker family. On the side of law and order, there was J. Edgar Hoover and his FBI along with local police and other officials. The battle unfolded amid an amazing epidemic of bank robberies, part of what some people saw as a great crime wave. More than anything else, it was probably the Kansas City Massacre -- a bloody incident in June 1933, which left a pile of dead detectives and law enforcement officers -- that touched off the war. This massacre shocked the country -- and the FBI -- into action. Crime had gone interstate, which was a new problem for the forces of law and order. The automobile gave mobility and speed to gangs of bank robbers; the machine gun gave them firepower. During the Great Depression, poverty and social disorganization were eating away at the country's social fabric. Corruption corroded the heart of local law enforcement. The FBI, a relatively new organization, was weak, untrained and uncertain. Its men were, in many ways, staggeringly incompetent. But the FBI, over the course of two tumultuous years, gradually learned how to become a sleeker, more efficient instrument. Despite its bumbling and a host of false starts, by the end of the period the FBI had won the war and the "public enemies" had lost. Bonnie and Clyde died in a hail of bullets. Dillinger was cut down outside the Biograph theater in Chicago. Kelly and Nelson were also dead. So were the Barkers. Alvin Karpis was on his way to Alcatraz. But the good guys endured a comedy of errors before all that happened. Burrough's account is peppered with tales of missed opportunities, bad detective work, poor record-keeping and all-around sloppiness. Desperate to catch John Dillinger, in March 1934 the FBI "stormed the Chicago apartment of a woman named Anne Baker," who was supposed to have harbored Dillinger following his escape from an Indiana jail earlier that month. The raid was a "debacle." In fact, the FBI had "raided the wrong address." Even worse was the raid on "Little Bohemia," where Dillinger and Baby Face Nelson were supposed to be holed up. That raid was a fiasco. All of the criminals escaped, and the FBI ended up shooting a completely innocent man. The public enemies were hardly geniuses, either. They, too, had their share of ludicrous errors. For example, the Karpis-Barker gang seized a hand truck, "stacked with bulging sacks" and heavily guarded, outside the Federal Reserve Building in Chicago. The gang got away -- only to discover they had stolen not money but bags of mail. In contrast, knocking off a bank appeared to be child's play. The "public enemies" raced about the country, stealing wads of cash from banks, renting apartments, buying cars, picking up women and having a good time between jobs. They were protected by a network of supporters and hangers-on (and sometimes corrupt officials). Their insatiable greed -- and their inability to stop robbing and killing -- led to their destruction, It is a wild and amazing story, and Burrough tells it with great gusto. Truth is often not only stranger than fiction but also a lot more interesting. Burrough's research is careful and extraordinarily thorough. He debunks many of the tall tales that have accrued around these almost mythical figures. The famous woman in a red dress who betrayed John Dillinger was actually wearing an orange skirt. Machine Gun Kelly was "inept" and "never a menacing figure." Bonnie and Clyde were totally unlike the characters in the famous movie; they were "lazy drifters who murdered nearly a dozen innocent men." Most striking, perhaps, was the case of Ma Barker, grandmother and head of a family of violent crooks. That was the image. In reality, Ma Barker was a rather stupid old woman who liked to work jigsaw puzzles and had never been mastermind of anything, including crime. When she ended up with a bullet through her head, the FBI had some explaining to do. Hoover then concocted the tale of Ma Barker the master criminal, the "brains" of the gang, an evil genius who died with a machine gun in her hands, "spidery, crafty Ma Barker," whose "withered fingers" controlled the fate of her family of "desperadoes." Not a word of this was true. In a narrow sense, the War on Crime was a great success. Hoover got what he wanted; the public enemies were put out of business. And in the process he created the modern FBI. He also advocated a bigger role for the federal government in the battle against criminal elements and established a strong federal agency to carry on that war. Still, Hoover's legacy was a dubious one. His agency improved its skill while gaining a great deal of power that it often abused. Those abuses took various forms, such as "vigorous physical interviews" that we might call gross brutality. As the power of the FBI and its director became "absolute," the agency, according to Burrough, was itself "corrupted absolutely." The Bureau still "wrestles with" its mixed record to this day. As for the public enemies, they were really only bit-players in the drama of high crime. As Burrough points out, law enforcement launched no "broader drives on the Chicago Syndicate or Italian Mafias, no war on counterfeiting or other crimes." Nor was there any attack on the rot and corruption of the cities, on the crooked sheriffs and police lieutenants and the vast interconnections between the agencies of organized crime. Dillinger, the Barkers and the others were, in fact, disorganized crime. They robbed and they killed, but they did not, in the main, threaten the fabric of society, the texture of local and state government or the integrity of law enforcement. Public Enemies is a significant book, and a very readable one. It is easy to toss around terms like "definitive," but this book deserves it. It is hard to imagine a more careful, complete and entrancing book on this subject, and on this era. Readers will not be disappointed.Copyright 2004, The Washington Post Co. All Rights Reserved.


From AudioFile
Campbell Scott's careful reading effectively documents the fledgling FBI's handling of the 1933-34 crime wave, which brought great public recognition to the organization and established J. Edgar Hoover as the nation's #1 law enforcer, a position he maintained for over forty years. Many of the criminals Burrough portrays--Baby Face Nelson, Machine Gun Kelly, Bonnie and Clyde, John Dillinger, and Pretty Boy Floyd--became household names. Their deeds, while occasionally comic, were mostly cruel, bloody, and deadly. The bitter reality of the Depression era is movingly depicted as both Hoover and the mythic character of the FBI he created are soundly debunked. L.C. © AudioFile 2004, Portland, Maine-- Copyright © AudioFile, Portland, Maine


From Booklist
The literature on Depression-era desperadoes such as John Dillinger is exhaustive but hardly exhausted, as Stanley Hamilton's Machine Gun Kelly's Last Stand (2003) and Burroughs' offering indicate. Burroughs imparts his personal fascination with such charismatic criminals to his readers as he strips the mopes of folkloric myth to restore them to their rightful places as bank robbers, kidnappers, carjackers, and cop killers. Burroughs' work also benefits from recently released FBI records. His narrative seamlessly incorporates that information with extant knowledge, a boon to readers ready for a chronicle of the cases that elevated the Bureau of Investigation to the Federal Bureau of Investigation. In 1933 the BI was not yet the country's premier police agency; it became so via its pursuit of gangsters who murdered BI agents in an infamous Kansas City attack. Burroughs' grip on J. Edgar Hoover's subsequent investigations is solid as he slyly dramatizes what kind of people Bonnie and Clyde, "Baby Face" Nelson, "Pretty Boy" Floyd, the Karpis-Barker gang, and their confederates really were. A 10-strike for the true-crime fan. Gilbert Taylor
Copyright © American Library Association. All rights reserved


James B. Stewart
Public Enemies is a fabulous read. ...Great reporting and lots of new information. I loved it.


Dominick Dunne
Burrough has captured the vivid details of outlaw life on the run. ... I couldn't put this book down.


David Von Drehle
Fantastic. ... Bryan Burrough has pieced together one of the great American stories, and tells it like gangbusters.


The New York Times Book Review
Public Enemies is excellent true crime with all the strengths and limitations this implies.


Denver Post, June 27, 2004
...it is superb - readable, thorough, and critical...


BusinessWeek, July 26, 2004
[Burrough's] volume is a model of narrative journalism and an often gripping read.


Book Description
Acclaimed Vanity Fair contributor Bryan Burrough brings to life the most spectacular crime wave in American history: the two-year battle between J. Edgar Hoover's FBI and John Dillinger, Bonnie and Clyde, Baby Face Nelson, Pretty Boy Floyd, and the Barkers.

In 1933, police jurisdictions ended at state lines, the FBI was in its infancy, the highway system was spreading, fast cars and machine guns were easily available, and a good number of the thirteen million Americans who were out of work blamed the Great Depression on the banks. In short, it was a wonderful time to be a bank robber. On hand to take full advantage was a motley assortment of criminal masterminds, sociopaths, romantics, and cretins, some of whom, with a little help from J. Edgar Hoover, were to become some of the most famous criminals in American history.

Bryan Burrough's grandfather once set up roadblocks in Alma, Arkansas, to capture Bonnie and Clyde. He didn't catch them. Burrough was suckled on stories of the crime wave, and now, after years of work, he succeeds where his grandfather failed, capturing the stories of Bonnie and Clyde, Dillinger, Baby Face Nelson, and the rest of the FBI's nemeses, weaving them into a single enthralling account. For more than forty years, the great John Toland's Dillinger Days has stood as the only book that provides the entire big picture of this fabled moment in American history. But an extraordinary amount of new material has come to light during those forty years, a good deal of it unearthed by Burrough in the course of his own research, and Public Enemies reveals the extent to which Toland and others were fed the story the FBI wanted them to tell. The circles in which the "public enemies" moved overlapped in countless fascinating ways, large and small, as Burrough details. The actual connections are one thing; but quite another is the sense of connectedness Hoover created in the American public's mind for his own purposes. Using the tools of an increasingly powerful mass media, Hoover waged an unprecedented propaganda campaign, working the press, creating "America's Most Wanted" list, and marketing the mystique of the heroic "G-men" that successfully obscured an appalling catalog of professional ineptitude. When the FBI gunned down John Dillinger outside a Chicago movie theater in the summer of 1934, Hoover's ascent to unchecked power was largely complete.

Both a hugely satisfying entertainment and a groundbreaking work with powerful echoes in today's news, Public Enemies is the definitive history of America's first War on Crime.


About the Author
Bryan Burrough is the coauthor of Barbarians at the Gate and the author of Dragonfly and Vendetta. He is a contributing editor to Vanity Fair.

FROM THE PUBLISHER

"In Public Enemies, Bryan Burrough strips away a layer of myths put out by J. Edgar Hoover's FBI to tell the full story of the most spectacular crime wave in American history, the two-year battle between the young Hoover and the assortment of criminals who became national icons: John Dillinger, Machine Gun Kelly, Bonnie and Clyde, Baby Face Nelson, Pretty Boy Floyd, and the Barkers." "In 1933, police jurisdictions ended at state lines, the FBI was in its infancy, the highway system was spreading, fast cars and machine guns were easily available, and a good number of the thirteen million Americans who were out of work blamed the Great Depression on the banks. In short, it was a wonderful time to be a bank robber. On hand to take full advantage was a motley assortment of criminal masterminds, sociopaths, romantics, and cretins, some of whom, with a little help from J. Edgar Hoover, were to become some of the most famous criminals in American history." "When Bryan Burrough's grandfather was the mayor of Alma, Arkansas, he personally set up roadblocks to capture Bonnie and Clyde, without success. Burrough was nursed on legends of the great American crime wave of the early 1930s, and now, in his own way, he has made good on his grandfather's legacy by uncovering the truth about Bonnie and Clyde, Dillinger, Baby Face Nelson, and the other criminal figures responsible for the most extraordinary eighteen-month crime spree America has ever seen, and the truth about the FBI's sometimes bumbling efforts to stop them." Bryan Burrough has unearthed new material on all the major figures involved, and he has pulled all the strands together into a whole, revealing many interconnections in the vast underworld ecosystem that stretched from Texas up to Minnesota: the safe houses, the plastic surgeons, the money launderers, and the cops on the take. But the real-life connections were insignificant next to the sense of connectedness J. Edgar Hoover worked to create in the mind of t

SYNOPSIS

Burrough (a special correspondent for Vanity Fair) examines the stories of John Dillinger, Baby Face Nelson, Pretty Boy Floyd, the Barker-Karpis Gang, Machine Gun Kelly, and Bonnie and Clyde as a single narrative history of the FBI's "War on Crime" from 1933 to 1936. His examination of the recently release FBI files reveals a story vastly different from the largely mythical narrative promoted by J. Edgar Hoover or the romantic portrayals of the gangs by Hollywood. For Burrough, the story is about the bureaucratic evolution of the FBI from a bungling group of amateurs to a professional crime-fighting organization and his central aim is to reclaim the history for the individual agents involved. Annotation ©2004 Book News, Inc., Portland, OR

FROM THE CRITICS

Mark Costello - The New York Times

Burrough, a special correspondent for Vanity Fair and the author of Barbarians at the Gate, has written a book that brims with vivid portraiture. His Dillinger is haunting, a figure out of the fiction of Richard Ford, a man of meanness and sorrow and deep rural pessimism … As the story of the F.B.I.'s emergence from the 10-ring circus that was 1934, Public Enemies is excellent true crime with all the strengths and limitations this implies.

Publishers Weekly

Burrough, an award-winning financial journalist and Vanity Fair special correspondent, best known for Barbarians at the Gate: The Fall of RJR Nabisco, switches gears to produce the definitive account of the 1930s crime wave that brought notorious criminals like John Dillinger and Bonnie and Clyde to America's front pages. Burrough's fascination with his subject matter stems from a family connection-his paternal grandfather manned a roadblock in Arkansas during the hunt for Bonnie and Clyde-and he successfully translates years of dogged research, which included thorough review of recently disclosed FBI files, into a graceful narrative. This true crime history appropriately balances violent shootouts and schemes for daring prison breaks with a detailed account of how the slew of robberies and headlines helped an ambitious federal bureaucrat named J. Edgar Hoover transform a small agency into the FBI we know today. While some of the details (e.g., that Dillinger got a traffic ticket) are trivial, this book compellingly brings back to life people and times distorted in the popular imagination by hagiographic bureau memoirs and Hollywood. Burrough's recent New York Times op-ed piece drawing parallels between the bureau's "reinvention" in the 1930s and today's reform efforts to combat the war on terror will help attract readers looking for lessons from history. Agent, Andrew Wylie. 6-city author tour. (July 22) Copyright 2004 Reed Business Information.

Library Journal

Burrough (coauthor, Barbarians at the Gate: The Fall of RJR Nabisco) is clearly a gifted writer and a skilled researcher. Yet while many of the vignettes in this portrait of a crime era read like the best fiction, the book suffers from considerable back and forth and ends up a disappointing, disjointed affair. Just when the reader starts turning pages faster as the FBI begins to move in on Baby Face Nelson, Burrough switches to the hunt for John Dillinger. However colorful, the various gang members become harder and harder to distinguish, and the uninitiated will find themselves confused by the seemingly bland recitation of FBI agents complete with birth date, service dates, etc. and the criminals they pursued. With so much material, including recently released FBI files, Burrough could easily have filled twice the pages. In fact, he intends this to be serious history and rails against the Hollywood treatment afforded these murderous criminals, yet he, too, is guilty of sensational writing. Of interest mainly to true fans. Karen Sandlin Silverman, CFAR-Ctr. for Applied Research, Philadelphia Copyright 2004 Reed Business Information.

AudioFile

Campbell Scott's careful reading effectively documents the fledgling FBI's handling of the 1933-34 crime wave, which brought great public recognition to the organization and established J. Edgar Hoover as the nation's #1 law enforcer, a position he maintained for over forty years. Many of the criminals Burrough portrays—Baby Face Nelson, Machine Gun Kelly, Bonnie and Clyde, John Dillinger, and Pretty Boy Floyd—became household names. Their deeds, while occasionally comic, were mostly cruel, bloody, and deadly. The bitter reality of the Depression era is movingly depicted as both Hoover and the mythic character of the FBI he created are soundly debunked. L.C. © AudioFile 2004, Portland, Maine

Kirkus Reviews