An American family in Mexico hosts a group of archaeologists—butis there an assassin among them? “Satisfactorily sinister . . . class-A sleuthing” (Saturday Review). “Unconquered” is the family motto of the Faudrees, whose ancestor, a Confederate officer, fled to Mexico decades ago. Now his two granddaughters, Lucy and Monica, live there in a beautiful old house near some black lava fields. The fields have recently attracted a team of archaeologists from an American university, and they’ll be the sisters’ guests during their expedition to Pedregal. But Lucy and Monica soon discover the visiting academics may be unearthing trouble: A professor has died. Strange and threatening letters have been sent. And oddly, owls seem to be invading. To dig up the truth about what’s going on, the Faudree sisters will need some help from US Customs agent and amateur sleuth Hugh Rennert, in this tale featuring “good background, atmosphere and characters” (Kirkus Reviews, starred review). “You won’t go wrong in giving Todd Downing a try.” —Michael Dirda, The Washington Post

Sisters Lucy and Monica Faudree live with their winsome niece Cornell in an elegant old classical revival house by the black lava fields of Mexico's Pedregal. Seven decades ago their grandfather, Tindall Faudree, a former Confederate military officer, forever abandoned the United States for Mexico ("Unconquered" is the family motto). Now his descendants are hosting an archaeological group from an American university, while it conducts an expedition in the Pedregral. Unfortunately another guest turns up uninvited at the Faudree mansion: Death! Who sent the threatening letters with the bizarre drawings to the late, unlamented Professor Voice? Why did all those owls (tecolotes) descend on the Faudree house? Will there be another murder? You probably know the answer to that last question already! U. S. Customs Service agent (and amateur detective) Hugh Rennert again is on hand to show Death to the door. When originally published in 1936, The Case of the Unconquered Sisters was praised in the Saturday Review for its "satisfactorily sinister blend of Mexican lore and scenery, swift action and . . . class A sleuthing." Can you beat Hugh Rennert to the solution? Don't let the hooting of the tecolotes trouble you. . . .

Though mystery, crime, and detective fiction are some of the most popular genres in the world, little scholarship currently exists regarding Native American writers and how they add new dimensions to this widely read literary form. Rather, the majority of scholarship examines the depiction of Native characters from the perspective of non-Native authors. Native American Mystery Writing: Indigenous Investigations analyzes how Native authors use the genre to foreground centuries of settler-colonial crimes and comment upon the ways in which these acts continue to impact Native individuals and communities today. Considering fourteen novels and two made-for-TV films, this book surveys a spectrum of settler-colonial crimes: the Osage oil murders, sexual assault against Native women, missing and murdered Indigenous women, the California mission system, suppression of spiritual beliefs, theft—of land, children, and cultural items—and, of course, murder. Examination of these texts shows how Native authors working with the mystery, crime, and detective fiction formats are able to entertain readers while also sending strong social, cultural, and political messages that argue for strengthened tribal sovereignty and illustrate the resilience of Indigenous peoples—all in order to promote discussions about creating a more just system for Native Nations.

Native American literature has always been uniquely embattled. It is marked by divergent opinions about what constitutes authenticity, sovereignty, and even literature. It announces a culture beset by paradox: simultaneously primordial and postmodern; oral and inscribed; outmoded and novel. Its texts are a site of political struggle, shifting to meet external and internal expectations. This Cambridge History endeavors to capture and question the contested character of Indigenous texts and the way they are evaluated. It delineates significant periods of literary and cultural development in four sections: “Traces & Removals” (pre-1870s); “Assimilation and Modernity” (1879-1967); “Native American Renaissance” (post-1960s); and “Visions & Revisions” (21st century). These rubrics highlight how Native literatures have evolved alongside major transitions in federal policy toward the Indian, and via contact with broader cultural phenomena such, as the American Civil Rights movement. There is a balance between a history of canonical authors and traditions, introducing less-studied works and themes, and foregrounding critical discussions, approaches, and controversies.

The Mystery Fancier, July/August 1979, Volume 3 Number 4, contains: "Little Old Ladies I Have Known and Loved," by Ellen Nehr, "Tension and Duality: Daphne Du Marier's 'Don't Look Now'," by Jane S. Bakerman, "His Own Desert," by Everett F. Bleiler, "The History and Activities of Mystery Fans in Sweden (and Scandinavia)," by Iwan Hedman, "The Crime Novels of Harold R. Daniels," by George Kelley, "The Curmudgeon in the Corner, Grumblings," by William Loeser and "The Nero Wolfe Saga, Part XIV," by Guy M. Townsend.

Over the course of the last twenty years, Native American and Indigenous American literary studies has experienced a dramatic shift from a critical focus on identity and authenticity to the intellectual, cultural, political, historical, and tribal nation contexts from which these Indigenous literatures emerge. The Oxford Handbook of Indigenous American Literature reflects on these changes and provides a complete overview of the current state of the field. The Handbook's forty-three essays, organized into four sections, cover oral traditions, poetry, drama, non-fiction, fiction, and other forms of Indigenous American writing from the seventeenth through the twenty-first century. Part I attends to literary histories across a range of communities, providing, for example, analyses of Inuit, Chicana/o, Anishinaabe, and Métis literary practices. Part II draws on earlier disciplinary and historical contexts to focus on specific genres, as authors discuss Indigenous non-fiction, emergent trans-Indigenous autobiography, Mexicanoh and Spanish poetry, Native drama in the U.S. and Canada, and even a new Indigenous children's literature canon. The third section delves into contemporary modes of critical inquiry to expound on politics of place, comparative Indigenism, trans-Indigenism, Native rhetoric, and the power of Indigenous writing to communities of readers. A final section thoroughly explores the geographical breadth and expanded definition of Indigenous American through detailed accounts of literature from Indian Territory, the Red Atlantic, the far North, Yucatán, Amerika Samoa, and Francophone Quebec. Together, the volume is the most comprehensive and expansive critical handbook of Indigenous American literatures published to date. It is the first to fully take into account the last twenty years of recovery and scholarship, and the first to most significantly address the diverse range of texts, secondary archives, writing traditions, literary histories, geographic and political contexts, and critical discourses in the field.

The forty years of American Indian literature taken up by James H. Cox--the decades between 1920 and 1960--have been called politically and intellectually moribund. On the contrary, Cox identifies a group of American Indian writers who share an interest in the revolutionary potential of the indigenous peoples of Mexico--and whose work demonstrates a surprisingly assertive literary politics in the era. By contextualizing this group of American Indian authors in the work of their contemporaries, Cox reveals how the literary history of this period is far more rich and nuanced than is generally acknowledged. The writers he focuses on--Todd Downing (Choctaw), Lynn Riggs (Cherokee), and D'Arcy McNickle (Confederated Salish and Kootenai)--are shown to be on par with writers of the preceding Progressive and the succeeding Red Power and Native American literary renaissance eras. Arguing that American Indian literary history of this period actually coheres in exciting ways with the literature of the Native American literary renaissance, Cox repudiates the intellectual and political border that has emerged between the two eras.

A bibliography of various mystery novels published between November 1976 and Fall 1992.