"If by some cruel oversight you haven't discovered Amanda Cross, you have an uncommon pleasure in store for you." THE NEW YORK TIMES BOOK REVIEW Kate Fansler is vacationing in the sweet and harmless Berkshires, sorting through the letters of Henry James. But when her next-door neighbor is murdered, and all her houseguests are prime suspects, her idyll turns prosaic, indeed....

Chief Inspector Peter McGarr immerses himself in the text of James Joyce's "Ulysses" to retrace the steps of both murderer and victim in the case of Joyce scholar Kevin Coyle's Bloomsday murder.

Books about the work of James Joyce are an academic industry. Most of them are unreadable and esoteric. Adrian Hardiman's book is both highly readable and strikingly original. He spent years researching Joyce's obsession with the legal system, and the myriad references to notorious trials in Ulysses and Finnegans Wake. Joyce was fascinated by and felt passionately about miscarriages of justice, and his view of the law was coloured by the potential for grave injustice when policemen and judges are given too much power. Hardiman recreates the colourful, dangerous world of the Edwardian courtrooms of Dublin and London, where the death penalty loomed over many trials. He brings to life the eccentric barristers, corrupt police and omnipotent judges who made the law so entertaining and so horrifying. This is a remarkable evocation of a vanished world, though Joyce's scepticism about the way evidence is used in criminal trials is still highly relevant.

Originally published: New York: Ticknor & Fields, 1984.

How can you solve a murder when the clues are so dumb? Private investigator Trike Augustine may be a brainiac with deductive skills to rival Sherlock Holmes, but they’re not doing him any good at solving the case of a missing gazzilionaire because the clues are so stupefyingly—well, stupid. Meanwhile, his sidekicks—Max the former FBI agent and Lola the artist—don’t quite rise to the level of Dr. Watson, either. For example, when a large, dead pig turns up on Trike’s floor in the middle of the night, none of them can figure out what it means. Meanwhile, the clock is ticking as the astronomical reward being offered diminishes drastically every day. That, plus the increasing reality that their own lives are in danger, lift this astonishing debut beyond its hilarious premise—a smart man befuddled by the idiotic—and turns it into something more than just a smart homage to Sherlock (with maybe a touch of early Jonathan Lethem thrown in). It becomes a compelling and compulsive thriller . . . with the added bonus that the prose is often as breathtaking as the tale.

Four men waited and four men walked ... clearly a confrontation was coming. You've walked that walk before with the Earps and Doc Holliday through the streets of Tombstone always focused on the inevitable showdown with gunpowder. It never gets old. But the distance is getting shorter; the distance between truth and the legend. This time we walk this walk with the cowboys. The story has been told and retold and will go on being the one gunfight to remember above all. But should it not be told from the side of the cowboy as well? What was their purpose in coming to town on that chilly afternoon? How did they trigger, in little more than half an hour, a deadly confrontation with four of the Old West's most notable town tamers? In Murdered on the Streets of Tombstone Joyce Aros carefully examines a minute by minute evaluation of the events as they unfolded before the eyes of the startled townsfolk that chilly October afternoon in 1881. Citing the Inquest and Hearing testimonies and comparing them to the various legends that have surrounded that fateful day for over a century, the author's presentation may just lead you to concur that Tom McLaury, Frank McLaury and Billy Clanton were Murdered on the Streets of Tombstone!

Includes excerpt from Murder on an Irish Farm.

Fledgling playwright Will Shakespeare and Symington Smythe, ostler and would-be thespian, and are now firmly ensconced in their theater company . . . But due to the plague, all of London's theaters have been closed, its players now broke, forcing our intrepid duo to seek employment in other lines of work--Smythe smithing and Will poeting. Then a murder rocks all of London. Shakespeare and Smythe decide to solve the crime, but they must rely on their wits to survive both the conspiriacies and the cutthroat business of Elizabethan theater

Four American mystery writers have contributed new dimensions to the mystery form. Tony Hillerman's Navajos and their customs, Amanda Cross's (Carolyn Heilbrun's) academics and their feminist credentials (or lack thereof), James Lee Burke's Southern Louisiana Cajuns and his own fiercely moral take on Southern gothic fiction, and Walter Mosley's urban blacks and their culture have challenged the conventional mystery's focus. Using feminist and black critical theory, mythic and historical patterns, and literary genre theory, Samuel Coale examines these writers' works and investigates the compromises that each is forced to make when working within a recognizably popular literary form.

This volume, which examines the special contributions of a number of women mystery writers, sheds light on this significant example of common interests in recreational reading among women and men and the reasons behind the early and continuing uncharacteristic near-equality of both sexes in this field of endeavor.