In this fifth Rider Woofson adventure, there’s a new detective in town and he’s trying to steal Rider’s latest case! When there’s a trouble at the Museum of Feline Art, Rider and the PI Pack arrive to find a new detective already on the scene. Wolf Growler is a super sleuth with crime-solving chops and he is paw-sitive he has this case solved. Can Rider prove that this rival detective is all bark and no bite, or will one of the PI Pack members get collared from a crime they didn’t commit? With easy-to-read language and illustrations on almost every page, the Rider Woofson chapter books are perfect for emerging readers.
This masterful collection of seventeen classic mystery stories, dating from 1837 to 1914, traces the earliest history of popular detective fiction. Today, the figure of Sherlock Holmes towers over detective fiction like a colossus—but it was not always so. Edgar Allan Poe’s Dupin, the hero of “The Murders in the Rue Morgue,” anticipated Holmes’ deductive reasoning by more than forty years. In A Study in Scarlet, the first of Holmes’ adventures, Doyle acknowledged his debt to Poe—and to Émile Gaboriau, whose thief-turned-detective Monsieur Lecoq debuted in France twenty years earlier. If Rue Morgue was the first true detective story in English, the title of the first full-length detective novel is more hotly contested. Among the possibilities are two books by Wilkie Collins—The Woman in White (1859) and The Moonstone (1868)—Mary Elizabeth Braddon’s The Trail of the Serpent (1861) or Aurora Floyd (1862), and The Notting Hill Mystery (1862-3) by the pseudonymous “Charles Felix.” As the early years of detective fiction gave way to two separate golden ages—hard-boiled tales in America and intricately-plotted “cozy” murders in Britain—and these new sub-genres went their own ways, their detectives still required the intelligence and clear-sightedness that characterized the earliest works of detective fiction: the trademarks of Sherlock Holmes, and of all the detectives featured in these pages.
The USS Memphis, a dilapidated submarine that that should have been mothballed decades ago, has been given one last mission by the newly elected president. The task: To sneak illegally into Russia's coastal waters and recon the leaking nuclear fuel containers hidden on the floor of the Arctic Ocean. More than just an environmental nightmare, this radioactive burial ground houses enough nuclear capability to destroy most of America's major cities. Lowell Hardy: The Memphis's commander, who had been looking forward to flag rank and pleasant duty upon the sub's decommissioning. Now he is trapped in an inconceivably dangerous and illegal mission which could easily end his career, if not his life and the lives of his crew. But it's the crew who feel Hardy's tension as he tyrannizes everyone on board to ensure they'll be ready for anything. Jerry Mitchell: A former naval pilot with political connections, he is a novice submariner, unprepared for his demanding job as a weapons officer. Central to the Memphis's mission, Mitchell may be its greatest liability . . . or its ultimate salvation. Dr. Joanna Patterson: The senior civilian scientist, appointed by and reporting to the president, she is a world-class expert on nuclear fuel contamination--and every bit as demanding as Hardy. Patterson and her partner, Dr. Emily Davis, soon find themselves battling flaring tempers, faulty machinery, lethal radioactivity, and the raging arctic seas. The submariners: Seething with rage at their Captain Bligh-like commander and the equally domineering Joanna Patterson, they are also at war with Jerry Mitchell, and one another. Like the captain, they feel they deserve better, not this antiquated relic, not this hostile scientist, not this novice weapons officer, and definitely not this disastrously dangerous mission. Nor is the mission what it seems. Lurking beneath the frigid, black, radioactive waters is a secret far more deadly than anything naval command could imagine--a secret so menacing the Russian Fleet is hell-bent on destroying the Memphis and all who sail in her. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
The first in a charming, evocative, and sharply plotted Victorian crime series starring a detective duo to rival Holmes and Watson. After her father dies, March Middleton has to move to London to live with her guardian, Sidney Grice, the country’s most famous private detective. It is 1882 and London is at its murkiest yet most vibrant, wealthiest yet most poverty-stricken. No sooner does March arrive than a case presents itself: a young woman has been brutally murdered, and her husband is the only suspect. The victim’s mother is convinced of her son-in-law’s innocence, and March is so touched by her pleas she offers to cover Sidney’s fee herself. The investigations lead the pair to the darkest alleys of the East End: every twist leads Sidney Grice to think his client is guilty; but March is convinced that he is innocent. Around them London reeks with the stench of poverty and gossip, the case threatens to boil over into civil unrest and Sidney Grice finds his reputation is not the only thing in mortal danger.
Fans around the world adore the bestselling No. 1 Ladies’ Detective Agency series and its proprietor, Precious Ramotswe, Botswana’s premier lady detective. In this charming series, Mma Ramotswe—with help from her loyal associate, Grace Makutsi—navigates her cases and her personal life with wisdom, good humor, and the occasional cup of tea. Mma Precious Ramotswe is content. Her business is well established with many satisfied customers, and in her mid-thirties (“the finest age to be”) she has a house, two adopted children, a fine fiancé. But, as always, there are troubles. Mr. J.L.B. Matekoni has not set the date for their marriage. Her able assistant, Mma Makutsi, wants a husband. And worse, a rival detective agency has opened in town—an agency that does not have the gentle approach to business that Mma Ramotswe’s does. But, of course, Precious will manage these things, as she always does, with her uncanny insight and her good heart.
The first book in Alexander McCall Smith's new Detective Varg series . . . The Girl with the Dragon Tattoo introduced us to Scandi noir. Now, welcome to Alexander McCall Smith's world of Scandi blanc, where mysteries abound and there is still so much for a Swedish detective to learn. Ulf Varg works in Malmö's Department of Sensitive Crimes. Like all Scandinavian detectives, he has his issues. In this case, these include his unresolved feelings for his colleague Anna, his impatience over the seeming incompetence of his irritating colleague Blomquist and his concerns for the health of his hearing-impaired dog Martin, the only dog in Sweden (and possibly all Scandinavia) who can lip-read. Soon, Ulf and his colleagues find themselves investigating an attack on a market trader, the disappearance of a handsome man who may not exist and a group of students whose relationships leave a great deal to be desired . . . 'Wonderfully soothing and relaxing' Telegraph
Those stories you hear? The ones about things that only come out at night? Things that feed on blood, feed on us? Got news for you: they’re true. Only it’s not like the movies or old man Stoker’s storybook. It’s worse. Especially if you happen to be one of them. Just ask Joe Pitt. There’s a shambler on the loose. Some fool who got himself infected with a flesh-eating bacteria is lurching around, trying to munch on folks’ brains. Joe hates shamblers, but he’s still the one who has to deal with them. That’s just the kind of life he has. Except afterlife might be better word. From the Battery to the Bronx, and from river to river, Manhattan is crawling with Vampyres. Joe is one of them, and he’s not happy about it. Yeah, he gets to be stronger and faster than you, and he’s tough as nails and hard to kill. But spending his nights trying to score a pint of blood to feed the Vyrus that’s eating at him isn’t his idea of a good time. And Joe doesn’t make it any easier on himself. Going his own way, refusing to ally with the Clans that run the undead underside of Manhattan–it ain’t easy. It’s worse once he gets mixed up with the Coalition–the city’s most powerful Clan–and finds himself searching for a poor little rich girl who’s gone missing in Alphabet City. Now the Coalition and the girl’s high-society parents are breathing down his neck, anarchist Vampyres are pushing him around, and a crazy Vampyre cult is stalking him. No time to complain, though. Got to find that girl and kill that shambler before the whip comes down . . . and before the sun comes up.
In the second installment of the New York Times bestselling series, detective of the supernatural R.F. Jackaby and his assistant Abigail Rook follow a case to a paleontological dig site in nearby Gad's Valley on the trail of a thief, a monster, and a murderer. In 1892, New Fiddleham, New England, things are never quite what they seem, especially when Abigail Rook and her eccentric employer, R. F. Jackaby, are called upon to investigate the supernatural. First vicious shape-shifters disguise themselves as a litter of kittens, and a day later, their owner is found murdered. Then in nearby Gad’s Valley, bones from a recent dig mysteriously go missing, and an unidentifiable beast starts attacking animals and people, leaving mangled bodies behind. Charlie calls on Abigail for help, and soon Abigail and Jackaby are on the hunt—for a thief, a monster, and a murderer.
Private detectives and detective agencies played a major role in American history from 1870 to 1940. Pinkerton, Burns, Thiels, and the smaller independents were a multi-million dollar industry, hired out by many if not most American corporations, who needed services of surveillance, strike breaking, and labor espionage. Not only is John Walton's account the first sustained history of this industry, it is also the first book to trace the ways in which the private detective came to occupy a cherished place in popular imagination. Walton paints lively portraits of these mythical figures from Sherlock Holmes, the brilliant eccentric, to Sam Spade, the hard-boiled hero of Dashiell Hammett's best-selling tales. There's a great question lurking in here: how did pulp magazine editors shape the image of the hard-boiled private eye, and what sorts of interplay obtained between the actual records (agency files, memoirs) of these motley individuals in real life and the legend of the private detective in mass-market fiction? This history of the private eyes and this account of how the detective industry and the culture industry played off of each other is a first. Walton show us, in clean clear outline, the figure of the classical private eye, and he shows us further how the memory of this iconic figure was sustained in fiction, radio, film, literary societies, product promotions, adolescent entertainments, and a subculture of detective enthusiasts.
