The fourth cozy mystery featuring Cherokee sleuth Sadie Walela features murder, intrigue, and romance--Provided by publisher.

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.

A sprawling suburban house in Santa Fe is not the kind of home where a buffalo normally roams, but Veryl Goodnight and Roger Brooks are not your ordinary animal lovers. Over a hundred years after Veryl's ancestors, Charles and Mary Ann Goodnight, hand-raised two baby buffalo to help save the species from extinction, the sculptor and her husband adopt an orphaned buffalo calf of their own. Against a backdrop of the old American West, A Buffalo in the House tells the story of a household situation beyond any sitcom writer's wildest dreams. Charlie has no idea he's a buffalo and Roger has no idea just how strong the bond between man and buffalo can be. In the historical shadow of the near-extermination of a majestic and misunderstood animal, Roger sets out to save just one buffalo. Written in the tradition of Ian Frazier's Great Plains and the work of Garrison Keillor and Bill Bryson, A Buffalo in the House tells an important, uplifting story about one animal's ability to touch human lives and reconnect people of all ages to the vanished past.

A buffalo in the house? Yes, a buffalo. More than a hundred years after her pioneer ancestors hand-raised two baby buffalo to help rescue the species from the brink of extinction, Veryl Goodnight and her husband, Roger Brooks, commit themselves to saving just one. When they welcome an orphaned baby buffalo into their Santa Fe home, they expect him to stay just until he’s old enough to rejoin a herd. But Charlie becomes a big part of their family life–about two pounds bigger every day. Surrounded by people and dogs, Charlie has no idea he’s a buffalo–and Roger has no idea how strong the bond between a middle-aged man and a buffalo can be. When Charlie’s eventual introduction to a herd results in a terrible accident, Charlie’s courage and Roger and Veryl’s devotion are pushed to their limits. Contrasting the nineteenth-century killing of tens of millions of buffalo against our own environmental consciousness, this book asks the question: How far are you willing to go for an animal you love? A love story, a comedy, and a history of the American West, A Buffalo in the House packs a major emotional wallop and will be hard to forget. “More than a touching man-beast buddy tale . . . Rosen lovingly chronicles the history of an embattled species and its importance in the American West.” –Entertainment Weekly “Riveting . . . From the story of one stray baby bison named Charlie . . . and the family that took him in, Rosen has drawn a sweeping history of the American frontier. . . . I can’t remember when I’ve been instructed so gracefully, or entertained to such deep purpose.” –Jane Kramer, The New Yorker “Powerful . . . [Charlie is] one of the most memorable characters in recent nature writing.” –Publishers Weekly (starred review) “Moving proof of the restorative powers of man’s relationship with nature.” –People “If you’re mad for Marley, elated over Elsa the lion, [or] rowdy for Rascal . . . stampede out and get A Buffalo in the House.” –Huron Daily Tribune

Is murder always a simple transaction? Don't bank on it. Sadie Walela's life is about to be turned upside down. One morning Sadie unlocks the door at the Mercury Savings Bank and confronts a robber who's been lying in wait for her and her fellow employees. He flees after stealing money and killing her coworker. When a whirlwind of events leaves Sadie herself under suspicion, she sets out to clear her name. This banker turned sleuth is suddenly plunged into an unfamiliar world in which people are not always as they appear-not her employer, not the homeless man she's befriended, not the police officer who takes an interest in the case, not the man she falls in love with. And, as she's beginning to imagine, not even herself. Sadie is a blue-eyed Cherokee living in northeastern Oklahoma, a half-blood who finds she sometimes has to adapt to get by in the white man's world, much as her father's ancestors did. In this story of robbery, murder, love, and intrigue, she faces adversity at each bend in the road, but in the tradition of her people she adapts and moves forward—even if it means having to re-think her relationships and expectations. Set against the backdrop of small-town Oklahoma and its Native culture, Deception on All Accounts draws readers into the real lives of contemporary American Indians as it shines a light on violence, corporate corruption, and prejudice in modern America. As Sadie Walela comes to terms with murder, romance, and her hopes for a career, she finds deception on all accounts.

Scarred and in pain after a car accident, a high school senior turns away from God, especially after remembering how her boyfriend and best friend were involved in the crash, and plans her revenge while the elderly woman sharing her hospital room urges her to forgive and forget.