Hitch the Hedgehog wants nothing more than to nap. But when his informant, Vinnie the Rat, reveals the City Zoo’s panda has gone missing, Hitch is (reluctantly) on the case. Author Heather Preusseur expertly weaves witty and playful text in this chapter book series opener with black-and-white illustrations by renowned illustrator Gal Weizman. All Hitch the Hedgehog wants to do is nap, but there’s a mystery to solve. Someone changed the sign at the panda exhibit of the City Zoo. Instead of “please feed the panda,” it says, “please free the panda,” and well . . . it’s pandemonium for Hitch! Along with his cohort, partner, and informant Vinnie the Rat, Hitch embarks on an adventure to catch the cagey culprit and return the panda to its bear-y perfect spot. With hardboiled humor, fun animal facts, and a plethora of puns, Hitch and Vinnie’s detective shenanigans are full of hilarity and heart. This joyful series opener also has over 50 charming black-and-white illustrations, maps, and hidden clues! This book is perfect for fans of Leila and Nugget Mysteries, Enola Holmes, and The Critter Club.

The hard-boiled style of detective fiction emerged in America in the years after the First World War. In the late 1940s, following the Depression, the New Deal, and the Second World War, a new generation of young writers revisited the conventions governing the fictional private eye, and began to move him (the tough detective was still always male) and his world in new directions. This book examines the work of the four most important writers of this second generation of hard-boiled fiction. It offers the first substantial literary analysis of the Max Thursday novels of Wade Miller and the Carney Wilde novels of Bart Spicer, and it develops new perspectives on the well-known Mike Hammer novels of Mickey Spillane and the Lew Archer novels of Ross Macdonald. A particular focus is upon the theme of the detective's status as a loner who succeeds in discovering truth and achieving justice because he works outside organized social structures.

With a rich man footing the bills and a handsome lover on the side, Isabel Kerr seemed to have the perfect setup. Now the well-kept lady is stone-cold dead, and the cops have nabbed a Manhattan private eye who just happens to be an acquaintance of Nero Wolfe. Unable to refuse a friend in need, the great detective deigns to get the gumshoe off the hook. Little does Wolfe realize that in a matter of hours he’ll be entertaining a party of fools and lovers connected with the doxy’s death, including a mystery blackmailer, a sexy lounge singer, and a cold-blooded lady-killer. Introduction by Sandra West Prowell “It is always a treat to read a Nero Wolfe mystery. The man has entered our folklore.”—The New York Times Book Review A grand master of the form, Rex Stout is one of America’s greatest mystery writers, and his literary creation Nero Wolfe is one of the greatest fictional detectives of all time. Together, Stout and Wolfe have entertained—and puzzled—millions of mystery fans around the world. Now, with his perambulatory man-about-town, Archie Goodwin, the arrogant, gourmandizing, sedentary sleuth is back in the original seventy-three cases of crime and detection written by the inimitable master himself, Rex Stout.

**A Guardian 'Best Thriller of the Year!'** The New York Times bestselling author of Magpie Murders and Moriarty brilliantly reinvents the classic crime novel once again with this clever and inventive mystery starring a fictional version of the author himself as the Watson to a modern-day Holmes, investigating a case involving buried secrets, murder, and a trail of bloody clues. A woman crosses a London street. It is just after 11am on a bright spring morning, and she is going into a funeral parlor to plan her own service. Six hours later the woman is dead, strangled with a crimson curtain cord in her own home. Enter disgraced police detective Daniel Hawthorne, a brilliant, eccentric man as quick with an insult as he is to crack a case. And Hawthorne has a partner, the celebrated novelist Anthony Horowitz, curious about the case and looking for new material. As brusque, impatient, and annoying as Hawthorne can be, Horowitz—a seasoned hand when it comes to crime stories—suspects the detective may be on to something, and is irresistibly drawn into the mystery. But as the case unfolds, Horowitz realizes he’s at the center of a story he can’t control . . . and that his brilliant partner may be hiding dark and mysterious secrets of his own. A masterful and tricky mystery which plays games at many levels, The Word Is Murder is Anthony Horowitz at his very best.

In How Do We Look? Fatimah Tobing Rony draws on transnational images of Indonesian women as a way to theorize what she calls visual biopolitics—the ways visual representation determines which lives are made to matter more than others. Rony outlines the mechanisms of visual biopolitics by examining Paul Gauguin’s 1893 portrait of Annah la Javanaise—a trafficked thirteen-year-old girl found wandering the streets of Paris—as well as US ethnographic and documentary films. In each instance, the figure of the Indonesian woman is inextricably tied to discourses of primitivism, savagery, colonialism, exoticism, and genocide. Rony also focuses on acts of resistance to visual biopolitics in film, writing, and photography. These works, such as Rachmi Diyah Larasati’s The Dance that Makes You Vanish, Vincent Monnikendam’s Mother Dao (1995), and the collaborative films of Nia Dinata, challenge the naturalized methods of seeing that justify exploitation, dehumanization, and early death of people of color. By theorizing the mechanisms of visual biopolitics, Rony elucidates both its violence and its vulnerability.

Ian Rankin is considered by many to be Scotland's greatest living crime fiction author. Most well known for his Inspector Rebus series--which has earned critical acclaim as well as scores of fans worldwide--Rankin is a prolific author whose other works include spy thrillers, nonfiction books and articles, short stories, novels, graphic novels, audio recordings, television/film, and plays. This companion--the first to provide a complete look at all of his writings--includes alphabetized entries on Rankin's works, characters, and themes; a biography; a chronology; maps of Rebus' Edinburgh; and an annotated bibliography. A champion of both Edinburgh and Scotland, Rankin continues to combine engaging entertainment with socio-political commentary showing Edinburgh as a microcosm of Scotland, and Scotland as a microcosm of the world. His writing investigates questions of Scottish identity, British history, masculinity, and contemporary culture while providing mystery readers with complex, suspenseful plots, realistic character development, and a unique mix of American hard-boiled and procedural styles with Scottish dialects and sensibilities.