Whodunit?When best friends Darcy and Norah have to create a fake business for a school assignment, they come up with a great idea: a detective agency! Darcy loves mysteries, and Norah likes helping people, so it's a perfect fit. But then their pretend agency gets a real case. Someone is missing, and it's up to Darcy and Norah to take on the search. Unfortunately, there's someone else out there who doesn't want the two detectives stirring up any trouble. . . .With the help of hidden clues, spy gadgets, and trusted friends, can Darcy and Norah crack the case in time?

WHO'S OUT THERE?Norah and Darcy's detective agency, Partners in Crime, is taking on new and chilling case. The girls' classmate, Maya, is hearing strange, crackling voices coming over the baby monitor while she's babysitting late at night. Maya is worried someone might be in danger. To help investigate, Norah and Darcy join her for a sleepover stakeout. In between eating snacks and watching TV, the girls are on high alert for anything suspicious. Soon, they stumble upon a mysterious secret they never could have imagined - but Norah and Darcy clash over how to interpret the new clues.Can the girls get past their differences to see their way to the truth?

Who's the culprit?Norah and Darcy are still in a fight, but crime doesn't stop just because the girls aren't speaking. Someone has set fire to their school's brand-new field house. And the prime suspect is Zane Munro, the cute boy Norah can't help crushing on. When Zane asks Partners in Crime for help, Norah and Darcy must band together to investigate. Norah knows Zane is innocent, but the clues are not in his favor. Can she and Darcy mend their friendship, crack the case, and clear Zane's name before it's too late?

This study examines a number of previously overlooked or undervalued women detective fiction writers of the late 19th and early 20th centuries and traces their relationship to later women writers who shaped the future of the genre: Dorothy Sayers, Agatha Christie, and Gladys Mitchell. This work argues that their use of the female detective character served as a means through which they were able to establish their professional authority in the detective fiction genre. Women writers employed a variety of narrative strategies to explore the tensions between society's underlying domestic ideology and women's entrance into the work force during this time period. Creating female detectives and employing these narrative strategies helped women writers establish professional authority by providing them with ways of expressing their ability to write in this genre and adapting it as a vehicle for women's writing. The study examines the critical importance of early female detectives. Many critics and editors have dismissed these early detectives as conventional and trite, ignoring the genre's rich variety. Yet female fictional detectives appear as both paid professionals and gifted amateurs; single, married, widowed; older spinsters and young adventurers; detecting for pleasure and to clear their own or a loved one's name. In choosing to create female detectives who were both varied and unusual, women writers confronted some of their own literary anxieties and ultimately were able to explore the ways they would create new routes to women's authority within a male-dominated culture and specifically in the genre of detective fiction.

This collection provides a concentrated sampling of female detective stories from the Old Sleuth serials.

Assigned to create an imaginary business for a school assignment, best friends Darcy and Norah organize a make-believe detective agency that unexpectedly receives a real case when someone goes missing under sinister circumstances