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"Robbery Fiction."
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\"'Jack's in charge,' said his mother as she disappeared up the road to get help. 'I won't be long.' Now eleven-year-old Jack and his two sisters wait on the hard shoulder in their stifling, broken-down car, bickering and whining and playing I-Spy until she comes back. But their mother doesn't come back. She never comes back. And after that long, hot summer's day, nothing will ever be the same\"-- Provided by publisher.
Book
Deception on All Accounts
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 Accountsdraws 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.
eBook
The amazing adventures of Aaron Broom : a novel
In Depression-era St. Louis, almost-thirteen-year-old Aaron Broom witnesses a robbery gone wrong and teams up with an unlikely band of friends and helpful adults to clear suspicion from his father's name.
BOOK
Deception on All Accounts
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.
eBook
The little old lady strikes again
Martha Andersson and her friends have left behind Stockholm and are headed for the bright lights of Las Vegas.
Book
'Do You Really Need That?': Legal Thinking and the Law of Necessity in Post-Apocalyptic Fiction
Despite initial appearances of an absence of legality, fiction set in these worlds envisages alternate roles for the law, whereby principles of natural law and natural justice become more prominent. In French (and for that matter, German), one can speak of a particular loi (in German, gesetz) that applies to a particular situation, for example the loi that says that you must hold a valid driver's licence in order to operate a car. Kieran Tranter treats law in science fiction slightly separately to issues of justice instead focusing on 'technical legality' by which he means 'law's responses to technology, the multiple calls for regulation, rights, and code' (Tranter 2018: 2). Even when considering the post-apocalyptic Mad Max films, Tranter looks at the primacy of the humanautomobile hybrid in that world and the 'technical laws facilitating the instruments of licensing and registration, policing, risk allocation, road construction and maintenance, urban planning, consumer and safety standards [which] give form and life to the human-automobile' (183).
Journal Article
Sweet taste of revenge
\"When a wealthy socialite is found dead on her luxury yacht, her daughter Lainey hires private investigator Kate Weller to look into the matter. Agnes Westin created plenty of enemies during her climb to the top of society, many with a taste for revenge-- but did any of them feel strongly enough to kill her? Kate has another reason altogether for returning to Pensacola, Florida, the only town she has ever called home. Her brother Liam has spent the past sixteen years in jail for his part in a robbery-homicide-- and unless Kate uncovers the truth of what really happened that day, she will never be safe. Now someone wants to make sure her repressed memories stay buried. Can Kate clear her brother's name before the real killer silences them both forever?\"-- Provided by publisher
Book
“She Placed Her Bonnet on His Head & Ran Away”: Stealing Sources and Avoiding Consequences
Did she think of herself as a thief, I wonder, “stealing” from life to create art? I’ll draw from a range of perspectives on writers and their sources, including essays and stories by Drabble, T. S. Eliot, Alice Munro, George Saunders, Eudora Welty, and other writers, along with examples from Austen’s early and mature writing, to explore questions about the creative process and the ethics of fiction. When I read The Beautifull Cassandra, I often think of a song by the Newfoundland band Great Big Sea called “Consequence Free,” which imagines a world free from conscience and guilt, in which our actions don’t matter. [...]that’s a topic for another day.)2 “A life of crime” In her early writing and her later novels, Jane Austen was keenly interested in rules and repercussions, choices and consequences, in who does what and why, and in the effects of an individual’s actions on other people, the way these decisions and actions matter. Publishing is in crisis; copyright protections have been eroded; authors are sometimes pressured to sign away control over their work to publishers or the public; advances (if they exist at all) are lower than they used to be (unless the writer is already a star); writers (told that attention is a form of payment) have long been expected to write for free to promote their work (thus decreasing the amount of time they can spend on new creative projects); and now artificial intelligence, trained on works by writers past and present—not always with their permission—is capable of telling stories for us.
Journal Article
Heresy
\"Margaret Parker and Hattie LaCour never intended to turn outlaw. After being run off their ranch by a greedy cattleman, their family is left destitute. As women alone they have few choices: marriage, lying on their backs for money, or holding a gun. For Margaret and Hattie the choice is easy. With their small makeshift family, the gang pulls off a series of heists across the West. Though the newspapers refuse to give the female gang credit, their exploits don't go unnoticed. Pinkertons are on their trail, a rival male gang is determined to destroy them, and secrets among the group threaten to tear them apart. Now, Margaret and Hattie must find a way to protect their family, finish one last job, and avoid the hangman's noose\"-- Provided by publisher.
Book
Kant’s “Jewel” and Collins’s “Moonstone”
Mystery fiction is sometimes assumed—both by scholars and by general readers—to have a simple or even simplistic relationship to morality. Mysteries, on this view, are straightforward \"whodunnits\": They satisfy readers by identifying wrongdoing and then assigning blame to the individual or individuals responsible. In this paper, I offer a contrary view. I show that the moral laboratory of mystery fiction often winds up subverting, undermining, and unsettling some of our most basic moral assumptions and our standard approaches to thinking about moral responsibility and moral justification. It does so, I argue, by emphasizing what philosophers term moral luck. I center my analysis on moral luck as it appears in The Moonstone, the novel T. S. Eliot called “the first, the longest, and the best” piece of detective fiction, and I offer suggestions for reading later works of mystery fiction with moral luck in mind.
Journal Article