Looking for trouble, Ellery Queen descends on a small town At the tail end of the long summer of 1940, there is nowhere in the country more charming than Wrightsville. The Depression has abated, and for the first time in years the city is booming. There is hope in Wrightsville, but Ellery Queen has come looking for death. The mystery author is hoping for fodder for a novel, and he senses the corruption that lurks beneath the apple pie façade. He rents a house owned by the town’s first family, whose three daughters star in most of the local gossip. One is fragile, left at the altar three years ago and never recovered. Another is engaged to the city’s rising political star, an upright man who’s already boring her. And then there’s Lola, the divorced, bohemian black sheep. Together, they make a volatile combination. Once he sees the ugliness in Wrightsville, Queen sits back—waiting for the crime to come to him.

Everyone knows the name Calamity Jane. Scores of dime novels and movie and TV Westerns have portrayed this original Wild West woman as an adventuresome, gun-toting hellion. Although Calamity Jane has probably been written about more than any other woman of the nineteenth-century American West, fiction and legend have largely obscured the facts of her life. This lively, concise, and exhaustively researched biography traces the real person from the Missouri farm where she was born in 1856 through the development of her notorious persona as a Wild West heroine. Before Calamity Jane became a legend, she was Martha Canary, orphaned when she was only eleven years old. From a young age she traveled fearlessly, worked with men, smoked, chewed tobacco, and drank. By the time she arrived in the boomtown of Deadwood, South Dakota, in 1876, she had become Calamity Jane, and the real Martha Canary had disappeared under a landslide of purple prose. Calamity became a hostess and dancer in Deadwood’s saloons and theaters. She imbibed heavily, and she might have been a prostitute, but she had other qualities, as well, including those of an angel of mercy who ministered to the sick and the down-and-out. Journalists and dime novelists couldn’t get enough of either version, nor, in the following century, could filmmakers. Sorting through the stories, veteran western historian Richard W. Etulain’s account begins with a biography that offers new information on Calamity’s several “husbands” (including one she legally married), her two children, and a woman who claimed to be the daughter of Wild Bill Hickok and Calamity, a story Etulain discredits. In the second half of the book, Etulain traces the stories that have shaped Calamity Jane’s reputation. Some Calamity portraits, he says, suggest that she aspired to a quiet life with a husband and family. As the 2004–2006 HBO series Deadwood makes clear, well more than a century after her first appearance as a heroine in the Deadwood Dick dime novels, Calamity Jane lives on—raunchy, unabashed, contradictory, and ambiguous as ever.

The mesmerizing New York Times bestseller by the author of Night Film Marisha Pessl’s dazzling debut sparked raves from critics and heralded the arrival of a vibrant new voice in American fiction. At the center of Special Topics in Calamity Physics is clever, deadpan Blue van Meer, who has a head full of literary, philosophical, scientific, and cinematic knowledge. But she could use some friends. Upon entering the elite St. Gallway School, she finds some—a clique of eccentrics known as the Bluebloods. One drowning and one hanging later, Blue finds herself puzzling out a byzantine murder mystery. Nabokov meets Donna Tartt (then invites the rest of the Western Canon to the party) in this novel—with visual aids drawn by the author—that has won over readers of all ages.

How does a blonde spell "Farm"? E-I-E-I-O Tressa Jayne Turner has had it up to here with the dumb-blonde jokes and a childhood nickname that's harder to get rid of than her favorite pair of cowboy boots. Thanks to one Rick Townsend, Iowa Department of Natural Resources officer, local hottie, and general pain in Tressa's behind, everyone knows her as "Calamity Jayne". Just because she may be a little accident prone and trouble seems to sometimes find her, Tressa can't get anyone in her small town to take her seriously. That is, until Tressa finds a seriously dead body and an opportunity to get "Ranger Rick" and a skeptical citizenry to see that she's no longer that skinny kid with scraped knees. How? By resurrecting her job as a reporter for the hometown paper and solving a murder no one else believes happened... no one, that is, except the killer. Now Tressa is one not-so-dumb blonde who's out to gain a little hometown respect—or die trying. Calamity Jayne Mysteries: Calamity Jayne – book #1 Calamity Jayne and the Fowl Play at the Fair – book #2 Calamity Jayne and the Haunted Homecoming – book #3 Calamity Jayne and the Campus Caper– book #4 Calamity Jayne in the Wild, Wild West– book #5 Calamity Jayne and the Hijinks on the High Seas– book #6 Calamity Jayne and the Trouble with Tandems– book #7 What critics are saying about the Calamity Jayne Mysteries: "Filled with dumb-blonde jokes, nonstop action and rapid-fire banter, this is a perfect read for chick-lit fans who enjoy a dash of mystery." ~ Publishers' Weekly "Fun and lighthearted with an interesting mystery, a light touch of romance and some fascinating characters." ~ RT Book Reviews "Throw in two parts Nancy Drew, one part Lucille Ball, add a dash of Stephanie Plum, shake it all up and you’ve got a one-of-a-kind amateur sleuth with a penchant for junk food and hot-pink snakeskin cowgirl boots. A word to the wise: if you’re prone to laughing out loud when reading funny books, try not to read Calamity Jayne when you’re sandwiched between two sleeping passengers on an airplane…sometimes we learn these things the hard way." ~ Chick Lit Cafe "Bacus provides lots of small-town fun with this lovable, fair-haired klutz and lively story, liberally salted with dumb-blond jokes." ~ Booklist *starred review*

Turn on the news and it looks as if we live in a time and place unusually consumed by the specter of disaster. The events of 9/11 and the promise of future attacks, Hurricane Katrina and the destruction of New Orleans, and the inevitable consequences of environmental devastation all contribute to an atmosphere of imminent doom. But reading an account of the San Francisco earthquake of 1906, with its vivid evocation of buildings “crumbling as one might crush a biscuit,” we see that calamities—whether natural or man-made—have long had an impact on the American consciousness. Uncovering the history of Americans’ responses to disaster from their colonial past up to the present, Kevin Rozario reveals the vital role that calamity—and our abiding fascination with it—has played in the development of this nation. Beginning with the Puritan view of disaster as God’s instrument of correction, Rozario explores how catastrophic events frequently inspired positive reactions. He argues that they have shaped American life by providing an opportunity to take stock of our values and social institutions. Destruction leads naturally to rebuilding, and here we learn that disasters have been a boon to capitalism, and, paradoxically, indispensable to the construction of dominant American ideas of progress. As Rozario turns to the present, he finds that the impulse to respond creatively to disasters is mitigated by a mania for security. Terror alerts and duct tape represent the cynical politician’s attitude about 9/11, but Rozario focuses on how the attacks registered in the popular imagination—how responses to genuine calamity were mediated by the hyperreal thrills of movies; how apocalyptic literature, like the best-selling Left Behind series, recycles Puritan religious outlooks while adopting Hollywood’s style; and how the convergence of these two ways of imagining disaster points to a new postmodern culture of calamity. The Culture of Calamity will stand as the definitive diagnosis of the peculiarly American addiction to the spectacle of destruction.

bibliography, index, eight-page photo essay