A cypher that looked like a child's game of noughts-and-crosses; a strip of hessian bag; the rhythmic clanging sound of the turning windmill suddenly breaking the silence of the night; the minister who seemed out of place as a churchman: these were some of the more puzzling aspects of the case of the murdered swagman noticed by the keen eyes of Robert Burns, alias Detective-Inspector Napoleon Bonaparte, alias "Bony". Our distinctive student of violence arrives incognito at Merino, in western New South Wales, and, as a first move, provokes the local sergeant to lock him up. The method in Bony's madness is that while serving a semi-detention sentence and being made to paint the police station, he wears the best of all disguises... Here again is a first-rate Upfield mystery, made warm by humour, by the background characters and his portrayal of the natural background scene. - The Age Upfield at his best. - Adelaide News

In an isolate hut not far from the sleepy country town of Merino, stockman George Kendall is found dead - and it looks very much like murder. Six weeks later Bony arrives incognita at Merino and provokes the local police to lock him up. There is method in Bony's madness - in semi-detention he is made to paint the police station and keeps a perfect disguise while searching for single-minded killer...

Arthur Upfield created Detective Inspector Napoleon Bonaparte (Bony) who features in twenty-nine novels written from the 1920s to the the 1960s, mostly set in the Australian Outback. He was the first Australian professional writer of crime detection novels. Upfield arrived in Australia from England on 4 November 1911, and this collection of twenty-two critical essays by academics and scholars has been published to celebrate the centenary of his arrival. The essays were all written after Upfield’s death in 1964 and provide a wide range of responses to his fiction. The contributors, from Australia, Europe and the United States, include journalist Pamela Ruskin who was Upfield’s agent for fifteen years, anthropologists, literary scholars, pioneers in the academic study of popular culture such as John G. Cawelti and Ray B. Browne, and novelists Tony Hillerman and Mudrooroo whose own works have been inspired by Upfield’s. The collection sheds light on the extent and nature of critical responses to Upfield over time, demonstrates the type of recognition he has received and highlights the way in which different preoccupations and critical trends have dealt with his work. The essays provide the basis for an assessment of Upfield’s place not only in the international annals of crime fiction but also in the literary and cultural history of Australia.

Australian crime fiction has grown from the country's origins as an 18th-century English prison colony. Early stories focused on escaped convicts becoming heroic bush rangers, or how the system mistreated those who were wrongfully convicted. Later came thrillers about wealthy free settlers and lawless gold-seekers, and urban crime fiction, including Fergus Hume's 1887 international best-seller The Mystery of a Hansom Cab, set in Melbourne. The 1980s saw a surge of private-eye thrillers, popular in a society skeptical of police. Twenty-first century authors have focused on policemen--and increasingly policewomen--and finally indigenous crime narratives. The author explores in detail this rich but little known national subgenre.

A Cavalcade of Queenslands Crimes and Criminals, for every year following the colonys separation from New South Wales from 1859 to 1920, Jarvis Finger has recounted Queenslands most notable crimes.

A guide to series fiction lists popular series, identifies novels by character, and offers guidance on the order in which to read unnumbered series.