When two elderly bachelors were poisoned with cyanide, a strange woman was on the scene each time - but now she has disappeared, leaving no trace. Tracking her down in a town of twenty-eight thousand people is a job to tax even Detective Inspector Bonaparte's powers. He will need the unorthodox assistance of burglar Jimmy the Screwsman and a lightning-sketch artist, as well as all the deductive and tracking skills at his command, as he trails a killer no-one has seen...

Among the 28,000 inhabitants of Broken Hill there stalks a killer. Already two elderly bachelors have died horribly from cyanide poisoning. Now, two months later, Detective Inspector Napoleon Bonaparte faces a cold trail - no motive, no clues. So Bony waits for what he believes to be inevitable - a third killing.

In the world of crime fiction, Arthur W. Upfield stands among the giants. His detective-inspector Napoleon Bonaparte, is one of the most memorable of all crime fighters. Upfield was an independent, fiercely self-assertive ex-Britisher, who loved Australia, especially the Outback. In many ways Upfield became Outback Australia—the “Spirit of Australia.”

Autobiographical account of the inter-world-war years spent by novelist Cusack (author of TCome in Spinner') teaching in country New South Wales. The editor, compiler of the TBibliography of Australian Women's Literature', includes an extensive commentary on and bibliography of Cusack.

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.