Death Of A Swagman

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

Arthur Upfield's scrapbook of press cuttings, etc. for the novels, Death of a swagman and An author bites the dust.

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's scrapbook of press cuttings, etc. for the novels, Death of a swagman, The devilʼs steps and The bone is pointed.

Arthur Upfield's scrapbook of press cuttings, etc. for the novels, The will of the tribe and Death of a swagman.

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.

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

What to read next is every book lover's greatest dilemma. Nancy Pearl comes to the rescue with this wide-ranging and fun guide to the best reading new and old. Pearl, who inspired legions of litterateurs with "What If All (name the city) Read the Same Book," has devised reading lists that cater to every mood, occasion, and personality. These annotated lists cover such topics as mother-daughter relationships, science for nonscientists, mysteries of all stripes, African-American fiction from a female point of view, must-reads for kids, books on bicycling, "chick-lit," and many more. Pearl's enthusiasm and taste shine throughout.

'Banjo' Paterson's 'Waltzing Matilda' is the one song that has been bringing people together spontaneously since 1895, and the one song that belongs to all Australians.Generations of experts have argued about the original story that Paterson immortalised, about the origins of the tune, and about what Paterson meant by his almost parodic over-use of Australian colloquialisms.Once a Jolly Swagman takes readers off the score sheet into the story of the song, and tells of its evolution up until the twenty-first century. It tries to answer the riddles within the song, and unpick its inherent contradictions: where's the heroism in a suicidal thief? What was jolly about the jumbuck? Is 'Waltzing Matilda' the key to Australian values? What does it mean that a beloved song about Australia's pioneering past is written by a city lawyer?In this age of economic rationalism and a globalised world, how does a voice from the billabong saying, 'You'll come a waltzing matilda with me' still matter, and what does it tell us about ourselves?