This book uses simple economic theories to explain how China's agricultural economic phenomena exists in reality. It also helps the reader to get a clear understanding of economic phenomena, insight into the "hog cycle" and "food safety," as well as other economic and social phenomena. The language of this book is not only easy to understand, but also uses ancient poetry and humor to make the subject interesting, as it speaks to the history and current situation of Chinese agriculture. It also opens a window for the people to read about agriculture. This is a unique book on agricultural science that fills an important gap in works on agricultural science and agricultural economics.

This book uses simple economic theories to explain how China's agricultural economic phenomena exists in reality. It also helps the reader to get a clear understanding of economic phenomena, insight into the "hog cycle" and "food safety," as well as other economic and social phenomena. The language of this book is not only easy to understand, but also uses ancient poetry and humor to make the subject interesting, as it speaks to the history and current situation of Chinese agriculture. It also opens a window for the people to read about agriculture. This is a unique book on agricultural science that fills an important gap in works on agricultural science and agricultural economics.

Analysis of LGBTQ life before the Stonewall Riots of 1969 traditionally has been dominated by the powerful negative image of the closet, the metaphorical space where that which was deemed ""queer"" was necessarily sheltered from hostile, heteronormative public view. Literary studies of queer themes and characters in crime fiction have tended to focus on works published in the freer environment that has existed in the years since Stonewall, queer material, so the traditional belief runs, having been, for the most part, only negatively or obliquely presented in crime fiction of the closet-bound pre-Stonewall era. This book tempers this traditional view, offering readers a groundbreaking collection of twenty-three essays, in which the authors investigate queer aspects to crime fiction published over eight decades, from the corseted Victorian era to the unbuttoned Swinging Sixties, on the very eve of Stonewall. ""Murder will out,"" so the saying goes, and this is true as well of queer material in pre-Stonewall crime fiction, if one but follows the clues.

Charles was in a vile temper and Anne was catching the full benefit of it. Charles Courtley is a difficult man. Prone to violent outbursts and a bully to his wife and daughters, he has uprooted the family from London to an old manor house in remote East Anglia. Spoilt by his growing wealth and increasingly intolerant of any dissent, Charles enjoys controlling everyone around him. His family, his employees and even the locals - banned from using the traditional footpaths on his forested estate - have multiple reasons to bear a grudge. When Charles is shot dead in a woodland clearing, evidence from an unreliable witness points to Courtley's secretary, but he has a cast iron alibi and the resulting trial ends in an acquital. A year later, a seemingly innocent death and an odd cenotaph leads Chief Inspector Simon Sturt to reconsider the case. Dorothy Erskine Muir (1889-1977) was one of seventeen children of John Sheepshanks, Bishop of Norwich. She attended Oxford, worked as an academic tutor, and began writing professionally to supplement the family income after the unexpected death of her husband in 1932. Muir published historical biographies and local histories, as well as three accomplished detective novels: In Muffled Night (1933), Five to Five (1934) and In Memory of Charles (1941).

'When a man has three separate notices by three different women inserted in the local paper, and he's my own namesake besides, I feel I owe him something.' Sequential death notices appear for Robert Raynald: one by his mother, one by his estranged wife, one by his daughter. This odd approach draws the attention of Superintendent Mallett and his friend Dr. Fitzbrown. The inquest had decided that Raynald shot himself whilst temporarily insane, but his daughter Geraldine is not convinced and presents enough evidence to arouse the investigator within Mallett. Raynald's story is presented in flashbacks, as Mallett and Fitzbrown build a picture of his life through the people who knew him best. Requiem for Robert combines the excitement of a detective story with a haunting reading of character.

'Mr Gabb, your son did not commit suicide. He was murdered.' Simon Gabb has everything - or so it seems: a beautiful house, a big estate, a flourishing business and two sons, both endowed with evident capacity for carrying on the family firm. The moody Giles is brilliant and inventive; the married Basil is dependable and efficient. And yet something is manifestly wrong. A secret invention, on which his business was engaged for the government, becomes known to those who had no right to know it. But how and where did the leak occur? It is a conundrum which creates suspicion and dissension within the family and engulfs everyone who dine with them one Saturday night. Giles has become friendly with young Arden and Billy Laforte, who were the previous owners of Herons' Hall until their father's death left them penniless, and who now rent one of the lodges on the property. When Giles brings the Lafortes to the Hall for the first visit to their old home in three years, the Gabbs hardly know what to expect. Yet the Lafortes seem completely at ease, so when a fierce storm develops, Mrs Gabb insistes they stay the night. The next morning, Gabb's elder son, Giles, is found dead in a motorboat on the lake, his body propped up by a shotgun. But it is soon apparent that the gun was not the cause of death, nor did he die in the boat; a skilled marksman shot him from a distance. Superintendent Mallett is assigned the case and must deal with the smouldering emotions the flare up between everyone present that evening.

Much had been risked, and the murderer had escaped by such a rare combination of chances. Elderly invalid Simon Ewing was bludgeoned in his maisonette and a stranger was seen exiting the building by several of the residents. The murderer had entered-and escaped-in just a few minutes when Ewing was left unattended, implying that someone knew the movements of both his household and the neighbours. Who would run such a risk in a building with multiple comings and goings? Robbery appears to be the motive, but why was only one ring taken from Ewing's secret hoard of valuable jewellery? A second death leads Detective-Inspector Woods to untangle exactly who was where in the crucial minutes before the murder. Dorothy Erskine Muir (1889-1977) was one of seventeen children of John Sheepshanks, Bishop of Norwich. She attended Oxford, worked as an academic tutor, and began writing professionally to supplement the family income after the unexpected death of her husband in 1932. Muir published historical biographies and local histories, as well as three accomplished detective novels: In Muffled Night (1933), Five to Five (1934) and In Memory of Charles (1941). Each is an intricate fictional account based on an unsolved true crime.

'All these people who thought themselves securely in possession are now going to be dependent on the caprice of this young man.' During a blinding rainstorm, Jake Seaborne takes a wrong turn and arrives at Ullstone Hall, where is he is initially mistaken for 'Hugo', the new heir to the family estate. It seems Hugo is the offspring of the late Mr Ullstone's first marriage in India, but the children of his second marriage have never met him. In short, the Ullstone family destiny is now in the hands of a complete stranger. A friend, Sir Frederick Lawson (who it turns out knows Jake's family) has been asked to act as a "sort of buffer" for Hugo on his arrival, but Lawton cannot stay and Jake agrees to act in that role until he can return. But not everything is as it appears to be, and when the handsome and charming Hugo arrives, trouble follows and before long three people are dead.