When Joe Leaphorn and Jim Chee, Tony Hillerman's oddly matched tribal police officers, patrol the mesas and canyons of their Navajo reservation, they join a rich traditon of Southwestern detectives. In "Crime Fiction and Film in the Southwest, "a group of literary critics tracks the mystery and crime novel from the Painted Desert to Death Valley and Salt Lake City. In addition, the book includes the first comprehensive bibliography of mysteries set in the Southwest and a chapter on Southwest film noir from Humphrey Bogart's tough hood in "The Petrified Forest "to Russell Crowe's hard-nosed cop in "L.A. Confidential."

"By linking Hurston's work to her Florida experiences, the authors explicate her love of black culture and her attitude toward the lot of women in a man's world. An important contribution to the Hurston revival."--"Booklist"

Following years of neglect, Zora Neale Hurston's status in American letters is restored: she is now recognized as one of the foremost African-American writers of the twentieth century--an artist of the Harlem Renaissance and a native Florida writer. "Zora in Florida" focuses on the place that nurtured and inspired her work, the frontier wilderness of central Florida and the all-black town of Eatonville.

Two chapters are devoted to her first novel, "Jonah's Gourd Vine," set almost entirely in Florida. Others discuss her work for the WPA in Florida; "Tracks on the Road," her autobiography; and "Mules and Men," her collection of Florida folklore gathered under the direction of anthropologist Franz Boas. The book also treats Hurston's lesser-known works such as the play "Color Struck" and "Tell My Horse," her first-person account of fieldwork in Haiti. The legal troubles, professional eclipse, and personal opprobrium Hurston endured late in life are discussed in the final chapter.

Telling the story of the Maya peoples from their earliest beginnings to the start of the 20th century, this book divides the 3,000 year time span into seven distinct sections. Each provides a detailed vignette of the events, explorers, and people of a particular Maya era, starting with the tropical lowlands' Olmec civilization. Among the topics covered are the shamanistic rites by which Mesoamerican monarchs based their power to rule; the Preclassic megacity of El Mirador and its near neighbor Nakbe; the Maya creation myth of the Hero Twins and its role in organizing Maya society; and the power struggles between the cities Tikal and Calakmul.

This book provides the first critical discussion of popular culture in one of the United States' most distinctive states, Florida, which began drawing winter visitors before the Civil War and now boasts more than a hundred million visitors annually. Florida's subculture is colorful, tropical, and wickedly interesting, providing something for everyone, from saccharine commercial theme parks for the family vacation set, to the diverse nightlife and queer Floridian culture of South Beach and Key West, to various meteorological phenomena and dangerous wetlands creatures to satisfy storm chasers and thrill seekers. This book carries essays that explore many facets of Florida's culture, examining such topics as the ever-present specters of Mickey, Shamu, and other theme park staples; early tourist sites enjoyed by tin-can campers before the ubiquitous megaparks elbowed out more organically Floridian attractions; Key West as a mecca of queer culture; the infamous relationship between Key West and its favorite son, Ernest Hemingway; and, an overview of several iconic Florida institutions, including Bike Week, the Daytona 500, and Spring Break. It concludes with a look at Florida's role in the highly controversial presidential election of 2000.

This book examines 24 crime novelists who set their work in the Sunshine State. From James W. Hall's Under Cover of Daylight in the Florida Keys, to Barbara Parker's Suspicion of Betrayal in Miami to Tim Dorsey's Florida Roadkill at Cape Canaveral and Tampa, these writers and their works span all of Florida's 67 counties. A biographical sketch of each author precedes an interview by a critic who has immersed him- or herself in the novelist's works, producing interview-essays of noteworthy perception and insight.

""Orange Pulp" is a stylish, engaging collection that belongs on everybody's night stand. Each story sizzles and pops with Florida's raunchy, intoxicating heat. This is great fun."--Carl Hiaasen
"Ah, Florida's growing cash crop--scumbags in paradise. With "Orange Pulp," Glassman and O'Sullivan again make the case that the Sunshine State need not look to L.A., or even past the azaleas, for the next noir fix. The 'lost' Willeford piece alone is worth the price of admission."--Tim Dorsey, author of "Florida Roadkill" and "Hammerhead Ranch Motel"

"It's about time someone gathered a full collection of the writing about the dark side of the Sunshine State."-- George H. Meyer, author of "Kill the Landlord"

"This collection brings together for the first time a good sample of the many stories that have made Florida such a natural, popular setting for mysteries. The editors have made available rather inaccessible stories and novels that will entertain mystery lovers for quite a while."-- Kevin McCarthy, University of Florida

"Orange Pulp" is an anthology of crime, of heroes and villains, and it celebrates the murder mystery. The writers--creators of the genre sometimes called "American noir"--including John D. MacDonald and Charles Willeford, helped Florida become a serious contender for the title of crime fiction capital of America.

Even the most devoted aficionados of the genre have rarely encountered the kind of nonstop action concocted by the reclusive founder of the American hard-boiled mystery, Carroll John Daly; the comic elegance of Jonathan Latimer; or the eclectic world of Mike Shayne in Brett Halliday's classic series.

"Orange Pulp" also includes Mary Roberts Rinehart's only Florida story, Edwin Granberry's brilliantly realized account of an execution, and a tribute to the ecological concerns of John D. MacDonald, whose work transformed the Florida pulps into a true art.

The editors begin with a comprehensive survey of Florida crime fiction and provide generous introductions to each individual author. The book includes two special bonuses: the complete text of "The Hated One" by Don Tracy, a riveting novel of murder, race, and culture that has been out of print for decades, and the opening to an unfinished work by Charles Willeford, creator of the classic Hoke Moseley novels such as "Miami Blues" and "Sideswipe."

With work by legendary pioneers from the golden age of pulp fiction, this collection reveals a rich and popular--though often overlooked--tradition of mystery writing in the Sunshine State.

Contributors
Carroll John Daly
Edwin Granberry
Jonathan Latimer
Brett Halliday
Mary Roberts Rinehart
John D. MacDonald
Stephen Ransome
Charles Willeford
Don Tracy

Maurice O'Sullivan is Kenneth Curry Chair of Literature and chair of the English Department and Humanities Division at Rollins College, Winter Park, Florida. He is the coeditor of "The Florida Reader" and (with Steve Glassman) of "Crime Fiction and Film in the Sunshine State" (an Edgar finalist in 1998).

Steve Glassman is associate professor in the Department of the Humanities at Embry-Riddle University, Daytona Beach, Florida. He is author of the novel "Blood on the Moon," coeditor of "Zora in Florida" (UPF, 1991), and (with Maurice O'Sullivan) coeditor of "Crime Fiction and Film in the Sunshine State."