The Boy Detectives

Rowland and Paine, the dead British teenagers who first appeared in Neil Gaiman's The Sandman: Season of Mists, travel stateside to investigate a strange missing persons case at a posh International Academy for Girls.

The Washington Post hailed Roger Rosenblatt's Making Toast as "a textbook on what constitutes perfect writing," and People lauded Kayak Morning as "intimate, expansive and profoundly moving." Classic tales of love and grief, the New York Times bestselling memoirs are also original literary works that carve out new territory at the intersection of poetry and prose. Now comes The Boy Detective, a story of the author's childhood in New York City, suffused with the same mixture of acute observation and bracing humor, lyricism and wit. Resisting the deadening silence of his family home in the elegant yet stiflingly safe neighborhood of Gramercy Park, nine-year-old Roger imagines himself a private eye in pursuit of criminals. With the dreamlike mystery of the city before him, he sets off alone, out into the streets of Manhattan, thrilling to a life of unsolved cases. Six decades later, Rosenblatt finds himself again patrolling the territory of his youth: The writing class he teaches has just wrapped up, releasing him into the winter night and the very neighborhood in which he grew up. A grown man now, he investigates his own life and the life of the city as he walks, exploring the New York of the 1950s; the lives of the writers who walked these streets before him, such as Poe and Melville; the great detectives of fiction and the essence of detective work; and the monuments of his childhood, such as the New York Public Library, once the site of an immense reservoir that nourished the city with water before it nourished it with books, and the Empire State Building, which, in Rosenblatt's imagination, vibrates sympathetically with the oversize loneliness of King Kong: "If you must fall, fall from me." As he walks, he is returned to himself, the boy detective on the case. Just as Rosenblatt invented a world for himself as a child, he creates one on this night—the writer a detective still, the chief suspect in the case of his own life, a case that discloses the shared mysteries of all our lives. A masterly evocation of the city and a meditation on memory as an act of faith, The Boy Detective treads the line between a novel and a poem, displaying a world at once dangerous and beautiful.

Much has been written about the girl sleuth in fiction, a feminist figure embodying all the potential wit and drive of girlhood. Her male counterpart, however, has received much less critical attention despite his popularity in the wider culture. This collection of 11 essays examines the boy detective and his genre from a number of critical perspectives, addressing the issues of these young characters, heirs to the patriarchy yet still concerned with first crushes and soda shop romances. Series explored include the Hardy Boys, Tow Swift, the Three Investigators, Christopher Cool and Tim Murphy, as well as works by Astrid Lindgren, Mark Haddon and Joe Meno.

Written by Ed Brubaker Cover by Dave McKean Art by Bryan Talbot & Steve Leialoha Collected for the first time, this tale stars Edwin and Charles from THE SANDMAN: SEASON OF MISTS. Their first case involves a string of grisly murders - and the immortal Hob Gadling. Written by Ed Brubaker (Captain America, SLEEPER). Advance-solicited; on sale August 13 - 104 pg, FC, $12.99 US - MATURE READERS

Perched somewhere between the now and nevermore the DEAD BOY DETECTIVES will take on any and all mysteries including their own untimely deaths!

This book maps the development of the boy detective in British children’s literature from the mid-nineteenth to the early-twentieth century. It explores how this liminal figure – a boy operating within a man’s world – addresses adult anxieties about boyhood and the boy’s transition to manhood. It investigates the literary, social and ideological significance of a vast array of popular detective narratives appearing in ‘penny dreadfuls’ and story papers which were aimed primarily at working-class boys. This study charts the relationship between developments in the representation of the fictional boy detective and changing expectations of and attitudes towards real-life British boys during a period where the boy’s role in the future of the Empire was a key concern. It emphasises the value of the early fictional boy detective as an ideological tool to condition boy readers to fulfil adult desires and expectations of what boyhood and, in the future, proper manhood should entail. It will be of particular importance to scholars working in the fields of children’s literature, crime fiction and popular culture.

The year is 1953. The Korean War is winding down. The Cold War is heating up. UFOs are appearing all over the world. Five flying saucers zoom across the skies of Tokyo. Then Ichiro Hirano's next-door neighbor is kidnapped by an alien lizard creature. That same creature is now stalking Ichiro's own sister. What do these space aliens hope to accomplish? Here again is the kind of mystery that only Kogoro Akechi and the Boy Detectives Club can hope to solve.

November, 1940. Tom Tyler, Detective Inspector of the small Shropshire town of Whitchurch, is a troubled man. The preceding summer had been a dark one for Britain, and even darker for Tom's own family and personal life. So he jumps at the opportunity to help out in the nearby city of Birmingham, where an explosion in a munitions factory has killed or badly injured several of the young women who have taken on dangerous work in support of the war effort. At first, it seems more than likely the explosion was an accident, and Tom has only been called in because the forces are stretched thin. But as he talks to the employees of the factory, inner divisions -- between the owner and his employees, between unionists and workers who fear communist infiltration -- begin to appear. Put that together with an AWOL young soldier who unwittingly puts all those he loves at risk and a charming American documentary filmmaker who may be much more than he seems, and you have a page-turning novel that bears all the hallmarks of Maureen Jennings' extraordinary talent: a multi-faceted mystery, vivid characters, snappy dialogue, and a pitch-perfect sense of the era of the Blitz, when the English were pushed to their limits and responded with a courage and resilience that still inspires.