The Corpse In The Kitchen

Reassessing the archive of the Black Hawk War, The Corpse in the Kitchen explores relationships between the enclosure of Indigenous land, histories of resource extraction, and the literary culture of settler colonialism. While conventional histories of the Black Hawk War have long treated the conflict as gratuitous, Adam John Waterman argues that the war part of a struggle over the dispensation of mineral resources specifically, mineral lead—and the emergence of new cultures of killing and composition. The elemental basis for the fabrication of bullets, lead drawn from the mines of the upper Mississippi, contributed to the dispossession of Indigenous peoples through the consolidation of U.S. control over a vital military resource. Rendered as metallic type, Mississippian lead contributed to the expansion of print culture, providing the occasion for literary justifications of settler violence, and promulgating the fiction of Indigenous disappearance. Treating the theft and excarnation of Black Hawk’s corpse as coextensive with processes of mineral extraction, Waterman explores ecologies of racial capitalism as forms of inscription, documentary traces written into the land. Reading the terrestrial in relation to more conventional literary forms, he explores the settler fetishization of Black Hawk’s body, drawing out homoerotic longings that suffuse representations of the man and his comrades. Moving from print to agriculture as modes of inscription, Waterman looks to the role of commodity agriculture in composing a history of settler rapine, including literal and metaphoric legacies of anthropophagy. Traversing mouth and stomach, he concludes by contrasting forms of settler medicine with Black Hawk’s account of medicine as an embodied practice, understood in relation to accounts of dreaming and mourning, processes that are unforgivably slow and that allow time for the imagination of other futures, other ways of being.

A Chicago cad blackmails a torch singer in this thriller: “Why can’t all murders be as funny as those concocted by Craig Rice?” (The New York Times) Radio star Nelle Brown is known coast-to-coast for her sweet and sultry voice. But her press agent and manager, Jake Justus, is familiar with another side of the darling of the airwaves: her crackpot marriage to a penniless tycoon, disastrous string of lovers, and propensity for flying into spectacular fits of rage. Now, it appears she’s being burned by an ex-flame who’s holding her scandalous love letters for ransom. The missives could ruin Nelle’s career, but so could the scoundrel’s murder. For Nelle and Jake, reporting the crime is out of the question—not to mention pointless, as the corpse has vanished along with the incriminating evidence. John J. Malone, Chicago’s rumpled yet resourceful legal beagle is tasked with finding both. But as every new unscrupulous lead turns up dead, Malone isn’t sure whether Nelle is orchestrating a killer cover-up to save her pretty neck or if she’s about to belt out her own swan song. The first writer of detective fiction to appear on the cover of Time magazine, former crime reporter “Craig Rice was a funny lady, [and] a good writer undeservedly forgotten . . . She’s worth remembering” (Jon L. Breen, Edgar Award–winning author). The Corpse Steps Out is the 1st book in the John J. Malone Mysteries, but you may enjoy reading the series in any order.

This book is a clean Cozy Mystery short story that does not contain any foul language, sexual situations, witches, or paranormal events. After the recent death of another proprietor in the small town of Elkridge Violet decided it was time to invest in a security system for Mother Earth's Kitchen. Violet has been assured that even with her lack of technology skills this new gadget should bring her peace of mind. Will that new security system give her the peace of mind she's looking for, or could it result another dead body?

The world is upside down. The emerging market countries are more important than many investors realise. They have been catching up with the West over the past few decades. Greater market freedom has spread since the end of the Cold War, and with it institutional changes which have further assisted emerging economies in becoming more productive, flexible, and resilient. The Western financial crisis from 2008 has quickened the pace of the relative rise of emerging markets - their relative economic power, and with it political power, but also their financial power as savers, investors and creditors. Emerging Markets in an Upside Down World - Challenging Perceptions in Asset Allocation and Investment argues that finance theory has misunderstood risk and that this has led to poor investment decisions; and that emerging markets constitute a good example of why traditional finance theory is faulty. The book accurately describes the complex and changing global environment currently facing the investor and asset allocator. It raises many questions often bypassed because of the use of simplifying assumptions and models. The narrative builds towards a checklist of issues and questions for the asset allocator and investor and then to a discussion of a variety of regulatory and policy issues. Aimed at institutional and retail investors as well as economics, finance, business and international relations students, Emerging Markets in an Upside Down World covers many complex ideas, but is written to be accessible to the non-expert.

A sharp commentary on race relations in pre-Katrina New Orleans and a fast ride through the dark side of haute cuisine. Liquor has become one of the hottest restaurants in town, thanks in part to chefs Rickey and G-man’s wildly creative, booze-laced food. At the tail end of a busy Mardi Gras, Milford Goodman walks into their kitchen—he’s spent the last ten years in Angola Prison for murdering his boss, a wealthy New Orleans restaurateur, but has recently been exonerated on new evidence and released. Rickey remembers him as an ingenious chef and hires him on the spot. When a pill-pushing doctor and a Carnival scion talk Rickey into consulting at the restaurant they’re opening in one of the city’s “floating casinos,” Rickey recommends Milford for the head chef position and stays on to supervise. But soon Rickey finds himself medicating a kitchen injury with the doctor’s wares, and G-man grows tired of holding down the fort at Liquor alone. As the new restaurant moves toward its opening, Rickey learns that Milford’s past is inextricably linked with one of the project’s backers, a man whose intentions begin to seem more and more sinister.

The Donors takes the concept of organized crime to a new and horrifying level. When an LA based crime sydicate made up of thugs, corrupt cops, and evil doctors, starts to sell stolen organs on the black market, their operation is comprimised by an unknowing local talent agent, Sonny Davis. When Davis¡_ family gets trapped in the web of crime, his fiancee is kidnapped and his life is threatened. Will he be able to discover who¡_s behind the threat to kill him in time to save his life and family?

A reformed ex-con uncovers murder in his small-town New England garden in this 1956 hard-boiled mystery by the author of Waterfront. After spending time in Europe and Africa—and inside a British prison—Don Ivy is back in his New England hometown, the village of Newbury. He recently inherited the family estate, and now that winter is over and spring has sprung, it’s time for him to tidy up the yard. Unfortunately, someone’s left a corpse in one of the flower beds. When the police arrive, they’re quickly suspicious of Ivy due to his troubling reputation. It also doesn’t help Don’s case when more bodies begin to appear. So, with the authorities in an uproar, he begins searching for answers to clear his name. And if Ivy doesn’t uncover the truth soon, the cops will certainly lock him up—or someone will ensure he takes a long dirt nap.