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Heather Macy returns home to become a partner in her father's law firm in a city in southern Pennsylvania. Macy House is in a village across the Mason-Dixon line in Maryland. Heather's father, W. Henry Macy, inherited the General's Farm in 1973. The M-D line happens to run through it. Heather encounters two simultaneous murder investigations. The murders, separated by thirty years, were committed on the same spot, but the bodies were buried on opposite sides of the border. Heather meets a hermit who has been keeping a record for thirty years of visiting car license plates. He started the diary after the first murder. The DNA that the Pennsylvania police gathers matches the remain in the Maryland case. Heather unravels the DNA connection and locates both murder weapons. Henry's twin brother, Arthur, writes a deathbed letter identifying who, he believes, committed the 1973 murder. Some arrests are made. One testimony triggers a series of conspiracy confessions by others. One of the 2003 license plate numbers is an accurate but misleading clue.
New Yorker James Baldwin once declared that a black man can look at a map of the United States, contemplate the area south of the Mason-Dixon Line, and thus scare himself to death. In The Scary Mason-Dixon Line, renowned literary scholar Trudier Harris explores why black writers, whether born in Mississippi, New York, or elsewhere, have consistently both loved and hated the South. Harris explains that for these authors the South represents not so much a place or even a culture as a rite of passage. Not one of them can consider himself or herself a true African American writer without confronting the idea of the South in a decisive way. Harris considers native-born black southerners Raymond Andrews, Ernest J. Gaines, Edward P. Jones, Tayari Jones, Yusef Komunyakaa, Randall Kenan, and Phyllis Alesia Perry, and nonsouthern writers James Baldwin, Sherley Anne Williams, and Octavia E. Butler. The works Harris examines date from Baldwin's Blues for Mr. Charlie (1964) to Edward P. Jones's The Known World (2003). By including Komunyakaa's poems and Baldwin's play, as well as male and female authors, Harris demonstrates that the writers' preoccupation with the South cuts across lines of genre and gender. Whether their writings focus on slavery, migration from the South to the North, or violence on southern soil, and whether they celebrate the triumph of black southern heritage over repression or castigate the South for its treatment of blacks, these authors cannot escape the call of the South. Indeed, Harris asserts that creative engagement with the South represents a defining characteristic of African American writing. A singular work by one of the foremost literary scholars writing today, The Scary Mason-Dixon Line superbly demonstrates how history and memory continue to figure powerfully in African American literary creativity.
"A novel that is as moving as it is cerebral, as poignant as it is daring." - Michiko Kakutani, The New York Times "Mason & Dixon - like Huckleberry Finn, like Ulysses - is one of the great novels about male friendship in anybody's literature." - John Leonard, The Nation Charles Mason (1728–1786) and Jeremiah Dixon (1733–1779) were the British surveyors best remembered for running the boundary between Pennsylvania and Maryland that we know today as the Mason-Dixon Line. Here is their story as reimagined by Thomas Pynchon, featuring Native Americans and frontier folk, ripped bodices, naval warfare, conspiracies erotic and political, major caffeine abuse. Unreflectively entangled in crimes of demarcation, Mason & Dixon take us along on a grand tour of the Enlightenment’s dark hemisphere, from their first journey together to the Cape of Good Hope, to pre-Revolutionary America and back to England, into the shadowy yet redemptive turns of their later lives, through incongruities in conscience, parallaxes of personality, tales of questionable altitude told and intimated by voices clamoring not to be lost. Along the way they encounter a plentiful cast of characters, including Benjamin Franklin, George Washington, and Samuel Johnson, as well as a Chinese feng shui master, a Swedish irredentist, a talking dog, and a robot duck. The quarrelsome, daring, mismatched pair—Mason as melancholy and Gothic as Dixon is cheerful and pre-Romantic—pursues a linear narrative of irregular lives, observing, and managing to participate in the many occasions of madness presented them by the Age of Reason.
Spring fever has hit Luis Mendoza, both on the job and at home. But it hasn't erased the LAPD's endless caseload of bizarre crimes and difficult cases. 'Dapper Dan', the rapist and murderer whose dashing looks and easy charm give him the perfect ploy to trap his pretty victims; a stickup artist who has found a foolproof weapon: a ferocious Doberman; a gruesome double homicide-suicide with a weird twist; a senator's 'natural' death that suddenly doesn't appear so natural - all add up to a month of murder most strange, and Mendoza knows it's time to finally clean house. 'A Luis Mendoza mystery means superlative suspense' Los Angeles Times
Izzy McHale wants her new Trendy Tails Pet Boutique in Merryville, Minnesota, to be the height of canine couture and feline fashions. But at the store’s opening, it turns out it’s a human who’s dressed to kill… Izzy’s own beloved pets are dressed to the nines for the grand opening of Trendy Tails. Feisty feline Jinx is large and in charge, and happy mutt Packer is lapping up the attention. Izzy and her best friend Rena have their hands full meeting Merryville’s menagerie and serving tasty pupcakes and kitty canapes from their “barkery.” The last thing they need is the town’s local activist, Sherry Harper, scaring off customers and getting tongues wagging by picketing the event. The two manage to stop Sherry’s protest in its tracks, but the trouble for Trendy Tails is just beginning. Sherry is found murdered in back of the shop, and Rena is immediately named as the lead suspect. Now Izzy and her furry friends have a new pet project—collaring a killer. FIRST IN A NEW SERIES!
APRIL, 1861. As the Confederate cannon opens fire on Fort Sumter and the Civil War begins. A rebel officer on a courier run to the telegraph office, is murdered in a historic Charleston graveyard and his pouch of secret despatches stolen. How did he come to be there? Is it the work of a Union spy? Former Charleston Police Inspector and now Confederate Officer, Major Hugo Legare is assigned to the case. Meanwhile the civilian police arrest a young Jewish soldier, Simon Mendoza, and charge him with murder and espionage. The evidence against Mendoza is dangerously strong and anti-Semitic incitement fills the newspapers, feeding the fires of suspicion and bigotry. But Major Legare is not convinced. There are holes in the police case against Mendoza. Legare and his associate, scapegrace Irish nobleman Captain James Redmond, quickly turn up more than a few skeletons in the dead man's closet as well as a plethora of new suspects including a Boston abolitionist, the beautiful daughter of the city's most wealthy citizen, and one of their own brother officers. But while Legare hunts the killer through the gaslit streets of old Charleston, more bodies start piling up. Legare and Redmond must race against time to stop more murders and recover the vital documents which could change the course of the whole war.
Few episodes in the modern civil rights movement were more galvanizing than the 1964 brutal murders of Michael Schwerner, Andrew Goodman, and James Chaney. As we approach the 40th anniversary of the murders in June 2004, "Murder in Mississippi" provides a timely and telling reminder of the vigilance democracy requires if its ideals are to be fully realized.
First in a cozy mystery series: A railway engineer is riding on borrowed time as he turns amateur sleuth to solve the murder of a colleague. It’s a matter of routine for Ben Time, a seasoned locomotive engineer: pull thousands of tons of miscellaneous freight from Indianapolis to St. Louis day and night. But the impatience of an early morning rail yard delay turns to dread when Ben discovers that the train master has been found murdered. All signs point to a fellow engineer who had a knack for antagonizing anyone who stood in his way. Ben included. But Ben also believes the man isn’t guilty. Making peace with the prime suspect is only the beginning. Ben also has to clear his name. That means risking his own life to find out who wanted a co-worker dead, and who had the motives for framing an innocent man.
Mike Shayne has 24 hours to find out the truth and save a man from death row 3 years ago, Miami Chief of Detectives Peter Painter made the greatest arrest of his career—one that led to Sam Harris being put on death row for killing Rose Heminway’s husband. So when Harris’s wife discovers evidence that she believes could save her husband’s life, Painter does what any corrupt cop would: He sits on the evidence, waiting for the electric chair to do its work. Finally, Mrs. Harris has no choice. She contacts Heminway, who was never fully convinced of Sam’s guilt, though she testified against him, and they take the final course of action of desperate women across Miami: They hire Mike Shayne. The most daring detective in the United States, Shayne has just 24 hours to clear Harris’s name, or an innocent man will fry. Saving Harris will mean the wrath of the entire Miami police department, but Shayne isn’t worried. He’s tougher than any electric chair. Murder in Haste is the 39th book in the Mike Shayne Mysteries, but you may enjoy reading the series in any order.
Winner of the 2004 C. Hugh Holman Award from the Society for the Study of Southern Literature. Seems Like Murder Here offers a revealing new account of the blues tradition. Far from mere laments about lost loves and hard times, the blues emerge in this provocative study as vital responses to spectacle lynchings and the violent realities of African American life in the Jim Crow South. With brilliant interpretations of both classic songs and literary works, from the autobiographies of W. C. Handy, David Honeyboy Edwards, and B. B. King to the poetry of Langston Hughes and the novels of Zora Neale Hurston, Seems Like Murder Here will transform our understanding of the blues and its enduring power.