Parker's got a couple of rules that have helped keep him alive throughout his long career. One of those is never to work on a boat. But with a gambling boat cruising down the Hudson, stuffed to the gunwales with cash, Parker’s got a plan, a team, and a new rule: a shot at a big enough score makes any rule worth breaking. Parker and his crew hit the boat, hard, but as always, there are a lot of complications—and a lot of bodies—before this one's in the bag.

A grisly death near her new homestead draws Brigid Reardon into a complicated mystery soon after her arrival in Cheyenne, Wyoming, in 1881
 

After the harrowing events that entangled her in Deadwood, Brigid Reardon just wants to move west and get on with her new life in America. But shortly after traveling to Cheyenne to join her brother Seamus, she finds herself caught up in another deadly mystery—beginning with her discovery of a neighbor’s body on the plains near their homes. Was Ella murdered? Are either of the two men in Ella’s life responsible? With Seamus away on a cattle drive, her friend Padraic possibly succumbing to a local’s charms, and the sheriff seemingly satisfied with Ella’s fate, it falls to Brigid to investigate what really happened, which puts her in the crosshairs of one of Cheyenne’s cattle barons, called “big sugars” in these parts. All she really wants is something better than a crumbling, soddy homestead on the desolate plains of Wyoming—and maybe, just maybe, she wants Padraic—but life, it seems, has other plans: this young immigrant from Ireland is going to be a detective on the western frontier of 1880s America, even if it kills her.

Loosely based on the true story of Ellen Watson in Cheyenne in 1889, The Big Sugar continues the adventure begun in Mary Logue’s celebrated mystery The Streel, which introduced a “gritty, charming, clever protagonist” (Kirkus Reviews). With a faultless sense of history, a keen eye for suspense, and a poet’s way with prose, Mary Logue all but guarantees that readers, like Brigid, will find the mystery at the heart of The Big Sugar downright irresistible.

Winner, Modern Language Association Prize in United States Latina and Latino and Chicana and Chicano Literary and Cultural Studies, 2006

Popular fiction, with its capacity for diversion, can mask important cultural observations within a framework that is often overlooked in the academic world. Works thought to be merely "escapist" can often be more seriously mined for revelations regarding the worlds they portray, especially those of the disenfranchised. As detective fiction has slowly earned critical respect, more authors from minority groups have chosen it as their medium. Chicana/o authors, previously reluctant to write in an underestimated genre that might further marginalize them, have only entered the world of detective fiction in the past two decades.

In this book, the first comprehensive study of Chicano/a detective fiction, Ralph E. Rodriguez examines the recent contributions to the genre by writers such as Rudolfo Anaya, Lucha Corpi, Rolando Hinojosa, Michael Nava, and Manuel Ramos. Their works reveal the struggles of Chicanas/os with feminism, homosexuality, familia, masculinity, mysticism, the nationalist subject, and U.S.-Mexico border relations. He maintains that their novels register crucial new discourses of identity, politics, and cultural citizenship that cannot be understood apart from the historical instability following the demise of the nationalist politics of the Chicana/o movement of the 1960s and 1970s. In contrast to that time, when Chicanas/os sought a unified Chicano identity in order to effect social change, the 1980s, 1990s, and 2000s have seen a disengagement from these nationalist politics and a new trend toward a heterogeneous sense of self. The detective novel and its traditional focus on questions of knowledge and identity turned out to be the perfect medium in which to examine this new self.

The sixteenth Parker novel, Butcher’s Moon is more than twice as long as most of the master heister’s adventures, and absolutely jammed with the action, violence, and nerve-jangling tension readers have come to expect. Back in the corrupt town where he lost his money, and nearly his life, in Slayground, Parker assembles a stunning cast of characters from throughout his career for one gigantic, blowout job: starting—and finishing—a gang war. It feels like the Parker novel to end all Parker novels, and for nearly twenty-five years that’s what it was. After its publication in 1974, Donald Westlake said, “Richard Stark proved to me that he had a life of his own by simply disappearing. He was gone.”
 
Featuring a new introduction by Westlake’s close friend and writing partner, Lawrence Block, this classic Parker adventure deserves a place of honor on any crime fan’s bookshelf. More than thirty-five years later, Butcher’s Moon still packs a punch: keep your calendar clear when you pick it up, because once you open it you won’t want to do anything but read until the last shot is fired.