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Intrepid young curator-turned-private eye Jenna Murphy—whom readers first met in A Head in Cambodia—goes to the tourist town of Ubud to study early twentieth-century Balinese painting. But her first discovery when she arrives in Indonesia is the speared body of expat artist Flip Hendricks. She soon is working with an old friend, a detective for the Ubud police force, to seek the killer. Jenna suspects the motive for the killing has to do with Flip’s paintings. Detective Wayan Tyo is not so sure.

Is Jenna right, or are there other forces at work in this paradise overrun with tourists? The threats to Jenna’s safety pile up, until she can no longer deny that her life is in danger. Her entanglement with various men only clouds her judgment and complicates the situation.

As she did in the first Jenna Murphy book, in A Death in Bali, Nancy Tingley draws on her extensive experience as a scholar of Asian art to bring the armchair traveler an immersive, inside view of the art world.

This work constitutes the first book-length examination of Balinese kinship in English and an important theoretical analysis of the central ethnographic concept of "kinship system." Hildred and Clifford Geertz's findings challenge the prevailing anthropological notion of a kinship system as an autonomous set of institutionalized social relationships. Their research in Bali suggests that kinship cannot be studied in isolation but must be perceived as a symbolic subsystem governed by ideas and beliefs unique to each culture.

In 1908, the ruler of the Balinese realm of Klungkung and more than 100 members of his family and court were massacred when they marched deliberately into the fire of the Dutch colonial army. The question of what their action meant and its continued significance in contemporary Klungkung forms the basis of Margaret Wiener's complex anthropolological history.

Wiener challenges colonial and academic claims that Klungkung had no "real" power and argues that such claims enabled colonial domination. By focusing on Balinese discourses she makes clear the choices open to Balinese, both at the time of the Dutch conquest and in its narration. At the same time, she shows how these discourses, which revolve around magical weapons acquired from invisible agents such as gods, spirits, and ancestors, offer an alternative understanding of Klungkung's power.

Moving between Balinese and Dutch narratives and between past and present, Wiener critiques colonial accounts by recounting Balinese memories and interpretations. Her attention to history and local situations illuminates the ways in which colonialism and orientalist scholarship have obscured the power of indigenous rulers and shows how Klungkung, once Bali's paramount realm, was relegated to a peripheral corner of the Indonesian nation-state. Both as a fascinating story and as a rich example of interdisciplinary scholarship, this book will interest students of colonialism, anthropology, history, religion, and Southeast Asia.