Rebecca Martin

Roman

Und alle so yeah!

Frühling und so

Nacktschnecken

Meghan P. Nolan

This volume argues that we must examine the boundaries in fiction and non-fiction crime writing with an awareness of and turn toward the unseen structures and spatial uncertainties that so often lead to and reflect collective fears and anxieties. Drawing upon the insights and expertise of an international array of scholars, the chapters within explore the interplay of the literary, historical, social, and cultural in various modes of crime writing from the 1890s to as recent as 2017. They examine unseen structures and uncertain spaces, and simultaneously provide new insights into the works of iconic authors, such as Christie, and iconic fictional figures, like Holmes, as well as underexplored subjects, including Ukrainian detective fiction of the Soviet period and crime writing by a Bengali police detective at the turn of the twentieth century. The breadth of coverage—of both time and place—is an indicator of a text in which seasoned readers, advanced students, and academics will find new perspectives on crime writing employing theories of cultural memory and deep mapping.

Unseen Structures and Uncertain Spaces

The Crossroads of Crime Writing

DNA replication is an essential process that is highly conserved in form and function throughout eukaryotes. However, budding yeast differ from higher eukaryotes in that their origins of replication are defined by sequence. This unique feature has long been a tool in the study of replication, but what drives origin sequence-specificity remained unclear until cryo-EM structures of the Saccharomyces cerevisiae Origin Recognition Complex (ORC) revealed base-specific contacts between origin DNA and ORC subunits 1, 2, and 4. Orc4 makes the most substantial contact through a long unstructured loop capped by an alpha helix termed the insertion helix (IH). I tested the hypothesis that the Orc4-IH drives sequence specificity of budding yeast origins by replacing the Orc4-IH in S. cerevisiae with the corresponding sequence in Lachancea waltii and by deleting the alpha helix of the Orc4-IH. I found that the chimeric Orc4-IH enabled recognition of L. waltii specific plasmids while the Orc4-IH deletion reduced plasmid retention. Both strains exhibited altered genome-wide origin usage and pre-replication complex loading. In addition, I made a complementary chimeric mutation in Orc1 and tested its impact on origin sequence specificity alone and in combination with the chimeric Orc4-IH. I found that on its own, the Orc1 chimera is unable to recognize L. waltii plasmids but does show altered origin usage. However, when in conjunction with the Orc4-IH chimera, L. waltii plasmid retention was even greater, as was S. cerevisiae plasmid retention and origin function. It appears that while Orc4 alone is sufficient to alter origin specificity, complementary changes to Orc1 may stabilize overall ORC binding. In addition to this work, I also helped obtain evidence for intermediates of the origin dependent inverted repeat amplification (ODIRA) model in a yeast strain engineered to select for interchromosomal amplification events. We found that genetic alterations consistent with ODIRA did occur and that induction of double stranded breaks did not increase these events, further suggesting that these events were caused by a replication error rather than through repair of double-stranded DNA breaks.

On the Replication Origin Specificity of Yeast Species

Sixteen-year-old Peter strains his eyes down the mountain. Six painful weeks have passed since his minister father was rudely torn from his life by Anabaptist hunters. How will Peter and his family survive amidst the hardship, betrayal and persecution of sixteenth-century European Anabaptism? Always hunted and ever moving, yet always trusting in God. Amidst the heartache, Peter turns prodigal. Will he turn back to the church of his father or will he follow the ways of the medieval world?

The Brickmakers

Frankfurt. Elisabeth Kramer, einst eine berühmte Schauspielerin, ist entsetzt als sie von den Plänen ihrer Nichte erfährt. Diese möchte eine Festschrift zum 90. Jubiläum des Lichtspieltheaters Odeon schreiben lassen. Elisabeths Vater gründete das Odeon einst, und die alte Frau fürchtet, dass mit den Recherchen ihre Vergangenheit aufgerührt wird. Eine Vergangenheit, die sie seit Jahrzehnten verdrängt hat - und damit eine lang zurückliegende Schuld ... Die Geschichte nahm ihren Anfang im Jahr 1923 als die forsche und doch verletzliche Tonja in Elisabeths Klasse kam. Eine tiefe Freundschaft begann – und sie endete in einer Katastrophe.

Rebecca Martin

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