Contemporary cozies, such as Rosemary Harris's Pushing Up Daisies and Blaize Clement's Even Cat Sitters Get the Blues, are reinventing themselves with likable female amateur sleuths who are smarter, less nosey, and able to work their investigations plausibly into their daily routines. Male authors are also looking for ways to refresh tried-and-true private eye stories and police proce-durals. David Fulmer (The Blue Door) shifts from 1907 New Orleans to 1960s Philadelphia and a boxer-turned-PI. The softer side of male sleuths comes out in Jim Kelley's Philip Dryden (The Skeleton Man), who has given up a high-powered Fleet Street job to care for his disabled wife, and James Patrick Hunt's police officers (Goodbye Sister Disco) don't wallow in self-pity and depression but function as parents and responsible citizens.
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机译：诸如罗斯玛丽·哈里斯（Rosemary Harris）的《推挤雏菊》（Push up Up Daisies）和布莱兹·克莱门特（Blaize Clement）的《偶遇猫保姆》（Even Cat Sitters Get the Blues）等当代杂志正在用可爱的女性业余侦探改造自己，这些侦探们更聪明，不流鼻涕，并且能够合理地将调查工作纳入日常工作。男性作家也在寻找刷新久经考验的私家侦探故事和警察程序的方法。大卫·富尔默（蓝色之门）从1907年的新奥尔良转移到1960年代的费城，并由拳击手转为PI。男性侦探的柔软一面来自吉姆·凯利（Jim Kelley）的菲利普·德莱顿（Philip Dryden）（《骷髅人》），他放弃了高能级的舰队街工作来照顾他的残疾妻子，而詹姆斯·帕特里克·亨特（James Patrick Hunt）的警察（再见姐姐·迪斯科）则没有沉迷于自怜和沮丧中，但充当父母和负责任的公民。
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