I n her study, Lesbian Detective Fiction, Phyllis M. Betz suggest that lesbian authors succeeded in co-opting the detective novel and using it to turn a subject position considered socially aberrant and quasi-criminal-queer identity-into one that was normal or generic. 1 In comparison to the evidently thriving subgenre of lesbian detective fiction, there are few explicitly Muslim detective novels. Anthony Slide notes that through the 1970s, queerness in mystery novels was considered a quasi-criminal state. 2 In much the same way, being Muslim in many contemporary thrillers and detective fiction is to be in a quasi-criminal state. In what follows, I argue that by positioning the hero in her detective series as explicitly Muslim-and moreover, as a believing Muslim-Canadian author Ausma Zehanat Khan works toward de-criminalizing Muslim identity.John Cawelti, for his part, in a wide-ranging study of the adventure, mystery, and romance genres, notes that classic crime fiction affirms the principal that crime is a matter of individual motivations-the handiwork of a few bad apples-and thus reaffirms the validity of the existing social order. 3 Muslim characters, often but not always conflated with Arabs, have regularly been the criminals in English-language crime fiction, something that has been noted in the work of Jack Shaheen, L. K. Fuller, and others. 4 And yet, in Betz's view, these popular genres can also shift perceptions of criminality. She writes:This ability of popular genres to address and accept change brings us full circle to the purpose and value of such literature. The normalizing function of the reliance on formula and repetition gives popular fiction the ability to contain the potentially dangerous