Thanks to his horrifying physiognomy, which conceals the softest of hearts, he wins a job as manager of a movie house. It is a flea pit, a vile retreat for predatory children, a place where thugs relax between felonies. Its owner, Sam Yudenow, is a sort of philosopher. At first Laverock is dazzled by Sam, by his splendidly garbled speech, his flawless depravity, his complete emancipation from decent instincts. But not for long. Soon he is leading a group seeking to overthrow the vicious tyrant. Fowlers End is a black comic masterpiece filled with exuberant language and outrageous characters.

    And The Mystic Arts of Erasing All Signs of Death is the type of story–swift, twisted, hilarious, somehow hopeful—that only he could dream up.The fact is, whether it’s a dog hit by a train or an old lady who had a heart attack on the can, someone has to clean up the nasty mess. And that someone is Webster Fillmore Goodhue, who just may be the least likely person in Los Angeles County to hold down such a gig. With his teaching career derailed by tragedy, Web hasn’t done much for the last year except some heavy slacking. But when his only friend in the world lets him know that his freeloading days are over, and he tires of taking cash from his spaced-out mom and refuses to take any more from his embittered father, Web joins Clean Team—and soon finds himself sponging a Malibu suicide’s brains from a bathroom mirror, and flirting with the man’s bereaved and beautiful daughter.Then things get weird: The dead man’s daughter asks a favor. Her brother’s in need of somebody who can clean up a mess. Every cell in Web’s brain tells him to turn her down, but something else makes him hit the Harbor Freeway at midnight to help her however he can. Is it her laugh? Her desperate tone of voice? The chance that this might be history’s strangest booty call? Whatever it is, soon enough it’s Web who needs the help when gun-toting California cowboys start showing up on his doorstep. What’s the deal? Is it something to do with what he cleaned up in that motel room in Carson? Or is it all about the brewing war between rival trauma cleaners? Web doesn’t have a clue, but he’ll need to get one if he’s going to keep from getting his face kicked in. Again. And again. And again.Full of black humor, stunning violence, singular characters, and neon dialogue, The Mystic Arts of Erasing All Signs of Death is classic Charlie Huston: a wild ride that’ll leave you breathless and shaken, grinning and begging for more.

    It’s even harder for a robot named Mack Megaton, a hulking machine designed to bring mankind to its knees. But Mack’s not interested in world domination. He’s just a bot trying to get by, trying to demonstrate that he isn’t just an automated smashing machine, and to earn his citizenship in the process. It should be as easy as crushing a tank for Mack, but some bots just can’t catch a break.When Mack’s neighbors are kidnapped, Mack sets off on a journey through the dark alleys and gleaming skyscrapers of Empire City. Along the way, he runs afoul of a talking gorilla, a brainy dame, a mutant lowlife, a little green mob boss, and the secret conspiracy at the heart of Empire’s founders---not to mention more trouble than he bargained for. What started out as one missing family becomes a battle for the future of Empire and every citizen that calls her home.

    He asked his friend and colleague (and fellow Mystery Writers of America Grand Master) Max Allan Collins to take responsibility for finding the right time and place to publish this final book. Now, on the hundredth anniversary of Spillane's birth, his millions of fans will at last get to read The Last Stand, together with a second never-before-published work, this one from early in Spillane's career: the feverish crime novella A Bullet For Satisfaction.A tarnished former cop goes on a crusade to find a politician's killer and avoid the .45-caliber slug with his name on it. A pilot forced to make an emergency landing in the desert finds himself at the center of a struggle between FBI agents, unsavory fortune hunters, and members of the local Indian tribe to control a mysterious find that could mean wealth and power - or death. Two substantial new works filled with Spillane's muscular prose and the gorgeous women and two-fisted action the author was famous for, topped off by an introduction from Max Allan Collins describing the history of these lost manuscripts and his long relationship with the writer who was his mentor, his hero, and for much of the last century the bestselling author in the world.

    The high spot of Teddy Folger's life was the day in 1954 that he got an autographed baseball card from Joe DiMaggio himself. It's been downhill ever since. Which is why he just unloaded his freeloading wife and torched his own comic-book store–in one of the stupidest insurance scams in history. Enter Conner Samson. The down-on-his-luck repo man has just been hired to repossess Teddy's boat. Little does he know there's a baseball card on board that some men are willing to kill for. Thus begins a rip-roaring cross-country odyssey–and with bodies piling up, the squeeze is on for the penultimate piece of Americana. And Conner will be lucky if he ends up back where he started: broke and (still) breathing.From the Hardcover edition.

    It’s the long drop off the short pier and the wrong man and the wrong woman in perfect misalliance. It’s the nightmare of flawed souls with big dreams and the precise how and why of the all-time sure thing that goes bad.” Offering the best examples of literary sure things gone bad, this collection ensures that nowhere else can readers find a darker, more thorough distillation of American noir fiction.James Ellroy and Otto Penzler, series editor of the annual The Best American Mystery Stories, mined one hundred years of writing—1910–2010—to find this treasure trove of thirty-nine stories. From noir’s twenties-era infancy come gems like James M. Cain’s “Pastorale,” and its post-war heyday boasts giants like Mickey Spillane and Evan Hunter. Packing an undeniable punch, diverse contemporary incarnations include Elmore Leonard, Patricia Highsmith, Joyce Carol Oates, Dennis Lehane, and William Gay, with many page-turners appearing in the last decade.

    Soon Devlin is forced to again face a past he'd hoped to leave behind, as a member of a mercenary force that helped put a brutal South American dictator into power. Tracy Quinn is an investigative reporter at a struggling Philadelphia newspaper decimated by layoffs and cutbacks. Then one day what appears to be a straightforward homicide--a body left in an abandoned rowhouse--draws her and Devlin together, and ultimately enmeshes both in a conspiracy that stretches over twenty years and reaches to the highest levels of the U.S. government.Before long, they're both the targets of a ruthless assassin haunted by his own wartime experiences. For Devlin, it could all mean a last shot at redemption. For Tracy, the biggest story of her career might just cost her life.

    His conventional life knocked off the rails, Gerfaut turns the tables and sets out to track down his pursuers. Along the way, he learns a thing or two about himself. . . . Manchette—masterful stylist, ironist, and social critic—limns the cramped lives of professionals in a neoconservative world."Manchette has appropriated and subverted the classic thriller [with] descriptions of undiluted action, violence and suspense [and] a perspective on evil, a disenchanted world of manipulation and fury . . . ." —Times Literary Supplement"The petty exigencies of the classic thriller find themselves summarily reduced to cremains by the fiery blue jets of Jean-Patrick Manchette's concision, intelligence, tension, and style." —Jim Nisbet, author of Lethal Injection and Prelude to a Scream"Manchette is a must for the reading lists of all noir fans. . . . Manchette deserves a higher profile among noir fans." —Publishers Weekly"Manchette . . . performs miracles within this simple story. His style is very matter of fact, stark and almost cool like the jazz his hero or anti-hero Gerfaut devours at every opportunity. Yet in this short novel there is no lack of atmosphere, excitement, characters or descriptive writing, it is just the total lack of unnecessary material that makes the story seem so lean and mean." —Norman Price, EuroCrime"A social satire cum suspense equally interested in dissecting everyday banalities and manufacturing thrills. Writing with economy, deadpan irony, and an eye for the devastating detail, Manchette spins pulp fiction into literature." —Kirkus Reviews"While there isn’t much that’s obviously moral—in the good-versus-evil sense—[this novel] demonstrate[s] why Manchette is hailed as the man who kicked the French crime novel or “polar” out of the apolitical torpor into which it had fallen by the time he started publishing his “neo-polars” in the 1970s. . . . Grim and cerebral as they feel, it’s remarkable how comic—in an absurdist, laugh-or-you’ll-cry way—these books are, as if Manchette had decided that poking fun at the products of the capitalist system were the fittest way to attack the system itself." —Jennifer Howard, Boston Review"The pace is fast, the action sequences are superb, and the effect is just as striking as it must have been when the book was first published in 1976." —Laura Wilson, The Guardian"[T]he novel is brilliantly written, replete with allusions to art, literature, and music, papered with the very texture and furniture of our lives. Manchette is Camus on overdrive, at one and the same time white-hot, ice-cold. He deserves much the same attention." —James Sallis, Review of Contemporary FictionJean-Patrick Manchette (1942—1995) rescued the French crime novel from the grip of stodgy police procedurals — restoring the noir edge by virtue of his post-1968 leftism. Today, Manchette is a totem to the generation of French mystery writers who came in his wake. Jazz saxophonist, political activist, and screen writer, Manchette was influenced as much by Guy Debord as by Gustave Flaubert. City Lights has published more of work, including The Gunman.

    It begins with a beautiful woman dead, murdered—Vassilia Caroline Baird, known to all simply as V. That’s where this extraordinary novel begins. But the story it tells begins years earlier, on a struggling farm in the shadow of the Great Depression and among the brawling "cat skinners" of Southern California, driving graders and bulldozers to tame the American West. And the story that unfolds, in the masterful hands of acclaimed author Oakley Hall, is a lyrical outpouring of hunger and grief, of jealousy and corruption, of raw sexual yearning and the tragedy of the destroyed lives it leaves in its wake. Unpublished for more than half a century, SO MANY DOORS is Hall’s masterpiece, an excoriating vision of human nature at its most brutal, and one of the most powerful books you will ever read.

      Together they hatch an ingenious scheme to get rid of her husband. But in life as in poker, the other player sometimes has an ace up his sleeve.

    Sughrue, a Montana investigator who kills time by working at a topless bar. Hired to track down a derelict author, he ends up on the trail of a girl missing in Haight-Ashbury for a decade. The tense hunt becomes obsessive as Sughrue takes a haunting journey through the underbelly of America's sleaziest nightmares.

    He's escaped from a mental hospital up north and hitchhiked his way south, the voice of his dead brother urging him on. But when Charlie hits Memphis, the fine line between his delusions and reality shift in the form of the Reverend Phineas Childe-a preacher bent on booze and women; a Man of God with a dark agenda. Charlie is the perfect pawn in the Reverend's game of retribution. And the small North Mississippi town of Cuba Landing will be the setting for the Reverend's very personal Apocalypse. . . .

    But he’s also got a mistress.  And when Jake’s mistress is found strangled to death with his necktie, it’s up to him to prove he didn’t do it. But how can he, when all the evidence says he did? Jake races to reveal the secret conspiracy against him.  But with every step, the noose is tightening, and all of Jake’s resourcefulness may not be enough to save him?

    His latest gig comes replete with an illegally squatting B-movie actress who rants about hit men who specialize in making deaths look like accidents. Unfortunately, it's the real deal. Hardie finds himself squared off against a small army of the most lethal men in the world: The Accident People.It's nothing personal-the girl just happens to be the next name on their list. For Hardie, though, it's intensely personal. He's not about to let more innocent people die. Not on his watch.

    Frank's car was found at the bottom of a cliff, with him inside. Jack thinks that Frank's death is suspicious, so he decides to talk to a few people. Frank was a mild man and did as he was told, but Jack's not a bit like that.