This novel of the drug trade takes you deep inside a world riddled with corruption, betrayal, and bloody revenge. Art Montana is an obsessive DEA agent. The Barrera brothers are heirs to a drug empire. Nora Hayden is a jaded teenager who becomes a high-class hooker. Father Parada is a powerful and incorruptible Catholic priest. Callan is an Irish kid from Hell’s Kitchen who grows up to be a merciless hitman. And they are all trapped in the world of the Mexican drug Federaci. From the streets of New York City to Mexico City and Tijuana to the jungles of Central America, this is the war on drugs like you’ve never seen it.

    This collection, the first of a two-volume omnibus, presents four classics of the 1940s overdue for fresh attention. Anticipating the “domestic suspense” novels of recent years, these four gripping tales explore the terrors of the mind and of family life, of split personality and conflicted sexual identity.Vera Caspary’s Laura (1943) begins with the investigation into a young woman’s murder and blossoms into a complex study, told from multiple viewpoints, of the pressures confronted by a career woman seeking to lead an independent life. Source of the celebrated film by Otto Preminger, Caspary’s novel has depths and surprises of its own. As much a novel of manners as of mystery, it remains a superb evocation of a vanished Manhattan.Helen Eustis’s The Horizontal Man (1946) won an Edgar Award for best first novel and continues to fascinate as a singular mixture of detection, satire, and psychological portraiture. A poet on the faculty of an Ivy League school (modeled on Eustis’s alma mater, Smith College) is found murdered, setting off ripple effects of anxiety, suspicion, and panic in the hothouse atmosphere of an English department rife with talk of Freud and Kafka.With In a Lonely Place (1947), Dorothy B. Hughes created one of the first full-scale literary portraits of a serial murderer. The streets of Los Angeles become a setting for random killings, and Hughes ventures, with unblinking exactness, into the mind of the killer. In the process she conjures up a potent mood of postwar dread and lingering trauma.Raymond Chandler called Elisabeth Sanxay Holding “the top suspense writer of them all.” In The Blank Wall (1947) she constructs a ferociously taut drama around the plight of a wartime housewife forced beyond the limits of her sheltered domestic world in order to protect her family. The barely perceptible constraints of an ordinary suburban life become a course of obstacles that she must dodge with the determination of a spy or criminal.Psychologically subtle, socially observant, and breathlessly suspenseful, these four spellbinding novels recapture a crucial strain of American crime writing.

    In achieving for himself the opulent life that he was denied as a child, Ripley shows himself to be a master of illusion and manipulation and a disturbingly sympathetic combination of genius and psychopath. As Highsmith navigates the mesmerizing tangle of Ripley's deadly and sinister games, she turns the mystery genre inside out and takes us into the mind of a man utterly indifferent to evil.The Talented Mr. RipleyIn a chilling literary hall of mirrors, Patricia Highsmith introduces Tom Ripley. Like a hero in a latter-day Henry James novel, is sent to Italy with a commission to coax a prodigal young American back to his wealthy father. But Ripley finds himself very fond of Dickie Greenleaf. He wants to be like him--exactly like him. Suave, agreeable, and utterly amoral, Ripley stops at nothing--certainly not only one murder--to accomplish his goal. Turning the mystery form inside out, Highsmith shows the terrifying abilities afforded to a man unhindered by the concept of evil.Ripley Under GroundIn this harrowing illumination of the psychotic mind, the enviable Tom Ripley has a lovely house in the French countryside, a beautiful and very rich wife, and an art collection worthy of a connoisseur. But such a gracious life has not come easily. One inopportune inquiry, one inconvenient friend, and Ripley's world will come tumbling down--unless he takes decisive steps. In a mesmerizing novel that coolly subverts all traditional notions of literary justice, Ripley enthralls us even as we watch him perform acts of pure and unspeakable evil.Ripley's GameConnoisseur of art, harpsichord aficionado, gardener extraordinaire, and genius of improvisational murder, the inimitable Tom Ripley finds his complacency shaken when he is scorned at a posh gala. While an ordinary psychopath might repay the insult with some mild act of retribution, what Ripley has in mind is far more subtle, and infinitely more sinister. A social slight doesn't warrant murder of course-- just a chain of events that may lead to it.

    Behind everything crouched the brooding, festering horror of the ancient town, and of the moldy, unhallowed garret gable where he wrote and studied and wrestled with figures and formulae when he was not tossing on the meager iron bed. His ears were growing sensitive to a preternatural and intolerable degree, and he had long ago stopped the cheap mantel clock whose ticking had come to seem like a thunder of artillery. At night the subtle stirring of the black city outside, the sinister scurrying of rats in the wormy partitions, and the creaking of hidden timbers in the centuried house, were enough to give him a sense of strident pandemonium. The darkness always teemed with unexplained sound—and yet he sometimes shook with fear lest the noises he heard should subside and allow him to hear certain other fainter noises which he suspected were lurking behind them.

    Oxford is hosting the English Parliament under the ‘merry monarch’, King Charles II. As politicians and their hangers-on converge on the divided city, an MP is found murdered, triggering tensions that threaten mayhem on the streets. Luke Sandys, Chief Officer of the Oxford Bailiffs, must solve the crime and thwart the plot. On his side is the respect for evidence and logic he absorbed in his student days, as a follower of the new science. On the other, a group of political conspirators are stirring up sectarian hatreds in their scheme to overthrow the Crown.Struggling to protect all he holds dear, Luke leans heavily on his cavalry officer brother, his friends, and his faithful deputy, Robshaw. But he has a secret, which may be clouding his judgement. At the moment of truth, will he choose love or duty?

    

    Ehrengraf, who takes criminal cases on a contingency basis, and never loses. A small-press limited edition, luxuriously produced, and long since sold out. Seven of the eight stories were originally published in EQMM annual, 1978- ; one story originally published in Mike Shayne mystery magazine.

    In its place will come the twentieth, a century of change, a century of science, a century that will see the superstitions of the past swept away.There are some who are determined to see that never happens. A body is found crushed to death in the London snow. There are no footprints anywhere near it. It is almost as if the man was killed by the air itself. This is the first in a series of attacks that sees a handful of London’s most prominent occultists murdered. While pursuing the case, Sherlock Holmes and Dr. Watson find themselves travelling to Scotland to meet with the one person they have been told can help: Aleister Crowley.As dark powers encircle them, Holmes’ rationalist beliefs begin to be questioned. The unbelievable and unholy are on their trail as they gather a group of the most accomplished occult minds in the country: Doctor John Silence, the so-called “Psychic Doctor”; supernatural investigator Thomas Carnacki; runic expert and demonologist, Julian Karswell...But will they be enough? As the century draws to a close it seems London is ready to fall and the infernal abyss is growing wide enough to swallow us all.A brand-new original novel, detailing a thrilling new case for the acclaimed detective Sherlock Holmes.

    In the pages of pulp magazines that were still flourishing in the 1950s—Argosy, Dime Western Magazine, Zane Grey’s Western, and others—he perfected his trademark style, a blend of wiry tautness, sharp characterizations, and jolts of unexpected humor. Now, writer and film critic Terrence Rafferty has gathered the best of Leonard’s Westerns in a single volume, four classic novels and eight outstanding short stories, including the tales that inspired such powerful films as Hombre, Valdez Is Coming, and 3:10 to Yuma.In Last Stand at Saber River (1959), Leonard spins a tight narrative in which a homecoming Confederate veteran must fight to regain the ranch that has been stolen from him. Set, like most of Leonard’s Westerns, against a stark Arizona landscape, the novel is a masterpiece of unbroken tension, as the hero confronts a violent new war for all he holds dear.Chosen as one of the twenty-five greatest Western novels by the Western Writers of America, and the basis for a classic film starring Paul Newman, Hombre (1961) is a stagecoach drama whose hero, a man raised by Apaches, is treated with contempt by the white settlers who will ultimately depend on him for their survival.Valdez Is Coming (1970), Leonard’s favorite among his Westerns, pits Mexican American town constable Bob Valdez against the entrenched power of frontier oligarch Frank Tanner. When Valdez is maneuvered by Tanner into shooting an innocent man, he launches a one-man war for justice for the man’s widow that culminates with a surprising twist.With Forty Lashes Less One (1972) Leonard explores the comic tone that would mark his later books. Set within the harsh confines of Yuma Territorial Prison, the novel recounts the unlikely friendship of two prisoners—one part Apache, the other African American—planning a near-impossible escape.Like the novels, the eight stories included here, are tough, suspenseful, convincing, and beautifully spare in style. They range from Leonard’s first published pulp story, “Trail of the Apache” (1951), to one of his last, the fascinating character study “The Tonto Woman” (1982). Among the others are the twice-filmed “Three-Ten to Yuma” (1953) and “The Captives” (1955), the novella that inspired the acclaimed film The Tall T.

    

    Their friends say he's obsessed with her. Maybe he is. He wants to give her the world. Counting on a lucrative promotion, he bought a multi-million dollar home in Silicon Valley for her. It's all good because Jenna adores him. He's a lucky guy.Jenna loves Devon, loves her job, and loves nice things.Now, the economy's gone south, the promotion is delayed, and Devon and Jenna are desperate to hide their sky-rocketing debt.When a childhood friend confronts them about the money they owe, jealousy and secrets erupt in violence.Buried By Debt - A Suburban Noir love story.

    Now Chandler joins the authoritative Library of America series in a comprehensive two-volume set displaying all the facets of his brilliant talent.In his first novel, The Big Sleep (1939), the classic private eye finds his full-fledged form as Philip Marlowe: at once tough, independent, brash, disillusioned, and sensitive—and man of weary honor threading his way (in Chandler’s phrase) “down these mean streets” among blackmailers, pornographers, and murderers for hire.In Farewell, My Lovely (1940), Chandler’s personal favorite among his novels, Marlowe’s search for a missing woman leads him from shanties and honky-tonks to the highest reaches of power, encountering an array of richly drawn characters. The High Window (1942), about a rare coin that becomes a catalyst by which a hushed-up crime comes back to haunt a wealthy family, is partly a humorous burlesque of pulp fiction. All three novels show Chandler at a peak of verbal inventiveness and storytelling driveStories and Early Novels also includes every classic noir story from the 1930s that Chandler did not later incorporate into a novel—thirteen in all, among them such classics as “Red Wind,” “Finger Man,” The King in Yellow," and “Trouble Is My Business.” Drawn from the pages of Black Mask and Dime Detective, these stories show how Chandler adapted the violent conventions of the pulp magazine—with their brisk exposition and rapid-fire dialogue—to his own emerging vision of 20th-century America.

    

    This gargantuan helping of the human comedy relates how he is devoured by the masses of New York, a city boiling over with the itch to grab it now.