Given its extraordinary span, its international scope, and its variant styles and groundbreaking stylists, A Century of Great Suspense Stories is a singular achievement. A bestselling master of suspense himself Jeffery Deaver had the enviable task of selecting from the thousands of stories written over the past one hundred years those which best represented the classic form, as well as the justly celebrated authors whose ironic twists and stunning payoffs left a lasting, vivid, and unnerving impression. The result is a triumph. In this ambitious anthology you’ll revel in the sardonic, overtly amoral plotting of Patricia Highsmith. You’ll rediscover the strangely poignant and surprising turns of Stanley Ellin, and the profoundly underrated Margaret Millar, a genius who mixed savage social satire with brooding horror. You’ll be treated to Stephen King at his chilling best. You’ll find yourself on the violent urban streets of Ross Macdonald and Mickey Spillane, and seeped in the ominous regional flavor of Sharyn McCrumb and Tony Hillerman. You’ll marvel at the cunning webs spun by Lawrence Block, Ruth Rendell, Anthony Boucher, and Sara Paretsky, all of whom defy expectations as they reinvent the genre. And you’ll understand the awesome reputations of those authors who set the standard, such as the legendary Harlan Ellison, Fredric Brown, the master of the twist ending, and James M. Cain, uncannily skilled at knowing what went on between men and women behind closed doors. (The darker the room the better.) Delivering everything from the one-two punch of the detective story to the ingeniously precise trappings of the police procedural, from the disquieting corners of the criminal mind to sheer dread-inducing horror, A Century of Great Suspense Stories is a rich anthology of this popular literary genre, a stunning tribute to the art of storytelling, and to the men and women who have done it best

This is a distinguished publishing event. Career in C Major and Other Fiction is the final anthology of previously uncollected short fiction by James M. Cain, the renowned author of Mildred Pierce, The Post matt Always Rings Twice, Double Indemnity, and many other works. Cain died in 1977 at age eighty-five. Cain's novels made him, along with Hammett and Chandler, one of the best-selling American writers of the twentieth century. This is a book filled with delights. Included are the first hardcover reprint of Career in C Major, the classic Cain comic novel that has been out of print for many years; short fiction from Redbook, Liberty, and Esquire; and dramatic dialogues from The American Mercury. Career in C Major is just the main course of a feast that includes page after page of marvelously entertaining stories and dialogues. The selections have been chosen and illuminated with insightful commentaries by Roy Hoopes. Career in C Major and Other Fiction will occupy a place on bookshelves for many years to come

When blonde, 16-year-old, Sonya Lang confronts real-estate man Graham Kirby with the fact that she’s pregnant by his sleazy half-brother Burwell, that’s bad. When it turns out that her condition is the result of a particularly degrading rape, that’s worse. As her father says, “What wipes out that stain is blood.”　 This is quintessential James M. Cain, giving us characters whose emotional intensity is unlimited. Suspenseful, intricately plotted, CLOUD NINE is an important addition to contemporary American literature

A riveting classic of American crime fiction

Galatea may seem strange Cain to those who link him with California and violent stories out of the West. But to those who knew him earlier, particularly his origins in Annapolis and his life in the counties near by, it will hardly come as a surprise. Cain returned to southern Maryland to find it startlingly changed. Cogitating this transformation from oxcarts, scrub woods, and plug tobacco to grand boulevards, lumber, and big auction rooms, he found himself inventing a novel about it. The result is Galatea, the story of Holly Valenty, a girl who is a product of the old dispensation, but who succumbs to the temptations of the new, a story with all the Cain magic — brutal, shocking, yet tender and believable

What are the ingredients of a hard-boiled detective story? “Savagery, style, sophistication, sleuthing, and sex,” said Ellery Queen. Often a desperate blond, a jealous husband, and, of course, a tough-but-tender P.I. the likes of Sam Spade or Philip Marlowe. Perhaps Raymond Chandler summed it up best in his description of Dashiell Hammett’s style: “Hammett gave murder back to the kind of people that commit it... He put these people down on paper as they were, and he made them talk and think in the language they customarily used for these purposes.” Hard-Boiled: An Anthology of American Crime Stories is the largest and most comprehensive collection of its kind, with over half of the stories never published before in book form. Included are thirty-six sublimely suspenseful stories that chronicle the evolution of this quintessentially American art form, from its earliest beginnings during the golden age of the legendary pulp magazine Black Mask in the 1920s, to the arrival of the tough digest Manhunt in the 1950s, and finally leading up to present-day hard-boiled stories by such writers as James Ellroy. Here are eight decades worth of the best writing about betrayal, murder, and mayhem: from Hammett’s 1925 tour de force “The Scorched Face,” in which the disappearance of two sisters leads Hammett’s never-named detective, the Continental Op, straight into a web of sexual blackmail amidst the West Coast elite, to Ed Gorman’s 1992 “The Long Silence After,” a gripping and powerful rendezvous involving a middle class insurance executive, a Chicago streetwalker, and a loaded .38. Other delectable contributions include “Brush Fire” by James M. Cain, author of The Postman Always Rings Twice, Raymond Chandler’s “I’ll Be Waiting,” where, for once, the femme fatale is not blond but a redhead, a Ross Macdonald mystery starring Macdonald’s most famous creator, the cryptic Lew Archer, and “The Screen Test of Mike Hammer” by the one and only Mickey Spillane. The hard-boiled cult has more in common with the legendary lawmen of the Wild West than with the gentleman and lady sleuths of traditional drawing room mysteries, and this direct line of descent is on brilliant display in two of the most subtle and tautly written stories in the collection, Elmore Leonard’s “3:10 to Yuma” and John D. MacDonald’s “Nor Iron Bars.” Other contributors include Evan Hunter (better known as Ed McBain), Jim Thompson, Helen Nielsen, Margaret Maron, Andrew Vachss, Faye Kellerman, and Lawrence Block. Compellingly and compulsively readable, Hard-Boiled: An Anthology of American Crime Stories is a page-turner no mystery lover will want to be without. Containing many notable rarities, it celebrates a genre that has profoundly shaped not only American literature and film, but how we see our heroes and ourselves

CARD-GAMBLING AND LOVE GAMBOLING IN THE CITY OF GAY DIVORCEES Jane Delavan had dark, red hair and plenty of shape of a nice, refined kind. To Ed Horner she was only a little fancy flirtation under the Nevada moon, but he found some peculiar circumstances developing when Jane’s husband, Tom Delavan, himself came to town, followed very shortly afterwards by his first wife, the beautiful but jealous Lady Sperry. Ed wondered what kind of game Jane Delavan was playing with him, leading him on as she was? And why should Lady Sperry take a heated interest in him of a sudden? What were the cause of secret midnight callers roaming at will through hotel bedrooms? Suddenly Ed Horner found himself slowly being ringed about by a group of hard-hating, highly emotional people who all had motives that involved them in a case of murder and the JEALOUS WOMAN. Adding to the fast growing list of James M. Cain novels, JEALOUS WOMAN is fiction that rates high for tight-packed action and a set of colorful, trigger-tense characters — a sure guarantee of the reader’s interest to the final smashing climax

It’s the story of Ben Grace, a small-time chiseler in the rackets – not crooked, not straight, just in between – who, full of grievances, makes the most of his inside information as Sol Caspar’s chauffeur to aid and abet the opposing party’s upcoming mayoral election campaign. His ally (and soon-to-be lover) in the enemy camp is a very good-looking girl named June Lyons, who is also very dedicated to justice. It sounds predictable, but it Cain’s hands, it’s anything but. It may seem strange to say, but works of fiction are usually less complicated than the real world, as who would believe the twists and turns that real life can have? But when you think the story’s going one way, Cain heads it off in another. Or, perhaps, he lets it go off in another, on its own, as if he set the characters up, and then he let them find their own destiny, their own fate. Which, of course, they do

MIGNON is James M. Cain’s first novel in nearly ten years. Readers of previous bestsellers such as The Postman Always Rings Twice, Double Indemnity, and Mildred Pierce will find Mignon Fournet, the heroine of the new novel, as remarkable a creation as the women in those two celebrated books. Mignon is a beautiful young widow who, with her father, has come to New Orleans at the close of the Civil War in the hopes of improving their war-reduced fortunes. But the risky trade in contraband cotton has landed her father in jail and Mignon at the hotel room door of Bill Cresap. Cresap, recently discharged from the Union Army for wounds received in battle, has arrived in New Orleans to start a business with a friend. Reluctantly, but irrevocably, Cresap is drawn into the intrigues and dangers which engulf the irresistible Mignon. Also moving among the dark events of those tough, troubled times is a fascinating variety of richly drawn characters. There is Adolphe Landry, Mignon’s enigmatic father; Frank Burke, Landry’s unscrupulous partner; Gippo, Burke’s henchman, more animal than human; and Marie Tremaine, the beautiful, rich, and powerful chatelaine of a notorious New Orleans gambling house. From gaudy New Orleans, the scene shifts up-river to the bloody Red River battle. There, the personal and military dramas are joined. Cresap, in the turbulent actions which follow, finds himself not only involved in the intrigues of desperate men, but the passions of two beautiful women. In an explosion of violence and tragedy, the novel reaches its inevitable climax. Of MIGNON, Mr. Cain says: It is a continuation, in theme, of a previous book, Past All Dishonor, in which the hero is tempted, by his love for a girl, so slight his duty — not much, just a little bit. In MIGNON, Mr. Cain depicts the bafflement of large numbers of men, even in high places, who must wrestle the rules of war and slight them — not much, but a little bit. “Treason,” says Mr. Cain, “doesn’t invite my interest, at least as a narrative theme, being so stark it defies exploration. But its close relative, cheating just little bit, fascinates me. Sometimes, as in Mignon, it even manages to seem quite praiseworthy, which is where the trouble really starts.”

Here are the swift pace, the hard, crisp prose, the almost unbearably tense dramatic situations which are typical of James Cain. But here also are a deeper view of life, a bigger subject, and a group of characters closer to the average reader’s experience than Mr. Cain has ever given us before. Here, in other words, is his most substantial and most ambitious novel. It is the story of a woman, her daughter, and her two husbands. At twenty- eight she was a “grass widow” without a cent. She learned to work; she created a business and built it into a notable success. Along the way she acquired two lovers, one of whom became her second husband. But none of that was important. What was important was her daughter Veda — the lovely, haughty, greedy, cruel child who knew what she wanted and got it. The relations between mother and daughter, between mother and husband and lover, between husband and daughter, intermingle and fuse into a shattering climax. Nine years have passed, and in this terrific moment all the characters are at last stripped and revealed, all the motives — good and evil — hared, all the ways of life finally chosen. It is a scene no one will easily forget

Here is Cain at his peak, in a new novel that dealt. inevitably, with violent emotions and violent deeds. Here passion and murder are the ingredients of the tale, and what Cain does with them makes this his most terrific adventure in suspense. The hero is a young Confederate spy in Virginia City, the great mining town, at the height of its boom period. The woman for whom he conceives a wild and desperate infatuation is one of the camp’s sporting girls — in every way a dangerous creature, greedy, conscienceless, and utterly irresistible. The story of his fight to possess her, set against that brawling and turbulent scene, produces another unlaydownable book. Mr. Cain writes: “I have tried to put real human beings before the reader, to explain, as plausibly as I can, how a gunman got that way, what the prostitute was doing there, why the mine-owner was a bit of a heel, and so on. Also, I have tried to present the life of the time as it was, and as few people nowadays seem to realize it was.”

Enter a world of seedy nightclubs, dangerous, dimly-lit street and cool, wisecracking dicks pitting themselves against armies of ruthless gangsters. This is pulp fiction, a genre spawned amid the disillusionment of post-World War I America — and now reaching new heights of popularity.　 Writers like Raymond Chandler and Dashiell Hammett turned that unique blend of rapid-fire action, violence and cynical humour into an art form that is being recreated by a fresh wave of young writers whose stories have all the drama and atmosphere of their predecessors’.　 This page-turning collection, brought together by a true aficionado of the hardboiled story, includes, of course, Chandler and Hammett, but also Mickey Spillane, Ross MacDonald, Ed McBain and James Hadley Chase from the vintage years and from the current generation James Ellroy, Elmore Leonard and Quentin Tarantino, to name just a few of the twenty great writers featured here. Even Stephen King, doyen of the world of horror, has turned his hand to pulp fiction and is represented in this book.　 The world of the hard-drinking, fast-action, apparently indestructible private eye, personified by Chandler’s creation, Philip Marlowe, was never more vibrant. It’s all here, and more, in a book that no fan of the genre can afford to miss

James M. Cain, acclaimed as one of the modern masters of mystery, has once again woven a forceful tale that challenges people’s basic morality with temptations they are powerless to resist.　 Davey Howell is content in his rural Ohio solitude; the static broadcasts of the country radio stations are his only steady contact with the “outside” world. But then a hijacker plummets into his life, along with $100,000 cash ransom and a beautiful stewardess as hostage. Suddenly, Davey’s sense of “the good life” faces its toughest challenge — with the hijacker dead, who would know if the money were lost or stolen? RAINBOW’S END bears all the trademarks that have made James Cain one of our most influential writers. The money: $100,000 is more than Davey dreamed of making in his entire lifetime. The woman: the worldly stewardess is like none Davey has ever known. The momentum: Cain is the master, whirling hours into instants and back again. And finally, the man alone: Cain isolates Davey, leaving him to make his own decisions within this hoard of temptation. This is the dramatic force of James M. Cain, named by Camus as “the greatest American writer.”

Four years after his sensational first novel, The Postman Always Rings Twice, Mr. Cain appears with a new one which definitely places him among the best story-tellers in America. The emphasis is hereby put upon the word story, for that, above everything else, is what this book is. It is an account of the lives of two men and one woman and of their relations with each other, which begins in a moment of tenseness and passion and moves forward with amazing speed, in the clipped and biting prose that Cain has made his own, to still greater heights — to emotion so taut that it must break in violence. The story is set in Mexico, Hollywood, and New York — a simple, primitive scene on the one hand, a brilliant, sophisticated one on the other. There are tenderness and beauty in the book, and also murder and vice. The arts of the film, the opera, and the bullfight are in it, and an incredible understanding of the strange nature of the human animal. But above all, a story is in it — a story full of fury and terror and love, which once begun must be finished and once read will be remembered

A beautiful Hollywood movie star, her glamor girl sister, and a handsome sheriff who has an eye for a pretty woman, provide the explosive triangle around which James M. Cane has built this latest story of violence and desire. The first appear in print of this exciting and provocative novel is literary treat you will not want to miss and in only the usual two or three dollars, it is priced to the range of everyone. The flood of vigorous emotions, of love so deadly that it slays, packs “Sinful Woman” from start to smashing finish. You can’t lay it down once the striking Sylvia Shoreham, vivid movie star, hits the Reno gambling halls for a show-down with Baron Adlerkkreutz, her hot-blooded, woman-killer husband. You’ll be gripped by Sheriff Lucas as his mad desire for Sylvia runs head-on into his oath to uphold law and order; you’ll be caught by the Hollywood conniving of Dimmy Spiro, Sylvia’s producer, and by the colorful impact of Cain’s with other boldly drawn characters. And throughout the whole book you’ll be held at fever pitch by the deadly puzzle of Sylvia’s sister Hazel, whose knockout beauty underlines every scene with the tension of a fast-ticking bomb

Best remembered for his sensational bestselling novels of the 1930s, James M. Cain may well be one of the most important, yet still misunderstood, of American authors. Among other writers and for certain critics, his reputation and singularity are unquestioned, resting on an extraordinary force of style and view of the human condition that have influenced a host of modern authors. Cain’s unique voice — hard-edged, caustically ironic, and impeccably controlled — was in fact forged through an extensive journalistic training and remains best exemplified in the compressed power of his short fiction. Here then, timed with a major revival of interest in Cain’s work, is the first book to collect the best of his shorter work — selected short stories and sketches together with one of his finest serials, the novella published at different times under the titles “Money and the Woman” and “The Embezzler.” As taut and brilliant in its way as Cain’s most famous serial, Double Indemnity, this ingenious example of Cain’s “love rack” fiction has been out of print for many years, but reads as immediately today as when first written more than three decades ago. Equally fascinating, especially when seen within Roy Hoopes’s tracings of the development of Cain’s work, are the entertaining sketches and dialogues Cain originally wrote for journalistic publication — beautiful models of efficiency and concision stamped with Cain’s characteristic irony. We are given ten of his best, out of hundreds he wrote for the New York World and H. L. Mencken’s American Mercury. Together with nine of his finest short stories — including those three Cain classics, “Pastorale,” “The Baby in the Icebox,” and “Dead Man” — this volume comprises both an ideal introduction to the work of this remarkable American author and a mandatory book for all James M. Cain fans

In his introduction to the The Best American Noir of the Century, James Ellroy writes, 'noir is the most scrutinized offshoot of the hard-boiled school of fiction. 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

The BIGGEST, the BOLDEST, the MOST COMPREHENSIVE collection of PULP WRITING ever assembled! Weighing in at over a thousand pages, containing over forty-seven stories and two novels, this book is big baby, bigger and more powerful than a freight train — a bullet couldn’t pass through it. Here are the best stories and every major writer who ever appeared in celebrated Pulps like Black Mask, Dime Detective, Detective Fiction Weekly, and more. These are the classic tales that created the genre and gave birth to hard-hitting detectives who smoke criminals like packs of cigarettes; sultry dames whose looks are as lethal as a dagger to the chest; and gin-soaked hideouts where conversations are just preludes to murder. This is crime fiction at its gritty best. Including: • Three stories by Raymond Chandler, Cornell Woolrich, Erle Stanley Gardner, and Dashiell Hammett. • Complete novels from Carroll John Daly, the man who invented the hard-boiled detective, and Fredrick Nebel, one of the masters of the form. • A never before published Dashiell Hammett story. • Every other major pulp writer of the time, including Paul Cain, Steve Fisher, James M. Cain, Horace McCoy, and many, many more of whom you’ve probably never heard. • Three deadly sections — The Crimefighters, The Villains, and The Dames — with three unstoppable introductions by Harlan Coben, Harlan Ellison, and Laura Lippman. Featuring: • Plenty of reasons for murder, all of them good. • A kid so smart — he’ll die of it. • A soft-hearted loan shark’s legman learning — the hard way — never to buy a strange blonde a hamburger. • The uncanny “Moon Man” and his mad-money victims

It is the story of a farmer, and of the daughter who came back to him years after he had almost forgotten her, and of the wife who had deserted him. and of the man who had stolen his wife. It is, inevitably, swiftly paced, suffused with passion, knife-like in its descriptive power. Around the astonishing quadrangle of this talc swirl contrasting moods of brutality and tenderness with ever- increasing violence right up to the dramatic end

Mandy Vernick is a girl with a problem. She is abused by her stepfather (with her mother’s tacit approval), and discovers that her mother is having an affair. With nowhere to turn, Mandy runs away from home, hoping to find her father in Baltimore. Vernick denies that he is Mandy’s father. Desperate and confused, the voluptuous six- teen-year-old becomes involved in a bank robbery that ends with three men dead. The Enchanted Isle has a bittersweet ending but, before Cain allows us to relax and share in Mandy’s joy, he strips the facade from a family’s carefully built house of lies and in the process keeps the reader wondering what will happen next... and to whom

Professor Lloyd Palmer loves a good biography. His fantasy is to start an institute to teach young scholars the biographical arts, and it will take old money to make his dreams come true. Around Washington, the oldest money is found not in the District, but in Delaware, a land of wealth so astonishing that even the Du Ponts are considered nouveau riche. But when the professor goes to Wilmington, he comes away not with old money, but young trouble. Her name is Hortense Garrett. She is his benefactor’s wife, a twenty-something beauty trapped in an unhappy marriage, whose good looks conceal the most cunning mind this side of the Potomac. She needs a ride to Washington, and Lloyd offers to give her a lift. They’ve barely left Delaware before he falls for her. By the time they hit the Beltway, his biography will be in her hands

In The Magician's Wife, Cain returns to his classic themes of lust and greed. Clay Lockwood, a business executive, falls in love with the irresistible Sally Alexis, wife of a professional magician

In The Moth James M. Cain has produced a novel of broad dimensions which will delight and surprise his vast following. It is his largest canvas. His background is the United States from coast to coast. His period spans the last quarter-century. His characters are as diverse as a cross section of the American people. In their story he at last reveals the promise of happiness for a man and his woman. The Moth is the story of John Dillon. It begins in the days when he amazed church congregations with the beauty of his boyish soprano. His rapid development into manhood and his subsequent career are striped with violence and passion. As a young man Dillon fell in love with a very young girl. Accused of leading her astray, he fled his home, losing himself in depression America. He experienced the life of a panhandler and hobo, the terror of a thief, the aching weariness of a fruit-picker, the pride of a successful oilman. He encountered a selfish and beautiful woman. After action in World War II, he was invalided to this country, where at last he found the girl whose image had never left him. The tremendous pace and swift action of Dillon s existence are related in that tightly packed style for which Cain is famous. But the brutality of much of his life is relieved on the unforgettable occasions when-signifying for him what was fine and good — the luna moth appeared before him. It is this symbol which gives us both the title and the theme of James ML Cain’s most important novel

Pulp fiction has been looked down on as a guilty pleasure, but it offers the perfect form of entertainment: the very best storytelling filled with action, surprises, sound and fury. In short, all the exhiliration of a roller-coaster ride. The 1920s in America saw the proliferation of hundreds of dubiously named but thrillingly entertaining pulp magazines in America: Black Mask, Amazing, Astounding, Spicy Stories, Ace-High, Detective Magazine, Dare-Devil Aces. It was in these luridly-coloured publications, printed on the cheapest pulp paper, that the first gems began to appear. The one golden rule for writers of pulp fiction was to adhere to the art of storytelling. Each story had to have a beginning, an end, economically-etched characters, but plenty going on, both in terms of action and emotions. Pulp magazines were the TV of their day, plucking readers from drab lives and planting them firmly in thrilling make-believe, successors

An amoral young tramp. A beautiful, sullen woman with an inconvenient husband. A problem that has only one grisly solution — a solution that only creates other problems that no one can ever solve

DRAW ONE— That’s waitress lingo. Means a cup of coffee. It’s a part of a language that Carrie Selden had spoken for a long time. Carrie was a hash-slinger. Lots of big business men ate at Karb’s just to watch her trim figure moving by their tables. Grant Harris was one of them — he watched, waited and was married by Carrie. The millionaire and the waitress. It was a newspaper field-day. In spite of everything she was called, Carrie felt she had to set the record straight. This is her candid story — the intimate details of the life of Carrie Selden Harris, who asks you to pass judgment on her only after you’ve read her story

Мировую славу Джеймсу Кейну, одному из основателей «крутой» школы американского классического детектива, принесли его знаменитые книги «Почтальон всегда звонит дважды» и «Двойная страховка». Захватывающий сюжет, мрачная тайна, разделяющая главных героев, любовь, страсть, грех и… преступление — в общем, все то, что так характерно для произведений Кейна, — вы непременно обнаружите на страницах романа «Бабочка»

Действие сконцентрировано на пяти трагических часах, когда пожар охватил гигантское здание, которое должно было служить символом великого города Нью-Йорка. Недоразумения, злоупотребления и преступления приводят к катастрофе

Первый же роман Джеймса Кейна «Почтальон всегда звонит дважды» принес автору широкую известность. Через год почитатели американского писателя зачитывались «Двойной страховкой», второй книгой Кейна, вновь занявшей прочное место в списке бестселлеров. После выхода в свет романа «Двойная страховка» Росс Макдональд, классик детективного жанра, заметил: «Кейн покрыл себя неувядаемой славой, создав один за другим два чисто американских шедевра»

Продажные судьи, насквозь прогнившая полицейская система, свирепые и беспринципные мерзавцы, избравшие порок своим ремеслом… Только герой, обладающий высшими достоинствами, может одолеть злодеев такого масштаба! Смертельный поединок со злом продолжается…

Животът на една жена и волята й за успех по време на Голямата депресия. Милдред Пиърс има страхотни крака, кулинарен талант и несломим характер. Тя използва тези свои предимства, за да надживее развода си и бедността и да се измъкне с нокти и зъби от незавидното си социално положение. Но Милдред има две слабости: непреодолимо влечение към безотговорни мъже и безразсъдна преданост към чудовищната си дъщеря. От тези елементи Джеймс М. Кейн изгражда един изключителен психологически роман с опустошителна емоционална сила и героиня, чиито амбиции и болки са близки и понятни за всеки читател

Отношения между Дьюком и Лурой начали портиться с того самого дня, как они завели диких кошек. Кошки эти им были вовсе ни к чему, и без них обходились. Потом дела приняли оборот покруче, и пошли еще хуже, когда Дьюк привез тигра…

Джеймса Кейна наряду с Дэшилом Хэмметом и Раймондом Чандлером некоторые критики называют одним из основателей «крутой» школы в классическом американском детективе. В настоящем издании собраны «засветившиеся» в списках бестселлеров романы Кейна «Почтальон всегда звонит дважды», «Двойная страховка», «Серенада», «Бабочка» и «Растратчик», а также ряд рассказов. «Все беды от женщин» — так можно было бы охарактеризовать сюжетную схему, которую автор использовал в большинстве своих книг. Однако у Кейна никогда до конца не ясно, кто кого искушает, ангел перед нами или демон в ангельском обличье. Любовные отношения между героями романов Кейна — это всегда огонь, страсть, кровь и… предательство. Любители детективов найдут в романах Кейна захватывающую интригу, напряженное действие и возможность проявить свои дедуктивные способности; поклонники любовных романов погрузятся в пучины темной страсти; не оставят равнодушными произведения Дж. Кейна и увлекающихся психологической — «серьезной» литературой. Роман «Почтальон всегда звонит дважды» публикуется в новом переводе. СОДЕРЖАНИЕ: Почтальон всегда звонит дважды. Двойная страховка. Серенада. Растратчик. Бабочка. Рассказы: — Младенец в холодильнике, — Труп на рельсах, — Девушка под дождем, — Побег, — Пастораль

От любви до ненависти один шаг. Герои романов Кейна знают это не понаслышке. Ради новой счастливой жизни они готовы поддаться ослепляющей страсти и нарушить все табу общественной морали – даже если требуется убить человека. Но приведет это решение к долгожданной свободе или к краю пропасти? «Почтальон всегда звонит дважды» и «Двойная страховка» – истории о любви, предательстве и коварном бумеранге судьбы, ставшие классикой жанра нуар

Джеймса М. Кейна вместе с Дэшилом Хэмметом и Раймондом Чандлером некоторые критики называют одним из основателей `крутой` школы в классическом американском детективе. Мировую славу писателю принес роман `Почтальон всегда звонит дважды`. Он был не раз экранизирован – наиболее известна версия Боба Рафелсона с Джеком Николсоном и Джесикой Ланг в главных ролях

Пресловутая американская мечта ускользает от героев знаменитых романов Дж.Кейна, предлагаемых читателю в данной книге. Как ненадежен порядок и хрупок здравый смысл, когда мужчина, поддавшись женскому очарованию, становится способным на все и ввязывается вопасную, смертельную игру... Содержание: Почтальон всегда звонит дважды Серенада Двойная страховка Бабочка

Джеймса М. Кейна вместе с Дэшилом Хэмметом и Раймондом Чандлером некоторые критики называют одним из основателей `крутой` школы в классическом американском детективе. Мировую славу писателю принес роман `Почтальон всегда звонит дважды`. Он был не раз экранизирован – наиболее известна версия Боба Рафелсона с Джеком Николсоном и Джесикой Ланг в главных ролях

Те отидоха твърде далеч. И продължиха. „Като изключим формите й, не беше неземна красавица, но излъчваше някакво горчиво, трескаво недоволство, на фона на което нацупените й устни изпъкваха ярки и сочни…“ „Пощальонът винаги звъни два пъти“, публикуван през 1934 г., е първият и най-прочут черен роман на 20 век, който оказва съществено влияние върху творчеството на Дашиъл Хамет и Реймънд Чандлър. История за съдбоносната среща на безскрупулен скитник с фатална жена и тяхната драматична любов, по която са заснети шест филмови версии, без нито една от тях да успее да доближи силата на оригинала. Джеймс Малахан Кейн (1892–1977) — американски журналист, писател и сценарист, автор на над 20 книги и филмови сценарии. Кейн е считан за основоположник на черния роман, а „Пощальонът винаги звъни два пъти“ и „Двойна застраховка“ са признати за недостижим връх в жанра

Мировую славу Джеймсу Кейну, одному из основателей «крутой» школы американского классического детектива, принесли знаменитые романы «Почтальон всегда звонит дважды» и «Двойная страховка». В настоящем издании вниманию читателей предлагается не менее известный роман писателя «Серенада», захватывающий сюжет которого, а также мрачная тайна главного героя, бывшего оперного певца, уехавшего в Мексику после потери голоса, не отпустят вас от себя до самой последней страницы