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

Lew Archer #13 When Lew Archer is hired to get the goods on the suspiciously suave Frenchman who’s run off with his client’s girlfriend, it looks like a simple case of alienated affections. Things look different when the mysterious foreigner turns out to be connected to a seven-year-old suicide and a mountain of gambling debts. Black Money is Ross Macdonald at his finest, baring the skull beneath the untanned skin of Southern California’s high society

He was a son who hadn’t known his father very well. It was a town shaken by a grisly murder – his father’s murder. Johnny Weather was home from a war and wandering. When he found out that his father had been assassinated on a street corner and that his father’s seductive young wife had inherited a fortune, he started knocking on doors. The doors came open, and Johnny stepped into a world of gamblers, whores, drug-dealers, and blackmailers, a place in which his father had once moved freely. Now Johnny Weather was going to solve this murder – by pitting his rage, his courage, and his lost illusions against the brutal underworld that has overtaken his hometown

Prywant detektyw, Lew Archer, otrzymuje typowe zlecenie: ma odnaleźć obraz skradziony z zamożnego domu Biemeyerów. Obraz jest dziełem kalifornijskiego malarza, który rozgłos i sławę zdobył dopiero po swym tajemniczym zniknięciu. W trakcie poszukiwania zaginionego arcydzieła wychodzą na jaw tajemnice bohaterów. Archer stopniowo rozwiązuje zagadkę. Reakcją na jego działania jest seria makabrycznych zbrodni

Lew Archer #5 Las Cruces wasn’t a place most travelers would think to stop. But after private investigator Lew Archer plays the good Samaritan and picks up a bloodied hitchhiker, he finds himself in town for a few days awaiting a murder inquest. A hijacked truck full of liquor and an evidence box full of marijuana, $20,000 from a big-time bank heist by a small-time crook, corruption, adultery, incest, prodigal daughters, and abused wives all make the little town seem a lot more interesting than any guide book ever could. And as the murder rate rises, Archer finds himself caught up in mystery where everyone is a suspect and everyone’s a victim

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

Somebody in Pacific Point is guilty of a kidnapping, but what probation officer Howard Cross wants to find most is innocence: in an ex-war hero who has taken a tough manslaughter rap, in a wealthy woman with a heart full of secrets, and in a blue-eyed beauty who has lost her way. The trouble is that the abduction has already turned to murder, and the more Cross pries into the case the further he slips into a pool of violence and evil. Somewhere in the California desert the whole scheme may come down on the wrong man. Somewhere Cross is going to find the last piece of a bloody puzzle – a mystery of blackmail, passion, and hidden identities that might be better left unsolved

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

Lew Archer #17 In Sleeping Beauty, Lew Archer finds himself the confidant of a wealthy, violent family with a load of trouble on their hands – including an oil spill, a missing girl, a lethal dose of Nembutal, a six-figure ransom, and a stranger afloat, face down, off a private beach. Here is Ross Macdonald's masterful tale of buried memories, the consequences of arrogance, and the anguished relations between parents and their children. Riveting, gritty, tautly written, Sleeping Beauty is crime fiction at its best. If any writer can be said to have inherited the mantle of Dashiell Hammett and Raymond Chandler, it is Ross Macdonald. Between the late 1940s and his death in 1983, he gave the American crime novel a psychological depth and moral complexity that his pre-decessors had only hinted at. And in the character of Lew Archer, Macdonald redefined the private eye as a roving conscience who walks the treacherous frontier between criminal guilt and human sin

Ross Macdonald (1915–1983) was, according to The New York Times, the author of "the finest detective novels ever written by an American." His detective, Lew Archer, investigates character and place and the tensions and conflicts that form America. In Ross Macdonald's hands, Lew Archer's home turf, southern California, becomes symbolic and (perhaps more important) emblematic of the human struggle to make things right, to make sense of who we are. In an important literary discovery, Macdonald biographer, Tom Nolan, unearthed three previously unpublished private-eye stories by Ross Macdonald. "Death by Water," written in 1945, features Macdonald's first detective Joe Rogers, and two novelettes from 1950 and 1955, "Strangers in Town" and "The Angry Man," are detailed cases of Lew Archer. These 'lost' stories help the reader to understand why The New York Times also said that "classify him how you will, Ross Macdonald is one of the best American novelists now operating."

Lew Archer #19 No matter what cases private eye Lew Archer takes on – a burglary, a runaway, or a disappeared person – the trail always leads to tangled family secrets and murder. Widely considered the heir to Sam Spade and Philip Marlowe, Archer dug up secrets and bodies in and around Los Angeles. Here, The Archer Files collects all the Lew Archer short stories ever published, along with thirteen unpublished “case notes” and a fascinating biographical profile of Archer by Edgar Award finalist Tom Nolan. Ross Macdonald’s signature staccato prose is the real star throughout this collection, which is both a perfect introduction for the newcomer and a must-have for the Macdonald aficionado. – From the Trade Paperback edition

Lew Archer #6 The beautiful, high-diving blonde had Hollywood dreams and stars in her eyes but now she seems to have disappeared without a trace. Hired by her hotheaded husband and her rummy “uncle,” Lew Archer sniffs around Malibu and finds the stink of blackmail, blood-money, and murder on every pricey silk shirt. Beset by dirty cops, a bumptious boxer turned silver screen pretty boy and a Hollywood mogul with a dark past, Archer discovers the secret of a grisly murder that just won’t stay hidden. Lew Archer navigates through the watery, violent world of wealth and privilege, in this electrifying story of obsession gone mad

Lew Archer #18 The desert air is hot with sex and betrayal, death and madness and only Detective Lew Archer can make sense of a killer who makes murder a work of art. Finding a purloined portrait of a leggy blonde was supposed to be an easy paycheck for Archer, but that was before the bodies began piling up. Suddenly, Archer find himself smack in the middle of a decades-long mystery of a brilliant artist who walked into the desert and simply disappeared. He left behind a bevy of muses, molls, dolls, and dames – each one scrambling for what they thought was rightfully theirs

The desert air is hot with sex and betrayal, death and madness and only Archer can make sense of a killer who makes murder a work of art. Finding a purloined portrait of a leggy blonde was supposed to be an easy paycheck for Detective Lew Archer, but that was before the bodies began piling up. Suddenly, Archer find himself smack in the middle of a decades-long mystery of a brilliant artist who walked into the desert and simply disappeared. He left behind a bevy of muses, molls, dolls, and dames-each one scrambling for what they thought was rightfully theirs

Lew Archer #11 Private detective Lew Archer has better things to do than take on an investigation for Alex Kincaid, a young man claiming that his new bride, Dolly, has gone missing. Snapped by a hotel photographer on the day of their wedding, the beautiful girl vanished only hours after and Alex has heard nothing since. But when Archer begins digging, he finds evidence that links Dolly to brutal murders that span two decades, and a terrible secret. In this byzantine and compelling tale, Ross Macdonald explores the darkest experiences that can bind a family together – and tear it apart. Ross Macdonald’s Lew Archer mysteries rewrote the conventions of the detective novel with their credible, humane hero, and with Macdonald’s insight and moral complexity won new literary respectability for the hardboiled genre previously pioneered by Dashiell Hammett and Raymond Chandler. They have also received praise from such celebrated writers as William Goldman, Jonathan Kellerman, Eudora Welty and Elmore Leonard

On the home front, two wartime lovers reunite under a cloud of paranoiaIn 1937 Munich, an American must be careful when he smokes his pipe. Robert Branch, a careless academic, makes the mistake of lighting up when the Füchrer is about to begin a procession, and nearly gets pummeled for his mistake. Only the timely intervention of Ruth Esch, a flame-haired actress, saves him. So begins a month-long romance between East and West – a torrid affair that ends when the lovers make the mistake of defending a Jew, earning Branch a beating and Esch a trip to a concentration camp. Six years later, Esch escapes to Vichy and makes her way to Detroit. To her surprise, Branch is waiting for her. He is a professor, working for the war effort, and his paranoia about a spy inside the Motor City War Board sours their reunion. Once again, a dangerous net is encircling these lovers – a reminder that, in this war, love always comes second to death

Lew Archer #7 Hired by Carl Hallman, the desperate-eyed junkie scion of an obscenely wealthy political dynasty, detective Lew Archer investigates the suspicious deaths of his parents, Senator Hallman and his wife Alicia. Arriving in the sleepy town of Purissima, Archer discovers that orange groves may be where the Hallmans made their mint, but they’ve has been investing heavily in political intimidation and police brutality to shore up their rancid wealth. However, after years of dastardly double-crossing and low down dirty-dealing, the family seem to be on the receiving end of a karmic death-blow. With two dead already and another consigned to the nuthouse, Archer races to crack the secret before another Hallman lands on the slab. Murder, madness and greed grace The Doomsters, where a tony façade masks the rot and corruption within

Lew Archer #2 When a millionaire matriarch is found floating face-down in the family pool, the prime suspects are her good-for-nothing son and his seductive teenage daughter. In The Drowning Pool, Lew Archer takes this case in the L.A. suburbs and encounters a moral wasteland of corporate greed and family hatred – and sufficient motive for a dozen murders

Lew Archer #12 In The Far Side of the Dollar, private investigator Lew Archer is looking for an unstable rich kid who has run away from an exclusive reform school – and into the arms of kidnappers. Why are his desperate parents so loath to give Archer the information he needs to find him? And why do all trails lead to a derelict Hollywood hotel where starlets and sailors once rubbed elbows with two-bit grifters – and where the present clientele includes a brand-new corpse? The result is Ross Macdonald at his most exciting, delivering 1,000-volt shocks to the nervous system while uncovering the venality and depravity at the heart of the case

It was a long way from the million-dollar Foothill Club to Pelly Street, where grudges were settled in blood and Spanish and a stolen diamond ring landed a girl in jail. Defense lawyer Bill Gunnarson was making the trip – fast. He already knew a kidnapping at the club was tied to the girl’s hot rock, and he suspected that a missing Hollywood starlet was the key to a busy crime ring. But while Gunnarson made his way through a storm of deception, money, drugs, and passions, he couldn’t guess how some big shots and small-timers would all end up with murder in common

It was a long way from the million-dollar Foothill Club to Pelly Street, where grudges were settled in blood and Spanish and a stolen diamond ring landed a girl in jail. Defense lawyer Bill Gunnarson was making the trip – fast. He already knew a kidnapping at the club was tied to the girl's hot rock, and he suspected that a missing Hollywood starlet was the key to a busy crime ring. But while Gunnarson made his way through a storm of deception, money, drugs, and passions, he couldn't guess how some big shots and small-timers would all end up with murder in common…

Lew Archer #8 Twenty years ago, Anthony Galton vanished, along with his streetwise bride and several thousand dollars of the Galton fortune. Now his dying mother wants him found, and Lew Archer is on the case: is Anthony hiding somewhere, happy and eager not to be discovered? But what Archer finds – a headless skeleton, a clever con and a terrified blonde – reveals a game whose stakes are so high that someone is willing to kill. The Galton Case is a wonderfully devious and poetic look at poverty, greed, murder and identity. Ross Macdonald's Lew Archer mysteries rewrote the conventions of the detective novel with their credible, humane hero, and with Macdonald's insight and moral complexity won new literary respectability for the hardboiled genre previously pioneered by Dashiell Hammett and Raymond Chandler. They have also received praise from such celebrated writers as William Goldman, Jonathan Kellerman, Eudora Welty and Elmore Leonard

Lew Archer #15 In The Goodbye Look, Lew Archer is hired to investigate a burglary at the mission-style mansion of Irene and Larry Chalmers. The prime suspect, their son Nick, has a talent for disappearing, and the Chalmerses are a family with money and memories to burn. As Archer zeros in on Nick, he discovers a troubled blonde, a stash of wartime letters, a mysterious hobo. Then a stiff turns up in a car on an empty beach. And Nick turns up with a Colt .45. In The Goodbye Look, Ross Macdonald delves into the world of the rich and the troubled and reveals that the past has a deadly way of catching up to the present. If any writer can be said to have inherited the mantle of Dashiell Hammett and Raymond Chandler, it is Ross Macdonald. Between the late 1940s and his death in 1983, he gave the American crime novel a psychological depth and moral complexity that his predecessors had only hinted at. And in the character of Lew Archer, Macdonald redefined the private eye as a roving conscience who walks the treacherous frontier between criminal guilt and human sin

Lew Archer #14 Generations of murder, greed and deception come home to roost in time for the most shocking conclusion ever in a Lew Archer novel. At first glance, it's an open-and-shut missing persons case: a headstrong daughter has run off to be with her hothead juvenile delinquent boyfriend. That is until this bush-league Bonnie & Clyde kidnap Stephen Hackett, a local millionaire industrialist. Now, Archer is offered a cool 100 Gs for his safe return by his coquettish heiress mother who has her own mysterious ties to this disturbed duo. But the deeper Archer digs, the more he realizes that nothing is as it seems and everything is questionable. Is the boyfriend a psycho ex-con with murder on the brain or a damaged youngster trying to straighten out his twisted family tree? And is the daughter simply his nympho sex-kitten companion in crime or really a fragile kid, trying to block out horrific memories of bad acid and an unspeakable sex crime?

Lew Archer #4 Traveling from sleazy motels to stately seaside manors, The Ivory Grin is one of Lew Archer's most violent and macabre cases ever. A hard-faced woman clad in a blue mink stole and dripping with diamonds hires Lew Archer to track down her former maid, who she claims has stolen her jewelry. Archer can tell he’s being fed a line, but curiosity gets the better of him and he accepts the case. He tracks the wayward maid to a ramshackle motel in a seedy, run-down small town, but finds her dead in her tiny room, with her throat slit from ear to ear. Archer digs deeper into the case and discovers a web of deceit and intrigue, with crazed number-runners from Detroit, gorgeous triple-crossing molls, and a golden-boy shipping heir who’s gone mysteriously missing

Lew Archer #1 The first book in Ross Macdonald’s acclaimed Lew Archer series introduces the detective who redefined the role of the American private eye and gave the crime novel a psychological depth and moral complexity only hinted at before. Like many Southern California millionaires, Ralph Sampson keeps odd company. There’s the sun-worshipping holy man whom Sampson once gave his very own mountain; the fading actress with sidelines in astrology and S&M. Now one of Sampson’s friends may have arranged his kidnapping. As Lew Archer follows the clues from the canyon sanctuaries of the megarich to jazz joints where you get beaten up between sets, The Moving Target blends sex, greed, and family hatred into an explosively readable crime novel

Seven stories of Lew Archer’s investigations

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

Hillerman, author of the Joe Leaphorn mysteries, and Herbert, editor of The Oxford Companion to Crime and Mystery Writing, trace this short-story genre from its beginnings in the hands of Edgar Allen Poe through its development by the likes of Erle Stanley Gardner, Mary Roberts Rinehart and Anthony Boucher to its current practice by such masters as Marcia Muller. Poe's "The Murders in the Rue Morgue," which established a great many of the whodunit conventions, is indispensable to such an overview. Raymond Chandler's "I'll be Waiting" emits a doom-laden atmosphere right from the first line; William Faulkner shows unexpected economy of language?and a transparent plot?in "An Error in Chemistry." Ed McBain scores high marks in "Small Homicide," in which the tiny details of a baby's untimely death resonate uncomfortably. As represented in this competent, unstartling collection, Linda Barnes ("Lucky Penny") easily outsasses Sue Grafton ("The Parker Shotgun"). Hillerman makes a solid appearance with "Chee's Witch," and in "Benny's Space" Muller captures the full subtle force of her novel-length vision

Silken skin pale against dark hair, red lips provocatively smiling at him – that's how Lieutenant Bret Taylor remembered Lorraine. He was drunk when he married her, stone cold sober when he found her dead. Out on the sunlit streets of L.A. walked the man – her lover, her killer – who had been with her that fatal night. Taylor intended to find him. And when he did, the gun in his pocket would provide the quickest kind of justice. But first Taylor had to find something else: an elusive memory so powerful it drove him down three terrifying roads toward self-destruction – grief, ecstasy, and death

Lew Archer #16 As a mysterious fire rages through the hills above a privileged town in Southern California, Archer tracks a missing child who may be the pawn in a marital struggle or the victim of a bizarre kidnapping. What he uncovers amid the ashes is murder – and a trail of motives as combustible as gasoline. The Underground Man is a detective novel of merciless suspense and tragic depth, with an unfaltering insight into the moral ambiguities at the heart of California's version of the American dream. If any writer can be said to have inherited the mantle of Dashiell Hammet and Raymond Chandler, it was Ross Macdonald. Between the late 1940s and his death in 1983, he gave the American crime novel a psychological depth and moral complexity that his predecessors had only hinted at. And in the character of Lew Archer, Macdonald redefined the private eye as a roving conscience who walks the treacherous frontier between criminal guilt and human sin. From the Trade Paperback edition

Lew Archer #3 The third Lew Archer mystery, in which a missing-persons search takes him "through slum alleys to the luxury of a Palm Springs resort, to a San Francisco drug-peddler's shabby room. Some of the people were dead when he reached them. Some were broken. Some were vicious babes lost in an urban wilderness

Lew Archer #9 Phoebe Wycherly was missing two months before her wealthy father hired Archer to find her. That was plenty of time for a young girl who wanted to disappear to do so thoroughly – or for someone to make her disappear. Before he can find the Wycherly girl, Archer has to deal with the Wycherly woman, Phoebe’s mother, an eerily unmaternal blonde who keeps too many residences, has too many secrets, and leaves too many corpses in her wake

Lew Archer #10 Strictly speaking, Lew Archer is only supposed to dig up the dirt on a rich man’s suspicious soon-to-be son-in-law. But in no time at all Archer is following a trail of corpses from the citrus belt to Mazatlan. And then there is the zebra-striped hearse and its crew of beautiful, sunburned surfers, whose path seems to keep crossing the son-in-law’s – and Archer’s – in a powerful, fast-paced novel of murder on the California coast

In the last days of World War II, a sailor discovers a transcontinental conspiracy. It is February 1945, and the war in the Pacific is nearing its climax. In Hawaii on his way to a new post, US Navy ensign Sam Drake stumbles across the girl of his dreams. Mary is a disc jockey, with a voice that’s famous across the islands for playing late-night jazz that no young lover can resist. Before he can follow this modern siren home, they go to check on Mary’s coworker Sue – but that lovely young lady will never spin another record. They find her strung up and dangling outside the window of a bathroom, her face twisted into an ugly mask. The police call it suicide, but Sam is not so sure. Few beautiful women, even suicidal ones, are willing to be so hideous in death. Looking into Sue’s past, he finds another corpse – and a dangerous conspiracy that stretches all the way back to his Motor City home

После года службы на корабле лейтенант военно-морского флота Сэм Дрейк мечтает провести отпуск в родном городе, где его ждет любимая девушка. Однако желаниям Сэма не суждено осуществиться. В первый свой день на берегу он становится свидетелем неожиданной и необъяснимой смерти. Версия полиции — самоубийство — не кажется лейтенанту убедительной. Служивший до войны репортером, он решает предпринять собственное расследование, которое едва не заканчивается для него бедой

Повесть «Вокруг одни враги» американца Росса Макдональда написана в традициях классического детектива с обязательной для этого жанра остросюжетностью и занимательностью

Содержание: Уолтер Уэйджер. Операция «Молот» Росс Макдональд. Дело Гэлтона

В настоящий сборник, открывающий серию «Детектив США», включены произведения двух известных представителей криминальной литературы старшего поколения Джадсона Филипса и Росса Макдональда

В этом сборнике читатель познакомится с тремя романами американских авторов: «Плоть как кинжал» (Ричард С. Праттер), «Звонок в дверь» (Рекс Стаут), «Последний взгляд» (Росс Макдональд)

Читателю представляется: «Оборотная сторона доллара» Р. Макдональда — интригующий рассказ о таинственном похищении подростка с неожиданной развязкой. «Дом колдовства» К. Брауна — ароматный букет из тонкого юмора и эротики с горьковатым запахом шантажа и убийств. «Детка, это — смерть» Р. Пратера — остросюжетный детектив с погонями, драками, стрельбой, элементами натурализма

Частный детектив Лу Арчер ведет расследование запутанного преступления, связанного с событиями двадцатилетней давности

Вниманию читателя представлены три произведения известных мастеров американского детектива: «Могила в горах» Росса Макдональда, «Женщина-лризрак» Уильяма Айриша и «Женщина с темным прошлым» Эллери Квина. Романы, при самобытности каждого из них, объединяет один и тот же авторский прием: действие в них сосредоточено на поисках женщины, волею случая оказавшейся в водовороте событий

Жена экстравагантного южнокалифорнийского миллионера поручает частному детективу Лью Арчеру найти внезапно уехавшего мужа. Непонятно, в чем суть поручения: надо охранять миллионера от сомнительных компаний или найти компрометирующие факты для развода? Но вскоре ситуация проясняется — приходит письмо с требованием ста тысяч долларов. Возможно, похищение организовал кто-то из знакомых миллионера. Лью Арчер распутывает загадки повсюду — от горного храма неведомого культа до полуподпольного джаз-клуба, от киноплощадки до особняка нефтяного магната, — и автор смешивает вожделение, алчность и семейные неурядицы в захватывающий детективный роман

Росс Макдональд (подлинное имя Кеннет Миллар, 1915–1983) — один из самых знаменитых детективных писателей нашего века. В его романах не только дразнящая загадка, не только лихо закрученный сюжет, но и блистательное мастерство повествователя и целый букет запоминающихся персонажей…

Кто-то сказал однажды, что деньги не пахнут. «Это спорный вопрос», – утверждают авторы сборника «Запах золота»: Э. Аарон в романе «Западня», рассказывающем о борьбе двух родных братьев с мафией; Дж. X. Чейз в романе «Запах золота», показывающем до какой низости может дойти человек, жаждущий власти; Р. Макдональд в «Движущейся цели» – драматическом повествовании о том, как порою деньги становятся для человека дороже самых близких людей

В сборник вошли три романа детективного жанра: венгерский автор Лайош Грандпьер в романе «Ядовитые плоды» рассказывает о расследовании убийства богача Леринца Колечанского; роман «В тайном государстве» английского писателя Роберта Маккрама вводит читателя за кулисы деятельности британских спецслужб; в романе «Вокруг одни враги» известного американского писателя Росса Макдональда нехитрое на первый взгляд дело об исчезновении дочери состоятельных родителей оборачивается загадочной цепью трагических событий