A collection of suspense stories, puzzle stories, whodunits and tricky whydunits involving police detectives, private eyes, talented and sometimes lucky amateurs, armchair detectives, and ethnic detectives

In his spirited Introduction to a topnotch collection of Great American Detective Stories, Anthony Boucher says: “The detective short story belongs to us. It started in America and it started off magnificently. In five stories, Edgar Allan Poe created the form and almost all its possible variants... There are as many kinds of detective short stories as there are of detective novels — and you’ll find most of them here, from the ethical poetry of Melville Davisson Post to the brash foolery of Frank Gruber.” A glance at some of the titles of the stories included confirms Boucher’s modest words and guarantees that you’ll find plenty of good reading here

The Gringo got the job — to kill the man he’d been hired to protect!

In depths of despair, the beautiful, lonely Madeline contemplates suicide. She gently strokes an ugly revolver, the sole legacy of an alcoholic father. Holding the barrel to her temple, she pulls the trigger. There is only the click of the hammer on an empty chamber. The failure of the weapon brings on a rush of joy, and renewed hope for her future. She throws down the gun — and it explodes with deadly fury. The bullet strikes an innocent young woman passing in the street outside, who in the next moment dies in Madeline’s arms. So begins Into the Night, the quintessential Cornell Woolrich novel, never before published. Although Woolrich worked on it for years, this tale of hatred and passion, of love and suspense, remained unfinished at the time of his death. This undiscovered masterpiece has been completed by Lawrence Block — one of today’s most distinguished mystery writers — to create a work which will stand beside Woolrich’s Rear Window, Phantom Lady, and The Bride Wore Black

Following the commercial success of the original Manhattan Noir, mystery titan Lawrence Block explores the historic literary roots of this dark island. Featuring stories by: Edith Wharton, Stephen Crane, O. Henry, Langston Hughes, Irwin Shaw, Jerome Weidman, Damon Runyon, Evan Hunter, Jerrold Mundis, Edgar Allan Poe, Horace Gregory, Geoffrey Bartholomew, Cornell Woolrich, Barry N. Malzberg, Clark Howard, Jerome Charyn, Donald E. Westlake, Joyce Carol Oates, Lawrence Block, and Susan Isaacs

Cornell Woolrich published his first novel in 1926, and through-out the next four decades his fiction riveted the reading public with unparalleled mystery, suspense, and horror. America’s most popular pulps — Dime Detective, Black Mask, and Detective Fiction Weekly — published hundreds of his stories. Classic films like Hitchcock’s Rear Window, Truffaut’s The Bride Wore Black and Mississippi Mermaid, Tournier’s Black Alibi, and Siodmak’s Phantom Lady, as well as dozens of other motion pictures, came chillingly to the screen from his work. And novels like Deadline at Dawn, Rendezvous in Black, and Night Has a Thousand Eyes gained him the epithet “father of noir.” Now, with this new volume — the first in nearly two decades — of previously uncollected suspense fiction by the writer deemed to be the Edgar Allan Poe of the twentieth century, a whole new generation of mystery readers, as well as every one of the countless many who have long read and loved his work, can thrill to the achievement of Cornell Woolrich. “Our poet of the shadows,” as he has been called, Woolrich liveв a life of such deep despair and utter terror that he could do little except spill those fears onto the printed page. Yet he would never rid himself of his dark disquietude Woolrich’s life was, as James Ellroy put it, “a tragic existence that resulted in a superbly sustained fictional output.” Masterfully wrought, these stories of night and fear indelibly translate Woolrich’s personal horror into words

Cornell Woolrich was a haunted man who lived a life of reclusive misery, but he was also a uniquely gifted writer who explored the classic noir themes of loneliness, despair and futility. His stories are masterpieces of psychological suspense and mystery, and they have inspired classic movies like Hitchcock’s Rear Window and Truffaut’s The Bride wore Black. This collection brings together twelve of his finest, most powerful and disturbing tales

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

De Maupassant once wrote: “There is nothing more beautiful and honorable than killing.” The Bride Wore Black offers grim and absorbing proof of that idea. Four men are murdered. Each time a woman they have never known comes into their lives. She appears briefly — she strikes — and disappears. There is never a trace of her left — not a fingerprint, not a clue. Four men are murdered. Four men whose lives do not touch, for whose deaths there is no conceivable reason. The police say, “Homicidal Maniac.” And yet — twice the woman risks her life to save another’s. Four men are murdered. And slowly, very slowly, the picture of the woman grows clearer to the police. She is beautiful, for only a beautiful woman would have worn the filmy black veil found clutched in the hand of the first man who dies. She is clever, for only a clever woman could have escaped from the hotel bedroom of her second victim. She is ruthless, for only a ruthless woman could have used a child’s toy to kill that child’s father. She is strong, for only a strong woman could have used such a weapon for her fourth murder. Four men are murdered. Then comes the fifth. And with it a denouement as breathtakingly exciting as a parachute jump and as extraordinary as the woman herself. The Bride Wore Black is a macabre and brilliant tour de force of crime fiction. It employs none of the usual tricks, yet the reader is enthralled. There are no suspects, no clues, yet the reader is tensely aware of mystery. There is only the woman, her victims, and the relentless drama of her life — a pale shadow that comes gradually into focus and is seen at last in brilliant outline

The blind man was unwittingly enmeshed in the slimy schemes of a ruthless dope ring. How could he clear his name, with no aid except that of the faithful canine companion who was his “seeing eye,” when he was up against a sinister set-up that had defied the whole narcotic squad?

Story of a boy who found a way

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

A crumpled five-dollar bill, a ticket to San Francisco, a legal document terminating a marriage lost long ago in angry words— These were all she had. But between today and tomorrow a strange thing happened. She had a chance to build a whole new life, a life based on a lie