Here is a smashing, red-blooded mystery yarn, packed with fast action. This is crime as the police in “open” towns know it; hard-boiled detectives and as tough a collection of criminals as can be found in any metropolitan line-up. Torrey sets a speedy pace and the book tears to a climax you won’t forget. Shean Connell, a private detective, sets out to clear up a divorce case in Reno, and finds that he has been framed by the man who is boss of the town’s criminals. After he views the woman in the morgue and has the tip of his ear shot away, he realizes that murder and not divorce is being plotted. Why wouldn’t Tod Wendel’s wife speak to him? Between the wealthy society woman and her husband stood the forces of the underworld — gangsters, white slavers, dope runners — and Shean Connell breaks the case in the hardest-hitting, lustiest mystery novel since Dashiell Hammett

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

We now live in enlightened times that reassure us that, far from being a lower form of literature, pulp fiction is the term for what the best storytelling provides — pyrotechnic thrills, shocks galore and excitement by the bucketload! From cops, both straight and crooked, to ruthless bigshots, shady operators, femmes fatales and damsels in distress. Including gangsters, drifters, common crooks, shady attorneys to molls with a heart of gold, enjoy a rollercoaster ride through popular literature’s best pulp writers. The MBO of Pulp Action includes the talents of Charles Willeford, Ed McBain, Bill Pronzini, Ed Gorman, Lawrence Block, John D. Macdonald, William Campbell Gault, Bruno Fischer, Mark Timlin, Joe R. Lansdale and many of the classic Black Mask magazine

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