The bestselling sensation—and one of the most outstanding crime novels of the 20th century—that was banned in Boston for its explosive mixture of violence and eroticism, and acknowledged by Albert Camus as the model for The Stranger. The basis for the acclaimed 1946 film. 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. First published in 1934, The Postman Always Rings Twice is a classic of the roman noir. It established James M. Cain as a major novelist with an unsparing vision of America's bleak underside and was acknowledged by Albert Camus as the model for The Stranger.
In Mildred Pierce, noir master James M. Cain creates a novel of acute social observation and devasting emotional violence, with a heroine whose ambitions and sufferings are never less than recognizable. Mildred Pierce had gorgeous legs, a way with a skillet, and a bone-deep core of toughness. She used those attributes to survive a divorce and poverty and to claw her way out of the lower middle class. But Mildred also had two weaknesses: a yen for shiftless men, and an unreasoning devotion to a monstrous daughter.
"A National Book Award-finalist biographer tells the story of how a young man in his 20s who had never written a novel turned out a masterpiece that still grips readers more than 70 years later and is considered a rite of passage for readers around the world, "--NoveList.
@doctorfusionbebop: Some 17 y. o. chick named Dee Guerrera was just sent to Alcatraz 2.0 for killing her stepsister. So, how long do you think she'll last? @morrisdavis72195: I hope she meets justice! She'll get what's coming to her! BWAHAHA! @EltonJohnForevzz: Me? I think Dee's innocent. And I hope she can survive. WELCOME TO THE NEAR FUTURE, where good and honest citizens can enjoy watching the executions of society's most infamous convicted felons, streaming live on The Postman app from the suburbanized prison island Alcatraz 2.0. When seventeen-year-old Dee Guerrera wakes up in a haze, lying on the ground of a dimly lit warehouse, she realizes she's about to be the next victim of the app. Knowing hardened criminals are getting a taste of their own medicine in this place is one thing, but Dee refuses to roll over and die for a heinous crime she didn't commit. Can Dee and her newly formed posse, the Death Row Breakfast Club, prove she's innocent before she ends up wrongfully murdered for the world to see? Or will The Postman's cast of executioners kill them off one by one?
Following her husband's death in a suspicious car accident, beautiful young widow Joan Medford is forced to take a job serving drinks in a cocktail lounge to make ends meet and to have a chance of regaining custody of her young son. At the job she encounters two men who take an interest in her, a handsome young schemer who makes her blood race and a wealthy but unwell older man who rewards her for her attentions with a $50,000 tip and an unconventional offer of marriage... The last, lost crime novel by one of the greatest noir novelists of all time, author of Mildred Pierce, Double Indemnity, and The Postman Always Rings Twice. Now published for the very first time - including an afterword by editor Charles Ardai!
When a mysterious stranger turns up making claims that threaten Lady Fowling’s legacy, Hayley Burke must dig deep into her late benefactor’s history to uncover the truth and catch a conniving killer in this new mystery from USA Today bestselling author Marty Wingate, now in paperback. It has been nearly a year since I took up my position as curator of Lady Georgiana Fowling’s collection of Golden Age of Mystery writers’ first editions at her library in Middlebank House. I have learned that I need to take the good with the bad. The good: I have finally convinced Mrs. Woolgar to open up the collection to the public one day a week so that they too can share in Lady Fowling’s passion. The bad: although he would not be my first, or even tenth, choice, at the insistence of the board Charles Henry Dill, Lady Fowling’s unscrupulous nephew, is now my personal assistant. On one of our first days open to the public, Mr. John Aubrey shows up at Middlebank House and insists that Lady Georgiana Fowling is his grandmother. Mrs. Woolgar is scandalized by his claims, and Charles Henry, who feels he has been cheated out of his rightful inheritance as Lady Fowling’s heir, is furious. I do not know that I believe Mr. Aubrey, yet he has knowledge of Lady Fowling’s life and writings that few possess. To further complicate matters, an associate of Mr. Aubrey’s intends to help us uncover the truth of John’s story. But before he can do that, he is murdered and the police have reason to suspect Charles Henry. As much as I would like to lock up Charles Henry and throw away the key, I cannot believe he is a killer. And I also know there is something dead wrong about Mr. Aubrey’s tales regarding his “grandmother” Lady Fowling. I will need to make sense of her past in order to suss out the true villain of this story.
A true crime masterpiece, and highly acclaimed 1940s movie 'DOUBLE INDEMNITY is among the finest of all American novels, regardless of genre or style' LA TIMES 'Cain is the master' Tom Wolfe DOUBLE INDEMNITY is the classic tale of an evil woman motivated by greed who corrupts a weak man motivated by lust. Walter Huff is an insurance investigator like any other until the day he meets the beautiful and dangerous Phyllis Nirdlinger and falls under her spell. Together they plot to kill her husband and split the insurance. It'll be the perfect murder . . .
In The American Roman Noir, William Marling reads classic hard-boiled fiction and film in the contexts of narrative theories and American social and cultural history. His search for the origins of the dark narratives that emerged during the 1920s and 1930s leads to a sweeping critique of Jazz-Age and Depression-era culture. Integrating economic history, biography, consumer product design, narrative analysis, and film scholarship, Marling makes new connections between events of the 1920s and 1930s and the modes, styles, and genres of their representation. At the center of Marling's approach is the concept of "prodigality": how narrative represents having, and having had, too much. Never before in the country, he argues, did wealth impinge on the national conscience as in the 1920s, and never was such conscience so sharply rebuked as in the 1930s. What, asks Marling, were the paradigms that explained accumulation and windfall, waste and failure? Marling first establishes a theoretical and historical context for the notion of prodigality. Among the topics he discusses are such watershed events as the trial of Sacco and Vanzetti and the premiere of the first sound movie, The Jazz Singer; technology's alteration of Americans' perceptive and figurative habits; and the shift from synecdochical to metonymical values entailed by a consumer society. Marling then considers six noir classics, relating them to their authors' own lives and to the milieu of prodigality that produced them and which they sought to explain: Dashiell Hammett's Red Harvest and The Maltese Falcon, James M. Cain's The Postman Always Rings Twice and Double Indemnity, and Raymond Chandler's The Big Sleep and Farewell My Lovely. Reading these narratives first as novels, then as films, Marling shows how they employed the prodigality fabula's variations and ancillary value systems to help Americans adapt--for better or worse--to a society driven by economic and technological forces beyond their control.
A poisoned paan, a non-government issue arrow and the cameo of a mysterious Englishman... Muzaffar Jang is that rare creature in Mughal Emperor Shahjahan’s Dilli – an aristocrat with friends in low places. One of whom, Faisal, stands accused of murder. When the body of Mirza Murad Begh is found stabbed in the chest, lying in a water channel in the Qila, poor Faisal is the only one around. But what of the fact that, minutes before his demise, the victim had stepped out of the haveli of Shahjahanabad’s most ravishing courtesan? Could not the sultry Mehtab Banu and her pale, delicate sister, Gulnar have something to do with the murder? Determined to save his friend, Muzaffar decides to investigate, with only a cup now and then of that new-fangled brew – ‘Allah, so bitter’ – called coffee to help him. A trail of clues leads him from Mehtab’s haveli out into the streets of seventeenth-century Dilli – rife with rumours of Dara Shukoh’s strange leanings and Prince Aurangzeb’s rebelliousness – into a conspiracy far more sinister than he had imagined...
