In the tradition of Ruth Rendell, Lynda la Plante, Frances Fyfield and Barbara Vine, Cut Short is a gripping psychological thriller that introduces D.I. Geraldine Steel, a woman whose past is threatening to collide with her future.
Set mostly in Arizona and L.A., Drive is a classic noir about a man who stunt drives for movies by day and drives for criminals at night. He is double-crossed and, though before he has never been involved in the violence ('I drive. That's all.'), he goes after the ones who double-crossed him and tried to kill him. This is the film tie-in edition.
There are those who vanish into the steaming New Orleans night - and it is part-time Private Investigator and blues aficionado Lew Griffin's job to find them. A prisoner of the bottle, his past and his skin, Griffin knows every hidden corner of Hell. But the disappearance of a militant woman activist is about to carry the brilliant, tormented P.I. ever closer to a nightmare that threatens to hit him where he lives...and more brutally than he ever imagined possible. The first in James Sallis' sequence of much lauded crime novels to feature Lew Griffin.'He's right up there, one of the best of the best. His series of novels about private eye Lew Griffin is thoughtful, challenging and beautifully written'- Ian Rankin, Guardian
A hired killer on his final job; a burned-out detective whose wife is dying slowly and in agony; a young boy abandoned by his parents and living alone by his wits. Three people, solitary and disconnected from society. The detective is looking for the killer, Christian, though he doesn't know that. Christian is trying to find the man who stepped in and took down his target before he had the chance. And the boy, Jimmie, is having the killer's dreams. While they never meet, they are inextricably linked, and as their stories unfold, all find the solace of community. In what is at one and the same time a coming-of-age novel, a realistic crime novel and a novel of the contemporary Southwest, The Killer Is Dying is above all the story of three men of vastly different age and background, and of the shape their lives take against the unforgiving sunlight and sprawl of America's fifth largest city, Phoenix. well-nigh perfect'- Guardian
A year or so has passed since the events of Cypress Grove. Ex-policeman, ex-con, former therapist, Turner has become Deputy Sheriff in the small town within driving distance of Memphis, Tennessee, to which he had migrated in hopes of escaping his past. His life is mending as he and Val Bjorn grow closer. And then a young man, arrested on a routine traffic stop with more than $200,000 in his trunk, is forcibly sprung from jail after Sheriff Don Lee is brutally assaulted. Throwing caution aside, Turner goes in pursuit to Memphis, unleashing ghosts he thought he had left behind, and endangering all that matters to him now. The second part of James Sallis'much lauded Turner trilogy of crime novels. 'The brooding atmosphere and depth of characterisation mark this as superior'- Mail on Sunday
David (as he's currently known) was one of an elite corps of spies trained during the chilliest days of the Cold War. But those days are long gone and for nine years he has been an ordinary, upstanding citizen....Until, that is, a phone call in the middle of the night awakens him. The only other known survivor of that elite corps has gone rogue. They need David to stop him. What ensues is an existential cat-and-mouse game played out across the board that is the American landscape. Haunting, visceral, and utterly magnificent, Death Will Have Your Eyes is a novel about spying in the way that All the King's Men is a novel about politics - ultimately, its agents spy into that oddity known as the human condition. 'Sallis is a superb writer and this is his best novel yet!' - Michael Moorcock
In a time of anger, activism, and bitter racial tensions, a sniper has appeared to heat up an already sweltering New Orleans summer - by tearing up innocent people like paper targets. The shooter's sixth fatality is cut down while she is walking at Lew Griffin's side. the victim was white. Griffin is black - a reluctant young PI whose poet's heart has already been hardened by amoral injustice and heavy drink. And though he had only just met his unfortunate companion, Griffin knows it's up to him to find her killer - before a madman puts the final match to a volatile urban tinderbox. The third of James Sallis' sequence of much lauded crime novels to feature Lew Griffin. 'He's right up there, one of the best of the best. His series of novels about private eye Lew Griffin is thoughtful, challenging and beautifully written'- Ian Rankin, Guardian
As Lew Griffin leaves a New Orleans music club with an older white woman he has just met, someone fires a shot and Lew goes down. When he comes to, Griffin discovers that most of a year has gone by since that night. Who was the woman? Which of them was the target? Who was the sniper? Somewhere in the Crescent City - and in the white supremacist movement crawling through it - there's an answer to the questions left by that shot that echoed through the night. But to get to it, Griffin is going to have to work with the only people offering help, people he knows he should avoid. The fifth of James Sallis' sequence of much lauded crime novels to feature Lew Griffin. 'He's right up there, one of the best of the best. His series of novels about private eye Lew Griffin is thoughtful, challenging and beautifully written'- Ian Rankin, Guardian
In his old house in uptown New Orleans, Lew Griffin is alone again - or almost. He and Deborah are drifting apart. His son David has disappeared again, leaving behind a note that sounds final. Heading homeward from his retirement party, his friend, Don Walsh has been shot while interrupting a robbery. Worst of all, Lew himself is directionless, no longer teaching, with little to fill his days. He hasn't written anything in years. Even the attempt to discover the source of threatening letters sent to a friend leaves him feeling rootless and lost. And now Lew Griffin stands alone in a dark room, looking out. Behind him on the bed is a body. Wind pecks at the window. Traffic sounds drift aimlessly in. He thinks if he doesn't speak, doesn't think about what happened, somehow things will be alright again. He thinks about his own life, about the other's, about how the two of them came to be here. The sixth and last of James Sallis' sequence of much lauded crime novels to feature Lew Griffin. 'Allusive and stylish, this stark metaphysical landscape will leave a resounding impression' - Maxim Jakubowski, Guardian
The small town where Turner moved is one of America's lost places, halfway between Memphis and forever. That makes it a perfect hide-away: A place where you can bury the past and escape the pain of human contact, where you are left alone unless you want company, where conversation happens only when there's something to say, where you can sit and watch an owl fly silently across the face of the moon. And where Turner hoped to forget that he was a cop, a psychotherapist, and always an ex-con. There was no major crime to speak of until Sheriff Lonnie Bates arrived on Turner's porch with a bottle of Wild Turkey and a problem: The body of a drifter has been found-'brutally and ritualistically murdered-'and Bates and his deputy need help from someone with big-city experience who appreciates the delicacy of investigating people in a small town. Thrust back into the middle of what he left behind, Turner slowly becomes reacquainted not only with the darkness he had fled, but with the unsuspected kindness of others. Brilliantly balancing Turner's past and present lives,Cypress Grove is lyrical, moving, and filled with the sense of place and character that only our finest writers can achieve. It is proof positive that the acclaim James Sallis has enjoyed for years is richly deserved.
Un passage au Vietnam, quelques années en prison, un cabinet de psy, tel est le parcours de John Turner désormais shérif adjoint de la petite ville du Tennessee ou il sest réfugié pour essayer de faire la paix avec lui-meme. Mais la violence et le malheur ne se laissent pas oublier si facilement et Turner se retrouve aux prises avec trois enquetes différentes : une voiture volée vient défoncer la façade de l'hôtel de ville, son vieil ami Eldon vient lui demander son aide, un cadavre de femme est retrouvé dans une maison abandonnée...
'Les pages filent comme les minutes, sans quon sen aperçoive, notre attention totalement captive de ce texte envo"utant. Turner est arrivé au point ou sa lucidité nous écorche.' Bruno Corty, Le Figaro littéraire
Drive, James Sallis's critically acclaimed thriller about a movie stunt-man who moonlights as a getaway driver for the mob, became an award-winning film, directed by Nicholas Winding Refn, starring Ryan Gosling and Carey Mulligan and introduced Sallis to a worldwide audience - this is the stunning sequelSeven years have passed since Driver ended his campaign against those who double-crossed him. He has left the old life, become Paul West and founded a successful business back in Phoenix.But walking down the street one day, he and his fiancée are attacked by two men and, while Driver dispatches both, his fiancée is killed.Sinking back into anonymity, aided by his friend Felix, an ex-gangbanger and Desert Storm vet, Driver realises that his past stalks him - and will not stop.He has to turn and face it.
There was something weird about the stranger, something that Arnold didn't like. He made him feel uneasy and suspicious. Always poking his nose in where it wasn't wanted and winding Arnold up. All Arnold wanted was for him to go away and leave him alone but there was only one way he could stop him.
The return of Kemal Kayankaya, "The ultimate outsider among hard-boiled private eyes" (Marilyn Stasio in The New York Times Book Review) "A master of crime fiction... The sardonic humor survives intact, the writing is energetic, the plot moves right along." --The New York Times OVER 1 MILLION COPIES SOLD WORLDWIDE Jakob Arjouni's first novel, Happy Birthday, Turk!, was published when its author was just twenty. The book and its beleaguered hero, Turkish-German P.I., Kemal Kayankaya, instantly found an adoring audience around the world, and three more bestselling Kayankaya novels quickly followed.
More than twenty-five years after Arjounis debut--and after publishing a string of critically acclaimed literary novels--the author returns to his most beloved character. In Brother Kemal, we find that while things in Frankfurt have gotten glitzier, it's still the ugliest town in all of Germany, and the city's underworld has hardly changed at all.
Valerie de Chavannes, a financier's daughter, summons Kayankaya to her villa in Frankfurt's diplomat's quarter and commissions him to find her missing sixteen-year-old daughter. She is alleged to be with an older man who is posing as an artist. To Kayankaya, it seems like a simple case: an upper class girl with a taste for adventure.
Then another seemingly posh job turns up: a major publisher needs to protect a writer who has offended Islamist groups during the Frankfurt Book Fair.
The two cases seem to be straightforward, but it goes all-wrong for Kayankaya, as it almost always does. Luckily, that's when he's at his best.
From the Trade Paperback edition.
When a mature, beautiful and composed April Kyle strides into Spenser's office, the Boston PI barely hesitates before recognizing his once and future client. Now a well-established madam herself, April oversees an upscale call girl operation in Boston's Back Bay. Still looking for Spenser's approval, it takes her a moment before she can ask him, again, for his help. Her business is a success; what's more, it's an all-female enterprise. Now that some men are trying to take it away from her, she needs Spenser's help. April claims to be in the dark about who it is that's trying to shake her down, but with a bit of legwork and a bit more muscle, Spenser and Hawk find ties to organized crime and local kingpin Tony Marcus, as well as a scheme to franchise the operation across the country. As Spenser again plays the gallant knight, it becomes clear April's not as innocent as she seems. In fact, she may be her own worst enemy.
When the body of controversial talk-show host Walton Weeks is discovered hanging from a tree on the outskirts of Paradise, police chief Jesse Stone finds himself at the center of a highly public case, forcing him to deal with small-minded local officials and national media scrutiny. When another dead body - that of a young woman - is discovered just a few days later, the pressure becomes almost unbearable. Two victims in less than a week should provide a host of clues, but all Jesse runs into are dead ends. But what may be the most disturbing aspect of these murders is the fact that no one seems to care-not a single one of Weeks's ex-wives, not the family of the girl. And when the medical examiner reveals a heartbreaking link between the two departed souls, the mystery only deepens. Despite Weeks's reputation and the girl's tender age, Jesse is hard-pressed to find legitimate suspects. Though the crimes are perhaps the most gruesome Jesse has ever witnessed, it is the malevolence behind them that makes them all the more frightening. Forced to delve into a world of stormy relationships, Jesse soon comes to realize that knowing who he can trust is indeed a matter of life and death.
When a woman's partially decomposed body washes ashore in Paradise, Massachusetts, police chief Jesse Stone is forced into a case far more difficult than it at first appears. Identifying the woman is just the first step in what proves to be a difficult and emotionally charged investigation. Florence Horvath was an attractive, recently divorced heiress from Florida; she also had a penchant for steamy sex and was an enthusiastic participant in a video depicting the same. Somehow the combination of her past and present got her killed, but no one is talking - not the crew of the Lady Jane, the Fort Lauderdale yacht moored in Paradise harbour; nor her very blonde, very tanned twin sisters, Corliss and Claudia; and not her curiously affectless parents, living out a sterile retirement in a Miami high rise. But someone - Jesse - has to speak for the dead, even if it puts him in harm's way.
I drive. That's what I do. All I do.''Much later, as he sat with his back against an inside wall of a Motel 6 just north of Phoenix, watching the pool of blood lap toward him, Driver would wonder whether he had made a terrible mistake. Later still, of course, there'd be no doubt. But for now Driver is, as they say, in the moment. And the moment includes this blood lapping toward him, the pressure of dawn's late light at windows and door, traffic sounds from the interstate nearby, the sound of someone weeping in the next room....'Thus begins Drive, by James Sallis. Set mostly in Arizona and LA, the story is, according to Sallis, '...about a guy who does stunt driving for movies by day and drives for criminals at night. In classic noir fashion, he is double-crossed and, though before he has never participated in the violence ('I drive. That's all.'), he goes after the ones who double-crossed and tried to kill him.'NOW A MAJOR FILM STARRING RYAN GOSLING AND CAREY MULLIGAN which won Best Director (Nicolas Winding Refn) at the Cannes Film Festival 'Sallis creates vivid images in very few words and his taut, pared-down prose is distinctive and powerful. The result is a small masterpiece.'- Susanna Yager, Sunday Telegraph'a minor masterpiece... minimalist, stylish, and all the more evocative for it. Essential noir existentialism.'- Maxim Jakubowski, The Guardian