The debut novel from the New York Times–bestselling “master of crime fiction and equine thrills” features an investigation into the death of a jockey (The Atlantic Monthly). Dick Francis, Edgar Award–winning master of mystery and suspense, takes you into the thrilling world of horse racing. Steeplechaser Alan York knows well the dangers of the sport. But when his best friend and rival jockey Bill Davidson takes a fall in the middle of a race and doesn’t get up again, Alan discovers it was no accident. Someone rigged a tripwire to take down the running horse. The more Alan investigates, the more he suspects that there is more to the plot than just murderous horseplay. But even as he approaches the finish line to this mysterious race, those responsible for his friend’s death are already planning for Alan to have a mysterious accident of his own . . . “Dick Francis is a wonder.” —Cleveland Plain Dealer “An imaginative craftsman of high order.” —The Sunday Times “Few things are more convincing than Dick Francis at a full gallop.” —Chicago Tribune “Few match Francis for dangerous flights of fancy and pure inventive menace.” —Boston Herald “[The] master of crime fiction and equine thrills.” —Newsday “[Francis] has the uncanny ability to turn out simply plotted yet charmingly addictive mysteries.” —The Wall Street Journal “Francis is a genius.” —Los Angeles Times “A rare and magical talent . . . who never writes the same story twice.” —The San Diego Union-Tribune

Now over twenty years old, the original edition ofNightmare Movies has retained its place as a true classic of cult filmcriticism. In this new edition, Kim Newman brings his seminal work completelyup to date, both reassessing his earlier evaluations and adding a second partthat analyses the last two decades of horror films with all the wit,intelligence and insight for which he is known. Since the publication of thefirst edition, horror has been on a gradual upswing and has gained a new andstronger hold over the film industry. Newman negotiates his way through a vastback catalogue of horror and charts the on-screen progress of our collectivefears and bogeymen, from the low-budget slasher movies of the 1960s, through tothe slick releases of the 2000s. Nightmare Movies is an invaluable companion that not onlyprovides a newly updated history of the darker side of film but also acts as atruly entertaining guide with which to explore the less well-trodden paths ofhorror and rediscover the classics with a newly instructed eye.

"I don’t believe in God, but I miss him." So begins Julian Barnes’s brilliant new book that is, among many things, a family memoir, an exchange with his brother (a philosopher), a meditation on mortality and the fear of death, a celebration of art, an argument with and about God and a homage to the writer Jules Renard. Barnes also draws poignant portraits of the last days of his parents, recalled with great detail, affection and exasperation. Other examples he takes up include writers, "most of them dead and quite a few of them French," as well as some composers, for good measure. The grace with which Barnes weaves together all of these threads makes the experience of reading the book nothing less than exhilarating. Although he cautions us that "this is not my autobiography," the book nonetheless reveals much about Barnes the man and the novelist: how he thinks and how he writes and how he lives. At once deadly serious and dazzlingly playful, Nothing to Be Frightened Of is a wise, funny and constantly surprising tour of the human condition.

Watching the screen version of a classic mystery novel can be disappointing. By necessity or artistic license (or possibly just ego) changes are often made by the filmmakers--many of them ineffective or even detrimental. This book focuses on the screen adaptations of 65 famous mysteries and examines how the filmmakers either succeeded or failed in the telling of the story. Interviews with several famous mystery writers are included, with their comments on how filmmakers treated their work.

Vol. 49, no. 9 (Sept. 1922) accompanied by a separately paged section entitled ERA: electronic reactions of Abrams.