'It's a tale of someone who wanted to go and go-who was sick of the dead-on-its-feet upper crust he was born into, that he didn't believe in, didn't want, whose values were meaningless, that did nothing but hold him back from his first nanny onwards. I wanted to chip my way out of that background which held me like a flea in a block of ice, and crime was the only chisel I could find.' First published in 1962, The Crust on Its Uppers, Derek Raymond's first novel (written when he was Robin Cook) is a gripping tale of class betrayal. With ruthless precision, it brings vividly to life a Britain of spivs, crooked toffs and bent coppers - in fact, a Britain that in its bare essentials has changed little over the last 30 years.

In this book, the reader is immediately plunged into the horrific mind of one of the most brutally damaged and murderous killers the unnamed Detective Sergeant has ever faced: a deranged axe-murderer. But why the victim--the gentle Dora Suarez--was murdered at all becomes the Sergeant's obsession, especially as he digs deeper into a diary she left behind and learns she was already dying of AIDS. So why kill her?

When a middle-aged alcoholic is found brutally battered to death on a roadside in West London, the case is assigned to a nameless detective sergeant, a tough-talking cynic and fearless loner from the Department of Unexplained Deaths at the Factory police station. Working from cassette tapes left behind in the dead man's property, our narrator must piece together the history of his blighted existence and discover the agents of its cruel end. What he doesn't expect is that digging for the truth will demand plenty of lying, and that the most terrible of villains will also prove to be the most attractive. In the first of six police procedurals that comprise the Factory series, Derek Raymond spins a riveting, and vividly human crime drama. Relentlessly pursuing justice for the dispossessed, his detective narrator treads where few others dare: in the darkest corners of London, a city of sin plagued by unemployment, racism and vice, and peopled by a cast of low-lifes, all utterly convincing and brought to life by Raymond's pitch-perfect dialogue.

It is the 1960s. England has become a dictatorship, governed by a sly, ruthless politician called Jobling. All non-whites have been deported, The English Times is the only newspaper, and ordinary people live in dread of nightly curfews and secret police. Richard Watt used all his journalistic talents to expose Jobling before he came to power. Now in exile in a farmhouse amid the cruel heat of the Italian countryside, Watt cultivates his vineyards. His remote rural idyll is shattered by the arrival of an emissary from London. Derek Raymond?s skill is to make all too plausible the transition from complacent democracy to dictatorship in a country preoccupied by consumerism and susceptible to media spin. First published in 1970, Raymond?s brilliant satire is as dark and frightening as ever.

"A legendary crime novelist."--The Sunday Times A plainclothes cop in Paris, Kleber is forty years old and devoted to his young wife, Elenya, a former prostitute whom he rescued from her pimp. He is embittered by twenty-two years on the streets, and his sleep is haunted by dreams of death. Kleber has many enemies, and only one friend: a criminal named Mark. When Kleber is suspended from the police force for punching a fellow officer, his underworld enemies seize their chance to get even.