"It has the delicious irresponsibility of a Wodehouse plot. . . . It's one of the funniest books we've read in a long time. It contains a great deal of shrewd satire."—The New York Times Multimillionaire and philanthropist Hugo Weiss is known in every capital of the Western world as a munificent patron of the arts. When Weiss suddenly vanishes while on a visit to Paris, his disappearance sets the stage for this uncommonly witty and urbane mystery. Homer Evans, an intrepid American detective, turns his keen intellect and remarkable intuition toward solving the puzzle of the financier's disappearance. Assisted by his sharpshooting girlfriend, a cowgirl from the American West, Evans plunges into a maelstrom of kidnapping, art forgery, tax evasion, murder, and a plot to restore the French monarchy. Set against the backdrop of bohemian Montparnasse, the story hurtles along at a breathless pace and in a tone of relentless good cheer, despite the rising body count. The first installment in a popular series that parodies the famous Philo Vance stories of S. S. Van Dine, this novel offers sophisticated humor amid a madcap romp as well as a challenging mystery. "A rollicking, madcap comic mystery that will have you alternately laughing out loud and reading in silent amazement as the plot becomes more and more complex and the actions more extreme and unpredictable. It is impossible to predict what will happen next. A delicious treat for mystery lovers." — The Mutt Cafe

A multimillionaire's disappearance incites a maelstrom of kidnapping, murder, and a plot to restore the French monarchy. "One of the funniest books we've read in a long time." — The New York Times.

From Chicago historian Adam Selzer, expert on all of the Windy City’s quirks and oddities, comes a compelling heavily researched anthology of the stories behind its most fascinating unsolved mysteries. To create this unique volume, Selzer has collected forty unsolved mysteries from the 1800s to modern day. He has poured through all newspaper, magazine, and book references to them, and consulted expert historians. Topics covered include who really started the great Chicago fire, who was the first “automobile murderer,” and even if there was actually a vampire slaying at Rose Hill cemetery. The result is both a colorful read to get lost in, a window to a world of curiosity and wonder, as well as a volume that separates fact from fiction—true crime from urban legend. Complementing the gripping stories Selzer presents are original images of the crime and its suspects as developed by its original investigators. Readers will marvel at how each character and crime were presented, and happily journey with Selzer as he presents all facts and theories presented at the time of the “crime” and uses modern hindsight to assemble the pieces.

In this lucid book a distinguished scholar and critic measures British fiction from World War I through the convulsive effects of the Depression and World War II, and the importance of the writing that has been done since Finnegan's Wake. Webster presents a moving account of the shattering impact of the Great War upon British writers, particularly Rose Macaulay, Aldous Huxley, Evelyn Waugh, and Ivy Compton-Burnett. The cynicism and despair which afflicted them also bore heavily on the novelists of the thirties and forties—Graham Greene, Joyce Cary, L. P. Hartley, C. P. Snow, who endured the disorder and violence of the Depression and World War II. Though all of these writers spoke with individual voices ranging from pessimism to joyful affirmation, they were all marked ineradicably by the turmoil of the period. The book closes with an overview of the writers who have developed since World War II. Penetrating, fresh, affirmative in its values, the book is an important assessment of this protean group of writers.

This book focuses on the distinctive role that artists have played in detective fiction--as detectives, as villains and victims, and as bystanders. With a few significant exceptions, literary detectives have always identified themselves as essentially the deconstructors of the artful crimes of others. They may use various methods--ratiocinative, scientific, or hard-boiled--but they always unravel the threads that the villains have woven into deceptive covers for their crimes. The detective does, in the end, produce a work of art: a narrative that explains everything that needs explanation. But the detective's moral work is often juxtaposed to the aesthetic work of the painters, poets, and writers that the detective encounters during an investigation. The author surveys this juxtaposition in works by important authors from the early development of the genre (Poe, Conan Doyle), the golden age (Bentley, Christie, Sayers, James, et al.), and the hard-boiled era (Hammett, Chandler, Macdonald, Spicer et al.).

In this foreshadowing of Daphne du Maurier's Rebecca, a vulnerable young woman marries a wealthy widower who sweeps her off to an isolated mansion haunted by the memory of his first wife.

Thorough discourse and rigorous analysis, enlivened by wit, offers a classic exposition of the endgame. Commentary, statistics, and more than 400 studies have been completely revised and updated by the author.