Jethro Hammer by Craig Rice (as Michael Venning) “No one will get you out of your vacation hammock too easily, once you've started. … There are deftly drawn characters, colorful backgrounds and pungent, believable dialogue to round out this Grade-A thriller.”—The New York Times “Breathlessly exciting”—The Chicago Sun-Times From the jacket: Once in a while, because of its eminent readability, a book emerges from the many to take its place at the top of any reader’s list. Jethro Hammer is such a book, embracing all the qualifications of top ranking fiction as well as embodying the spine tingling drama and needling action of the best psychological novel. Will Donahue, blacksmith, was a simple-hearted friendly man who loved children, stray cats, and everything lonely and helpless. It was only natural, when the pale, undernourished baby was found wailing in a church, that Will take him to his home, give him a name (Jethro Hammer), and raise him as one of his own children. After Will’s death, his now fully grown family, selfish to the core, declined to cut Jethro in on the fortune the blacksmith had amassed. The disappearance of Jethro Hammer (which lasted twenty years), his return, his revenge and his death unfold with a dramatic simplicity that well makes felt the embittered strength of the cast off man.

Within the formulas of crime fiction, this collection ranges from writers Daphne du Maurier and Margery Allingham, whose names are synonymous with conventional subgenres of crime fiction, through Patricia Highsmith, and Shirley Jackson, who deliberately set conventions aside or who moved those conventions into other realms. Most important, perhaps, Jackson, Highsmith and E. X. Ferrars depict civilizations that are not essentially orderly, that are not founded upon a commonly understood concept of justice--where one must make her own order.

“The Hollywood-cum-Santa Fe artists, both screwy and sensible, in the desert are all neatly caught in the lively style given to Mrs. Pat to narrate. Grade: A”—The Saturday Review “Plenty of excitement.”—Kirkus From the jacket: “Time was,” said the sheriff of Santa Maria, “when murder was murder in this country. ... But now we got artists and writers and therefore psychology. It's enough to ruin the country.” It was lucky for Sheriff Trask that Pat Abbott and his lively wife, Jeanie, were vacationing in the little New Mexican artists’ colony the day a psychotic war veteran and a gangster's widow arrived on the Plaza. By an unlikely coincidence they were the former spouses of friends of the Abbotts who had just announced their engagement. Gilbert Mason, a Hollywood writer with a penchant for seeing the worst, pointed out to Jeanie that it looked as if there would be no marriage, for the widow packed a gun. The first day of tension exploded into murder and kidnapping, both crimes committed almost simultaneously, as if they had been masterminded to confuse pursuit. Immediately everyone began to act out of character. Competent Vanessa Wells, a writer who had lived alone and liked it for years, turned nervous and absent-minded. Gilbert Mason, a confirmed gossip, acted as if he knew more than he told. The gangster's widow and her apelike retainer became good Samaritans. And the handsome war veteran, who'd always looked after himself, began to plot his own downfall. Through the exciting adventure Mrs. Crane conveys the many aspects of the New Mexican landscape, using the charm of Spanish-Indian culture, the backbiting of bohemia, and the terrifying, cruel loneliness of the desert to enhance the suspense.

“Nasty characters and clues pointing off in all directions—quite good.”—The Miami News When some new neighbors move in near the San Francisco home of Pat and Jean Abbott they seem to be a very strange family indeed, and soon they present as puzzling and as nasty a series of attempted murders and suspicious deaths as one could find in the annals of crime. First a child is found dead (suffocation? poison? or both?). Pat Abbott is engaged by one of the grown daughters to investigate, but Homicide is called in, in the person of the saturnine Inspector Sam Bradish and his imperturbable sergeant, Cohen. There are plenty of suspects, for, they find, nearly every one of the Alby family had both motive and opportunity for killing the child. There are various attempts upon the lives of the people involved, including the lovelorn Rona, second wife of Dr. Alby, she of the amber eyes, who would readily sacrifice a fortune for the sleek Don Quayle, who isn’t quite so insensible to the uses of money. Then there is the attempt to kill the elder sister and Rona’s wild swing when she takes a shot at Pat Abbott. Finally Pat uncovers the ugly story of an earlier murder, and the pattern begins to take form. In his masterly reconstruction of the series of crimes, Pat takes a knife thrust which is not serious but which puts the final confirmation on his deductions. Action, Jean’s bright chatter, interesting people—a thoroughly readable and absorbing murder mystery.

Pat and Jean Abbott, visiting relatives in a rich oil town, are called on to clear a pretty air-line hostess, Sally Carroll, who is suspected of having murdered her old beau. By the time the Abbotts arrive on the scene, there has been a curious change of policy: nobody wants them on the case, not the cousin and heir of the dead man, not his widow, and especially not the sheriff. Perversely, they decide to stay. Pat is shot at by a man who is supposed to be helping them, and Jean is buried in an abandoned well by a woman who claims to be on their side. Then a car they think is a friend’s crashes them into a ditch. Nevertheless they stick with the job until they come up with a solution that is both surprising and satisfying—but they cannot prevent the killer from claiming a second victim. “Pro Handling”—The Saturday Review “Congenial and confiding.”—Kirkus

“Army intelligence work whets Pat's wits for lively, well-plotted and mystifying case with spouse stooging pleasantly.”—The Saturday Review From the Jacket: San Francisco is the locale of this fast-paced mystery by the author of The Indigo Necklace and The Man in Gray—San Francisco of the fabulously steep hills, the fog drifting in over the bay, the excellent restaurants and the exotic dives. On one of its hills, in a muffling fog, Pat and Jean Abbott, Mrs. Crane’s delightful sleuthing couple, see a car crash into a hydrant, and it's no surprise to anyone when a murdered man is found slumped behind the wheel. The dead man, however, is the estranged husband of a very good friend of the Abbotts, Nancy Leland. Because Nancy is suspected of the murder, the Abbotts are from then on involved in two more murders, mayhem and a few other slightly illegal activities. A grim chain of apparently unrelated clues leads them to the murderer, and to a solution of more than passing interest to the Federal Bureau of Narcotics.”

The Judas Window by John Dickson Carr (as Carter Dickson), a Sir Henry Merrivale mystery. One of the five best locked room mysteries, as selected by 14 established mystery authors and critics (All But Impossible!, 1981. ed. E. Hoch). The Case: Avory Hume is found dead with an arrow through his heart--in a study with bolted steel shutters and a heavy door locked from the inside. In the same room James Caplon Answell lies unconscious, his clothes disordered as though from a struggle. The Attorney for the Defense: That gruff and grumbling old sleuth, Sir Henry Merrivale, who proves himself superb in court--even though his gown does tear with a rending noise as he rises majestically to open the case. The Action: Before H.M. can begin his defense, Answell, his client, rises and cries out that he is guilty. Sir Henry doesn't believe it. But proof, circumstantial evidence, and the man's own confession point to his guilt. So the great, explosive detective gets down to serious sleuthing and at last startles the crowd in the Old Bailey with a reconstruction of the crime along logical, convincing lines. The Judas Window. Also published as The Crossbow Murder. Included is the floor plan found in the print version, redrawn for better legibility specifically for this edition.