Winds whistled up the river, and winds whistled down from the hills, and they met to swirl and gather fury and rattle the city’s millions of windowpanes. They carried a mixture of sleet and fine snow, the first herald of the winter to come. In the business district they swung signs madly back and forth, and roared around the corners of high office buildings, and swept madly against struggling trolley cars. They poured through the man-made cañons; they dashed out the broad boulevards—and so they came to the attention of Mr. Roger Verbeck, at about the hour of midnight, as he turned over in his warm bed and debated whether to rise and lower the window or take a chance with the rapidly lowering temperature. “Beastly night!” Verbeck confided to himself, and put his head beneath the covers. He slept—and suddenly he awakened. A moment before he had been in the midst of a pleasant dream; now every sense was alert, and his right hand, creeping softly under the cover, reached the side of the bed and grasped an automatic pistol that hung in a rack there. From the adjoining room—his library—there came no flash of an electric torch, no footfall, no sound foreign to the apartment, nothing to indicate the presence of an intruder. Yet Verbeck sensed that an intruder was there. He slipped quietly from the bed, shivering a bit because of the cold wind, put his feet into slippers, and drew on a dressing gown over his pajamas. Then, his pistol held ready for use in case of emergency, he started across the bedroom, taking short steps and walking on his toes. A reflection entered the room from the arc light on the nearest street corner. This uncertain light was shut off for an instant, and Verbeck whirled quickly, silently, to find another man slipping up beside him. It was Muggs—a little, wiry man of uncertain age, who had been in Verbeck’s employ for several years, valet at times, comrade in arms at times, willing adventurer always. Muggs bent forward until his lips were close to Verbeck’s ear. “I heard it, too, boss,” he said. “Somebody in the library!” Verbeck nodded; they crept nearer the door. Inch by inch, Verbeck pulled aside one of the curtains, until they could peer into the other room. A gleam from the corner arc light penetrated the library, too. It revealed the interior of the room in a sort of semi-gloom, causing elusive shadows that flitted here and there in such fashion that they scarcely could be distinguished from substance. Also, it revealed an open window near the fire escape—and it showed the form of a man standing before Verbeck’s antique desk in a corner. Muggs bent beneath his master’s arm to see better. He felt Verbeck grip his shoulder, and looked up to find him indicating the open window. Like a shadow, Muggs, who also held a weapon in his hand, slipped through the curtains, crept along the wall, and advanced toward that window to cut off the intruder’s retreat.

Presents the story of the first three African American astronauts and those who followed.

This work is the only comprehensive guide to sequels in English, with over 84,000 works by 12,500 authors in 17,000 sequences.

The biggest, the boldest, the most comprehensive collection of Pulp writing ever assembled. Weighing in at over a thousand pages, containing over forty-seven stories and two novels, this book is big baby, bigger and more powerful than a freight train—a bullet couldn’t pass through it. Here are the best stories and every major writer who ever appeared in celebrated Pulps like Black Mask, Dime Detective, Detective Fiction Weekly, and more. These are the classic tales that created the genre and gave birth to hard-hitting detectives who smoke criminals like packs of cigarettes; sultry dames whose looks are as lethal as a dagger to the chest; and gin-soaked hideouts where conversations are just preludes to murder. This is crime fiction at its gritty best. Including: • Three stories by Raymond Chandler, Cornell Woolrich, Erle Stanley Gardner, and Dashiell Hammett. • Complete novels from Carroll John Daly, the man who invented the hard-boiled detective, and Fredrick Nebel, one of the masters of the form. • A never before published Dashiell Hammett story. • Every other major pulp writer of the time, including Paul Cain, Steve Fisher, James M. Cain, Horace McCoy, and many many more of whom you’ve probably never heard. • Three deadly sections–The Crimefighters, The Villains, and Dames–with three unstoppable introductions by Harlan Coben, Harlan Ellison, and Laura Lippman Featuring: • Plenty of reasons for murder, all of them good. • A kid so smart–he’ll die of it. • A soft-hearted loan shark’s legman learning–the hard way–never to buy a strange blonde a hamburger. • The uncanny “Moon Man” and his mad-money victims.