African-American police detective Virgil Tibbs solves a murder in a racist Southern small town.

Chief Clancy Wiggum might very well be the dimmest and most incompetent civic leader in Springfield, but as long as he has a gun and badge, most citizens exercise their right to remain silent. After many a late-night stakeout and thousands of early morning donuts, this top cop offers up his procedural wisdom on what it takes to wear the shield, how to keep on the right side of the law, and the real cost of quick and speedy justice. On Wiggum's watch you'll check out the seized property auction catalog, learn the secret language of police codes, find out how to avoid a speeding ticket, line up with Springfield's usual suspects, and get the skinny on Springfield's most wanted criminal...El Barto.

From legendary noir novelist Mickey Spillane and Max Allan Collins, a short story in which world-famous private eye Mike Hammer repays a debt to a dying police chief, proving loyalty can be as deadly as deception. A legendary and retired police chief lies in a New York hospital bed, visited by two strangers: the first is ex-cop-turned-PI Mike Hammer, whose life was saved more than once by the old man. To the detective, the chief gives a mysterious key. The second visitor murders the chief, mere days before he would have died from natural causes. Someone is trying to tie up loose ends, and Mike Hammer is the only one with the evidence and calculation to ferret him or her out. "So Long, Chief" by Mickey Spillane and Max Allan Collins is one of 20 short stories within Mulholland Books's Strand Originals series, featuring thrilling stories by the biggest names in mystery from the Strand Magazine archives. View the full series list at mulhollandbooks.com and listen to them all!

"Francis O'Neill was Chicago's larger-than-life police chief, starting in 1901- and he was an Irish immigrant with an intense interest in his home country's music. In documenting and publishing his understanding of Irish musical folkways, O'Neill became the foremost shaper of what "Irish music" meant. He favored specific rural forms and styles, and as Michael O'Malley shows, he was the "beat cop" -actively using his police powers and skills to acquire knowledge about Irish music and to enforce a nostalgic vision of it"--