Bøger af Fredric Brown

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This collection of literature attempts to compile many of the classic works that have stood the test of time and offer them at a reduced, affordable price, in an attractive volume so that everyone can enjoy them.

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Written late in his career and while at the height of his powers, KNOCK-THREE-ONE-TWO is Fredric Brown's tour de force of suspense. Taking place over the span of a single evening, we find a city enflamed by fear. A serial killer is on the loose, and while the maniac ties the city into knots, the lives of ordinary citizens are drawn into an inescapable spiral of greed and chance. Brown, purveyor of the surprise ending, does not disappoint. Step now into a world of shadow and anxiety. You need only knock 3-1-2.

Three murders were too many for Ed Hunter. Not even a dazzling redhead from the carnival's girl show could keep Ed altogether happy--not with a murderer running loose. Then Ed found it was up to him and his Uncle Am to find the killer among the freaks and strippers of the carnival--a killer who chose his victims according to size! Ed and his Uncle Am are back, working in a travelling carnival through the Midwest. Bodies, though smallish in stature, keep piling up, and Ed finds himself head over heels in love. Fascinating for the insights into carnival life that this book provides. Never financially secure, Brown - like many other pulp writers - often wrote at a furious pace in order to pay bills. This accounts, at least in part, for the uneven quality of his work. A newspaperman by profession, Brown was only able to devote 14 years of his life as a full-time fiction writer. Brown was also a heavy drinker, and this at times doubtless affected his productivity. A cultured man and omnivorous reader whose interests ranged far beyond those of most pulp writers, Brown had a lifelong interest in the flute, chess, poker, and the works of Lewis Carroll. Brown married twice and was the father of two sons. "Fredric Brown is a reasonably new name in the literary limelight, but already he has made his weight felt in no uncertain terms. His recent non-formula first novel, The Fabulous Clipjoint, is a remarkable tour de force sparkling with realism and suspense that many far more experienced writers of the genre have never been able to achieve. And his short stories, tightly packed with characterization and atmosphere, are far from the run-of-the-mill whodunit types which pervade detective-story magazines . . . One mystery editor has prophesied that one day soon Fredric Brown will be generally acknowledged as the best in the field, and from a hard-boiled, critical editor, that is indeed high praise."-David C. Cookein Best Detective Stories of the Year-1947

In the 1960s a number of gifted writers--some at the peak of their careers, others newcomers--reimagined American crime fiction through formal experimentation and the exploration of audacious new subjects and themes. This is the first of two volumes gathering the best of their work, nine novels of astonishing variety and inventiveness that pulse with the energies of that turbulent, transformative decade. In The Murderers (1961) by Fredric Brown, an out-of-work actor, hanging out with Beat drifters on the fringes of Hollywood, concocts a murder scheme that devolves into nightmare. This late work by a master in many genres is one of his darkest and most ingenious. Dan J. Marlowe's The Name of the Game Is Death (1962) channels the inner life of a violent criminal who freely acknowledges the truth of a prison psychiatrist's diagnosis: "Your values are not civilized values." Written with unnerving emotional authenticity, the story hurtles toward an annihilating climax. Charles Williams drew on his experience in the merchant marine for his thriller Dead Calm (1963). A newlywed couple alone on a small yacht find themselves at the mercy of the mysterious survivor they have rescued from a sinking ship, in a suspenseful story that chillingly evokes the perils of the open ocean. In the beautifully told and sharply observant The Expendable Man (1963), Dorothy B. Hughes's final masterpiece of suspense, a young man in the American Southwest runs afoul of racial assumptions after he picks up a hitchhiker who is soon found dead. In twenty-four brilliantly constructed novels, Richard Stark (a pen name of Donald Westlake) charted the career of Parker, a hard-nosed professional thief, with rigorous clarity. The Score (1964), a stand-out in the series, finds Parker and his criminal associates hatching a plot to rob simultaneously all the jewelry stores, payroll offices, and banks in a Larsonremote Western mining town, only to come up against the human limits of even the most intricate planning.

The first in a new series of Fredric Brown double-novels, The Far Cry / The Screaming Mimi could very well have been subtitled "The Way of the Knife." And since this is Fredric Brown we're talking about, the razor's edge isn't limited to the blade itself; it is a metaphor for the narrow ledge the characters navigate. Taken together we find Brown at the height of his powers. As with many of Brown's narratives, the main characters are fueled by an alcoholic haze and are never far from their next drink. Although the boozing never becomes the story, it keeps the protagonists constantly teetering on the edge of collapse. The novels are daring for their time, awash in taboo subjects and frank language that would never, ever make it into the mystery films of the same period. It's why people read potboilers in the first place. They wanted the gritty underbelly they couldn't get anywhere else. The Screaming Mimi is an early take on the serial killer sub-genera, written long before it became mystery mainstream. The Far Cry is one of Brown's darkest stories-a serpent's tail that coils tighter and tighter around the narrator as attempts to unravel the knot of a young woman's murder. One novel takes place in an authentically rendered Chicago-nightclubs, press rooms and police precincts; the other casts its drama in the forlorn deserts of New Mexico-a haunting, vast emptiness where ghosts don't have to be seen to be felt. Fredric Brown double-novels are newly edited and presented in a format that gives these works the treatment they deserve. Reading a book is more than just reading a story. The Far Cry / The Screaming Mimi features a new introduction by Sci-Fi great Barry N. Malzberg, whose decades-long appreciation of Fredric Brown makes for a stirring kick-start to the new series.

But this is a Fredric Brown story -- and you know that a perfect setup doesn't follow through in a Fredric Brown story. Something really and truly terrible is about to happen. Like, maybe the end of the world. Or worse!

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