The CIA, the FBI, the KGB, Interpol-not one of the world's premier intelligence organizations knows quite what to make of Evan Michael Tanner. Is he a spy, a mercenary, a footloose adventurer, or simply a screwball sucker for hopeless causes?(Actually he's a little bit of all of the above. Plus he never sleeps. Ever.)One thing's for sure: Tanner's a true romantic, which is why he can't refuse a distraught mother who begs him to rescue her lost, pure-as-driven-snow daughter. Phaedra Harrow (nee Deborah Horowitz) once shared Tanner's apartment but not his bed. And now the virginal beauty's been abducted by white slavers in the Afghan wilderness. Finding Phaedra will be difficult enough. Bringing her back alive and unmolested may be impossible. And first Tanner will have to swim the English Channel, survive trigger-happy Russian terrorists .

Tanner's Virgin

From Publishers Weekly:"Standouts include Dennis Lehane's gilt-edged chiller, 'A Bostonian (in Cambridge), ' in which a wealthy collector of letters of abandonment falls prey to wily blackmailers, and Joe R. Lansdale's 'The Skull Collector, ' a gangster yarn featuring gun-toting female grave robbers. Overshadowing everything, though, is Lee Goldberg's 'Lost Shows, ' a delightful shocker about a fanatical collector of short-lived and unaired TV shows who has turned his Hollywood home into a mausoleum of lost dreams." A COLLECTION. OF COLLECTIONS What leads one person to collect stamps and another coins, one fine art and another butterflies? Who can say? But one thing is certain: those who've got the collecting bug care passionately-sometimes violently-about the objects of their obsession. No one covets like a collector; and as you will find in the pages of this brand new anthology from MWA Grand Master Lawrence Block, a truly dedicated collector will ignore the other nine commandments, too, in his quest for his personal Holy Grail. From Joyce Carol Oates' tale of the ultimate Marilyn Monroe collectible to Dennis Lehane's bookseller with a penchant for other people's tragic correspondence, from Lee Goldberg's Hollywood hustler with a collection of unaired TV shows to Joe R. Lansdale's stylish foray into noir, culminating in Lawrence Block's own classic story of a killer with a unique approach to choosing his victims, Collectibles illustrates the range of the collecting impulse and the lengths people will go to in their hunger to possess the perfect piece.

Collectibles

Le couple hollander a été assassiné.
 La cousine de leur fille kristin, lia parkman, demande à scudder d'enquêter sur ce meurtre, alors que la police a pourtant clos le dossier.  scudder vient de perdre sa première femme, celle qu'il a abandonnée du temps oú il buvait.  en outre, un de ses fils paraît se conduire comme lui à cette époque : il boit, est incapable de garder un travail et, plus grave, pique dans la caisse.  un sentiment de culpabilité le gagne, mais il y a plus.
 Lia parkman est jalouse de sa cousine qui va hériter, et devant sa sincérité, scudder est prêt à écouter.  de plus, la disparition des deux meurtriers est trop belle pour qu'on se contente des explications un peu trop convaincantes de la police.

Trompe la mort

Avec son amie homosexuelle carolyn, toiletteuse pour chiens, bernie rhodenbarr, le bouquiniste toujours à court d'argent, projette de cambrioler la demeure du richissime herbert colcannon qui s'est absenté de chez lui.

Malheureusement un autre cambrioleur est passé avant eux.  mais il n'a pas emporté une pièce de cinq cents qui vaudrait, si elle était authentique, une véritable fortune.  l'est-elle ? seul abel crowe, le fidèle receleur de bernie, pourrait le dire, mais il ne l'a pas plus tôt entre les mains que les ennuis commencent : meurtres et questions embarrassantes de la police. 
Notre duo s'en sortira-t-il sans trop attenter à l'ethique de spinoza ? la réponse de lawrence block, grand maître du policier américain, vaut le détour dialectique.

La spinoza connection

A successful socialite's beautiful wife was raped and murdered in her own home -- and Matt Scudder believes the victim's "grieving" husband was responsible for the outrage. But to prove it, the haunted p.i. must descend into the depths of New York's sex-for-sale underworld, where young lives are commodities to be bought, perverted...and destroyed.

A Dance at the Slaughterhouse - A Matthew Scudder Crime Novel

The city caught its collective breath when upscale couple Byrne and Susan Hollander were slaughtered in a brutal home invasion. Now, a few days later, the killers themselves have turned up dead behind the locked door of a Brooklyn hellhole -- one apparently slain by his partner in crime who then took his own life. There's something drawing Matthew Scudder to this case that the cops have quickly and eagerly closed: a nagging suspicion that a third man is involved, a cold, diabolical puppet master who manipulates his two accomplices, then cuts their strings when he's done with them. No one but Scudder even suspects he exists. And his worst fear is that the guy is just getting started ...

Hope to Die

Nicholas Edwards vit avec sa femme et sa fille à La Nouvelle-Orléans où il rénove et revend des maisons dévastées par le passage de l'ouragan Katrina. Entre sa famille et sa collection de timbres, il oublie peu à peu son ancienne vie. Alors que ses affaires périclitent, un nouvel ouragan survient sous la forme d'un coup de téléphone de son ancien agent, Dot, qui lui propose de reprendre du service et de redevenir l'homme qu'il fut : Keller, le tueur à gages. 

De New York aux Caraïbes, en passant par Cheyenne, Keller reprend du service et enchaîne les contrats en y mettant tout son savoir-faire. Du grand art.

Tue-moi

"Byrne e Susan Hollander fanno una bella vita. Lui è un avvocato, lei una scrittrice. La loro casa di pietra a Manhattan, che vale tre milioni di dollari, è a due passi dal Lincoln Center. E lì, in quella particolare notte, assistono a un concerto di beneficenza. Dopo il concerto tornano a casa a piedi. E qua termina la loro bella vita. Interrompono un furto in corso nella loro casa e vengono uccisi dai delinquenti. Dopo pochi giorni, la polizia trova i due colpevoli, entrambi morti, apparentemente per omicidio-suicidio. Caso ufficialmente chiuso. Ma, non ufficialmente, Matt Scudder si interessa alla vicenda quando la figlia degli Hollander lo assume per esplorare la possibilità che vi sia coinvolta una terza persona. Gli indizi sono tenui, per la maggior parte circostanziali, ma Scudder segue il suo istinto, affinato da quarant'anni di indagini nella polizia. "Block, che scrive best-seller e raccoglie premi nella stessa misura, segue la maggior parte delle formule del genere poliziesco, eppure riesce a portarvi una profondità e una potenza rare. Scudder, comparso nei primi romanzi come un ex poliziotto alcolizzato che si crogiola nell'autocommiserazione, si è evoluto in un consapevole osservatore della vita moderna, sobrio e a volte cupo. I delitti nei romanzi di Scudder sono il mezzo per portarci negli angoli più bui dell'esperienza umana. Con Matt Scudder come guida, emergiamo da queste visite nel lato oscuro della vita un po' più timorosi, ma sempre arricchiti dall'esperienza." ~Wes Lukowsky in Booklist#"Questo è il quindicesimo romanzo in venticinque anni che ha per protagonista Matthew Scudder, e i lettori della serie noir di Block sanno che cosa aspettarsi. C'è tutto: una perfetta rappresentazione di luoghi, suoni e odori di New York; visite alle riunioni degli Alcoolisti Anonimi nei seminterrati delle chiese; il bar di Mick Ballou, e i personaggi fissi, come Ballou; TJ, il giovane ragazzo di strada, ed Elaine, l'influenza civilizzatrice. "In questa ultima vicenda, Matt ed Elaine assistono a un concerto di beneficenza al Lincoln Center. Allo stesso concerto vi è una coppia che poco dopo viene uccisa nel proprio appartamento dell'Upper West Side. Successivamente, i due assassini sono essi stessi trovati morti a Brooklyn. "Senza che nessuno glielo abbia veramente chiesto, e non avendo di meglio da fare, Scudder inizia a interessarsi a questo caso, e l'intera vicenda si chiarisce davanti ai suoi occhi, fino alla sconcertante conclusione. Ogni tanto, la voce narrante del capitolo è quella del vero assassino, il che aggiunge un elemento intrigante. Ma chi cerca un'azione mozzafiato non la troverà. Lo stile è rilassato, e i personaggi e le pedine del gioco sono importanti tanto quanto la trama. "Raccomandato, in particolare per le biblioteche pubbliche, dove verrà sicuramente richiesto dai lettori." ~Fred Gervat in Library Journal

Spera di Morire - Matthew Scudder, #15

Broadway Can Be Murder started out to be a novel based on Johnny Midnight, a TV series which everyone has long since forgotten. Except, of course, that nothing manages to be forgotten in the Internet Age. I, whose job it was to knock out 50, 000 words of Johnny Midnightish prose and dialogue, had forgotten when it ran and who was in it, but Google took no time at all to remind me that the title role was played by Edmund O'Brien, and that the series ran during the first nine months of 1960. And if you want to know more about it, well, Google and Wikipedia are there to enlighten you. I was in New York, newly married, living at 110 West 69th Street. I was writing short stories for crime fiction magazines, erotic novels for Midwood and Nightstand, and fielding assignments that my agent steered in my direction. Two of these were from paperback publishers who had acquired the book rights to a TV drama and wanted to hire someone to write a book. First up for me was a show called Markham, which starred Ray Milland. Belmont was to be the publisher, and I had to write that book twice.  My first effort turned out to be too good to waste its fragrance on Belmont's desert air, and my agent had me change the title and the names of the characters and sold the thing to Gold Medal. So I had to write it again, and I did, and they liked it okay and published it. Next up was Beacon Books, with "Johnny Midnight" as both the book's inspiration and its title. I wrote it, but by the time Beacon was preparing it for publication, the series had been canceled. The publisher saw no reason to pay a licensing fee for a moribund show, and accordingly changed names: Johnny Midnight became Johnny Lane, and his trusty servant morphed from Uki to Ito. And Lawrence Block became Ben Christopher for the occasion. I don't know what kept me from using my own name, the book was crime fiction rather than the erotica that seemed to call for a pen name, but I do remember that my great friend Donald E. Westlake had recently done some sort of tie-in novel and hung the name Ben Christopher on it, telling me it would be his pen name for tie-ins he was anxious to forget. I horned in on the name, and if Don found this irksome he kept it to himself. Someone at Beacon picked the title. Strange Embrace. Well, there's a lesbian element in the book, and I guess they wanted to play it up, and "strange" was a useful code word toward that end. It retained that title when Subterranean Press put it in a splendid double volume with 69 Barrow Street, and when I first reissued it in the Classic Crime Library. But it doesn't really fit the book at all, making a hard-edged crime novel set in the world of New York theater look like a bt of Beacon erotica. Thus it's new title: Broadway Can Be Murder it now is and shall be. Ray Milland I should add, had no better luck than Edmund O'Brien; his show Markham was canceled after a single season. Belmont evidently didn't get the news in time to act on it, and they dutifully published the book as Markham: The Case of the Pornographic Photos. When I okayed a reissue years later by another publisher I changed the title to You Could Call It Murder-and it's available now with that title, in paperback or ebook, as Classic Crime Library #12. (And the book it was written to replace, which Gold Medal called Death Pulls a Doublecross, is now #13 in the Classic Crime Library with my original title restored: Coward's Kiss.) And here's CCL #19, Broadway Can Be Murder. Enjoy it!

Tanner's Virgin

Résumé

Plus de livres de Lawrence Block

Critiques

Ce livre n'a pas encore de critiques