Beyond Black

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Jonathan Kellerman

"Even with all his years of experience, LAPD homicide detective Milo Sturgis knows there are crimes his skill and savvy cannot solve alone. That's when he calls on brilliant psychologist Alex Delaware to read between the lines, where the darkest motives lurk. And if ever the good doctor's insight is needed, it's at the scene of a murder as baffling as it is brutal. There's no spilled blood, no evidence of a struggle, and, thanks to the victim's missing face and hands, no immediate means of identification. And no telling why the disfigured corpse of a stranger has appeared in an upscale L.A. family's home. Chet Corvin, his wife, and their two teenage children are certain the John Doe is unknown to them. And yet their cooperation seems oddly guarded. But even the Corvins' thin response is more than Milo and Alex can elicit from their creepy next-door neighbor--a notorious cartoonist with a warped sense of humor and a seriously antisocial attitude. As the investigation ensues, it becomes clear that this well-to-do suburban enclave has its share of curious eyes, suspicious minds, and loose lips. And as Milo tightens the screws on potential persons of interest--and Alex tries to breach the barriers that guard their deepest secrets--a strangling web of corrupted love, cold-blooded greed, and shattered trust is exposed. Though the grass may be greener on these privileged streets, there's enough dirt below the surface to bury a multitude of sins. Including the deadliest. -- "An affluent family returns home from Sunday dinner only to find the murdered and brutalized corpse of a total stranger in their house. This baffling, twisted tale tests Alex and Milo to their intellectual and emotional limits"--

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Bret Easton Ellis

In Glamorama, a young man in what is recognizably fashion- and celebrity-obsessed Manhattan is gradually, imperceptibly drawn into a shadowy looking-glass of that society, there and in London and Paris, and then finds himself trapped on the other side, in a much darker place where fame and terrorism and family and politics are inextricably linked and sometimes indistinguishable. At once implicated and horror-stricken, his ways of escape blocked at every turn, he ultimately discovers - back on the other, familiar side - that there was no mirror, no escape, no world but this one in which hotels implode and planes fall from the sky.

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Ruth Rendell

When Philip Wardman's feminine ideal, a Greek goddess, appears in the flesh as Senta Pelham, Philip thinks he has found true love. But darker forces are at work, and Senta is led to propose that Philip prove his love by committing murder.

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Ed McBain

"Downtown" starts on Christmas Eve as Florida orange grower Michael Barnes, in New York on business, runs afoul of bogus cops, thieves, the mob, and a slimy movie producer. McBain piles on the action and absurdity at a furious pace as Barnes sinks deeper and deeper into the worst New York has to offer. McBain has always been adept at infusing his hard-boiled fiction with a sardonic humor that borders on the ludicrous. In "Downtown," he proves he can still walk that tightrope as he balances the hilarity of Barnes' situation with a lean, hard-hitting narrative style. In fact, McBain's humor is so deliberately distracting, you don't realize it when he turns deadly serious. Michael Barnes may be bounced from one jam to another, but he too has a dark side, like most McBain characters. When pushed enough, he too becomes as deadly as his foes and as hard-boiled as any Raymond Chandler creation. "Downtown" is another example of Ed McBain at his best. Highly recommended.