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A Century of British Mystery and Suspense
It's impossible to discuss the 20th century's great mystery fiction without acknowledging the tremendous contributions of British writers. This anthology includes: Sir Arthur Conan Doyle's Sherlock Holmes, Gilbert K. Chesterton, Frederick Forsyth, Ngaio Marsh, Robert Barnard, Simon Brett, Michael Gilb ert, Antonia Fraser, Patricia Moyes, Reginald Hill, P.G. Wodehouse, Dorothy L. Sayers, A.A. Milne, Liza Cody, Peter Lovesey, Gillian Slovo, Nicholas Blake, John Dickson Carr, Patricia Highsmith, Frances Fyfield, Gillian Linscott, Agatha Christie, Lord Dunsany, Peter Robinson, Jonathan Gash, Margery Allingham, Catherine Aird, Michael Z. Lewin, Elizabeth Ferrars, Ruth Rendell, Ian Fleming & Anne Perry.
700 pages, Hardcover
First published January 1, 2000
3 people are currently reading
140 people want to read
About the author
Anne Perry
362 books3,375 followersAnne Perry, born Juliet Hulme in England, lived in Scotland most of her life after serving five years in prison for murder (in New Zealand). A beloved mystery authoress, she is best known for her Thomas Pitt and William Monk series.
Her first novel, "The Cater Street Hangman", was published in 1979. Her works extend to several categories of genre fiction, including historical mysteries. Many of them feature recurring characters, most importantly Thomas Pitt and amnesiac private investigator William Monk, who first appeared in 1990, "The Face Of A Stranger".
Her story "Heroes," from the 1999 anthology Murder And Obsession, won the 2001 Edgar Award For Best Short Story. She was included as an entry in Ben Peek's Twenty-Six Lies / One Truth, a novel exploring the nature of truth in literature.
Series contributed to:
. Crime Through Time
. Perfectly Criminal
. Malice Domestic
. The World's Finest Mystery And Crime Stories
. Transgressions
. The Year's Finest Crime And Mystery Stories
Her first novel, "The Cater Street Hangman", was published in 1979. Her works extend to several categories of genre fiction, including historical mysteries. Many of them feature recurring characters, most importantly Thomas Pitt and amnesiac private investigator William Monk, who first appeared in 1990, "The Face Of A Stranger".
Her story "Heroes," from the 1999 anthology Murder And Obsession, won the 2001 Edgar Award For Best Short Story. She was included as an entry in Ben Peek's Twenty-Six Lies / One Truth, a novel exploring the nature of truth in literature.
Series contributed to:
. Crime Through Time
. Perfectly Criminal
. Malice Domestic
. The World's Finest Mystery And Crime Stories
. Transgressions
. The Year's Finest Crime And Mystery Stories
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Displaying 1 - 10 of 10 reviews
July 28, 2017
A CENTURY OF BRITISH MYSTERY AND SUSPENSE, Anne Perry, editor
2000, Thirty-two stories, a Forward by Jon L. Breen, and an Introduction by Perry. Mixed bag of stories - three-and-one-half stars.
Perry's Introduction is short but filled with small details about almost every story, nicely done but bland. Breen's Forward, however, is superb - a fairly thorough, though short (comparatively) retrospective of the history of the British mystery short story. Unfortunately, almost all the wonderful writers mentioned in his well-researched and written article are NOT contributors to the volume! Still, the quality of the stories that were chosen is quite good.
My annoyance arises from the fact that most of the stories chosen are from the 1980s and the 1990s, with very few from the first half of the 20th century.There are two stories that are early enough to be out of copyright, and three from the 1930s, four from the 1940s, two from the 1950s, one from the 1960s, two from the 1970s, and nine each from the 1980s and 1990s. The 1920s through 1950s were the peak for stories written for magazines - and there were still lots of that sort of magazines available to write for in the 1960s as well; Breen dwells on this rather markedly in the Forward. But where are some of those wonderful authors' stories? Very few of them are represented here.
If you believe the title, then this anthology should have stories that illustrate a century's worth of writing, and should at least try to represent all the decades. It ought perhaps to have a bit more emphasis on the earlier years than on the then-current ones, or at least place equal emphasis on both halves of the century. This volume was published in 2000, yet eighteen of the thirty-two stories are from the preceeding twenty years only - the last two decades of the century. There is quite a variety of styles represented, and it appears that this was the over-riding ethos of the collection, *not* that of the promise in the catchy title "A Century of..."! Disappointing. Many of the stories are excellent, several superb, the rest good-to-entertaining; a mixed bag as, indeed, most anthologies are.
There are stories by Catherine Aird, Margery Allingham, Robert Barnard, Nicholas Blake, Simon Brett, John Dickson Carr, Agatha Christie, G. K. Chesterton, Liza Cody, Arthur Conan Doyle, Lord Dunsany, Elizabeth Ferrars, Ian Fleming, Frederick Forsyth, Antonia Fraser, Frances Fyfield, Jonathan Gash, Michael Gilbert, Patricia Highsmith, Reginald Hill, Michael Z. Lewin, Gillian Linscott, Peter Lovesey, Ngaio Marsh, A. A. Milne, Patricia Moyes, Anne Perry, Ruth Rendell, Peter Robinson, Dorothy L. Sayers, Gillian Slovo, P. G. Wodehouse.
the paragraph preceeding each story is well done but I am still puzzled as to the sequencing, as there does not seem to be ANY sense in the way the stories are arranged, not grouped by decade written, nor by author names alphabetically, nor by style, nor by sort of detective even! Quite peculiar in an anthology, where there is usually some sort of organizing thread throughout.
Includes: [sequence is that of Table of Contents, with copyright dates from the "Permissions" pages at the end of the book; many of the dates are not the actual "first published" date of a story however; it's yet another "peculiarity"...]
Anne Perry: INTRODUCTION
— short but filled with small details about almost every story, nicely done but bland.
John L. Breen: FOREWARD
— superb - a fairly thorough, though short (comparatively - thirteen pages) retrospective of the history of the British mystery short story
Arthur Conan Doyle: THE COPPER BEECHES
— dark episode in a governess's life, about an avaricious father and his evil household; smooth but very slight
Gilbert K. Chesterton: THE MAN IN THE PASSAGE
— classic puzzler concerning the murder of a beloved actress; a lovely story, but has been endlessly anthologized, why not use a different story of the dozens he wrote about Father Brown?
Frederick Forsyth: THERE ARE NO SNAKES IN IRELAND (1982)
— an Indian immigrant in Ireland sets a revenge plot in motion; lovely last little twist
Ngaio Marsh: DEATH ON THE AIR (1947)
— nasty head-of-household terrorizes his family until somebody electrocutes him (on Christmas Eve); nicely plotted and paced but a mite fantastical
Robert Barnard: BREAKFAST TELEVISION (1987)
— adultery and television, young lovers and crimes as old as humanity
Simon Brett: AN UNMENTIONABLE DEATH (1988)
— a quiet man, another even quieter man, and a deadly disease, or is it? wonderful pacing and writing but ending a bit too pat
Michael Gilbert: THE AFRICAN TREE-BEAVERS (1982)
— another lovely visit with Master Spies Calder & Behrens, this time concerning animal use in research, a miracle-working vicar, and an in-bred little village
Antonia Fraser: HAVE A NICE DEATH (1983)
— sly little tale with a moral, about a wimpy author whose latest bestseller proves to be the end of him; quite delicious
Patricia Moyes: THE HONEST BLACKMAILER (1982)
— ex-policeman has a lucrative sideline that could have kept him comfortably for the rest of a long life, but, alas, he got greedy...; smooth, with a nice zinger at the end
Reginald Hill: THE WORST CRIME KNOWN TO MAN (1984)
— "...is cheating", tennis and love and revenge, sort of; very powerful writing but ending is confusing
P. G. Wodehouse: JEEVES AND THE STOLEN VENUS (1959)
— another improbable crime by Bertie, Aunt Dahlia, and Jeeves; very light and a bit too sweet but fun
Dorothy L. Sayers: THE HAUNTED POLICEMAN (1938)
— birth of a Wimsey, plus an artistic crime; beautifully crafted
A. A. Milne: A PERFECTLY ORDINARY CASE OF BLACKMAIL (1948)
— surprisingly dark, well-plotted tale of two lawyers and a politician, and their odd sense of justice
Liza Cody: LUCKY DIP (1991)
— a young girl on the streets, but she's got brains - and is offered a chance; superb
Peter Lovesey: THE WASP (1988)
— subtle little bit about a con man, a sick man, a wife
Gillian Slovo: LOOKING FOR THELMA (1991)
— deliciously dark riff on Chandler: yet another Moose wants "his" Thelma, but nothing goes quite right
Nicholas Blake: A STUDY IN WHITE (1949)
— robbery on a train, and a falling-out; nearly formulaic, good writing but dull timetable puzzler
John Dickson Carr: The CASE OF THE RED WIG (1940)
— charming traditional tale of a stalwart policeman and a beautiful reporter, nice murder plot too
Patricia Highsmith: WOODROW WILSON'S NECKTIE (1993)
— a serial murderer in training; creepy, sad, and a sly twist at the end
Frances Fyfield: NOTHING TO LOSE (1996)
— an older woman has a fling with a man while on vacation; quiet little tale with a surprising edge
Gillian Linscott: POISON PEACH (1997)
— a wastrel disturbs the peace of his family estate and pays for it; superb.
Agatha Christie: FOUR SUSPECTS (1932)
— spy vs. spy, but with a purely domestic resolution; gently philosophical, almost too sweet
Lord Dunsany: THE TWO BOTTLES OF RELISH (1936)
— a man murders a woman in a lonely cottage but no-one can prove it; superb - endlessly anthologized - and worth it
Peter Robinson: THE TWO LADIES OF ROSE COTTAGE (1997)
— elegant, gentle tale of a very old murder, and two quite old women - extraordinary!
Jonathan Gash: EYES FOR OFFA REX (1979)
— man vs. woman tale, sly and cruel, well twisted but unpleasantly creepy
Margery Allingham: ONE MORNING THEY'LL HANG HIM (1950)
— Police and Albert Campion team up to solve a murder for profit of a fairly familiar sort; pleasant but not her best, she wrote many better short stories, don't understand why this one is usually the one chosen to be included in anthologies
Catherine Aird: HOME IS THE HUNTER (1994)
— odd little story, quite disjointed and confusing, about a now-elderly French Resistance Fighter from World War 2 who returns to a small town in France to die; didn't enjoy it at all.
Michael Z. Lewin: FAMILY BUSINESS (1994)
— a close-knit Italian family runs a detective agency; smooth, sweet, gently funny: wonderful.
Elizabeth X. Ferrars: JUSTICE IN MY OWN HANDS (1988)
— subtle tale of two sisters, a handsome husband loved by both, and their wealthy old auntie - who thinks she's going mad
Ruth Rendell: MEANS OF EVIL (1977)
— Chief Inspector Wexford and Inspector Burden solve a murder (or was it suicide?) and an attempted-murder case, all intertwined with mushrooms, the good, the bad, and the deadly...
Ian Fleming: Octupussy (1963)
— dry sad tale of an operative who goes bad, lives the Good Life, meets an odd death; voice is that of the op, Bond is quite peripheral
Anne Perry: Heroes (1999)
— moody little tale of life on the Front during World War I, narrated by a chaplain who has pretty much come to the end of his rope
2000, Thirty-two stories, a Forward by Jon L. Breen, and an Introduction by Perry. Mixed bag of stories - three-and-one-half stars.
Perry's Introduction is short but filled with small details about almost every story, nicely done but bland. Breen's Forward, however, is superb - a fairly thorough, though short (comparatively) retrospective of the history of the British mystery short story. Unfortunately, almost all the wonderful writers mentioned in his well-researched and written article are NOT contributors to the volume! Still, the quality of the stories that were chosen is quite good.
My annoyance arises from the fact that most of the stories chosen are from the 1980s and the 1990s, with very few from the first half of the 20th century.There are two stories that are early enough to be out of copyright, and three from the 1930s, four from the 1940s, two from the 1950s, one from the 1960s, two from the 1970s, and nine each from the 1980s and 1990s. The 1920s through 1950s were the peak for stories written for magazines - and there were still lots of that sort of magazines available to write for in the 1960s as well; Breen dwells on this rather markedly in the Forward. But where are some of those wonderful authors' stories? Very few of them are represented here.
If you believe the title, then this anthology should have stories that illustrate a century's worth of writing, and should at least try to represent all the decades. It ought perhaps to have a bit more emphasis on the earlier years than on the then-current ones, or at least place equal emphasis on both halves of the century. This volume was published in 2000, yet eighteen of the thirty-two stories are from the preceeding twenty years only - the last two decades of the century. There is quite a variety of styles represented, and it appears that this was the over-riding ethos of the collection, *not* that of the promise in the catchy title "A Century of..."! Disappointing. Many of the stories are excellent, several superb, the rest good-to-entertaining; a mixed bag as, indeed, most anthologies are.
There are stories by Catherine Aird, Margery Allingham, Robert Barnard, Nicholas Blake, Simon Brett, John Dickson Carr, Agatha Christie, G. K. Chesterton, Liza Cody, Arthur Conan Doyle, Lord Dunsany, Elizabeth Ferrars, Ian Fleming, Frederick Forsyth, Antonia Fraser, Frances Fyfield, Jonathan Gash, Michael Gilbert, Patricia Highsmith, Reginald Hill, Michael Z. Lewin, Gillian Linscott, Peter Lovesey, Ngaio Marsh, A. A. Milne, Patricia Moyes, Anne Perry, Ruth Rendell, Peter Robinson, Dorothy L. Sayers, Gillian Slovo, P. G. Wodehouse.
the paragraph preceeding each story is well done but I am still puzzled as to the sequencing, as there does not seem to be ANY sense in the way the stories are arranged, not grouped by decade written, nor by author names alphabetically, nor by style, nor by sort of detective even! Quite peculiar in an anthology, where there is usually some sort of organizing thread throughout.
Includes: [sequence is that of Table of Contents, with copyright dates from the "Permissions" pages at the end of the book; many of the dates are not the actual "first published" date of a story however; it's yet another "peculiarity"...]
Anne Perry: INTRODUCTION
— short but filled with small details about almost every story, nicely done but bland.
John L. Breen: FOREWARD
— superb - a fairly thorough, though short (comparatively - thirteen pages) retrospective of the history of the British mystery short story
Arthur Conan Doyle: THE COPPER BEECHES
— dark episode in a governess's life, about an avaricious father and his evil household; smooth but very slight
Gilbert K. Chesterton: THE MAN IN THE PASSAGE
— classic puzzler concerning the murder of a beloved actress; a lovely story, but has been endlessly anthologized, why not use a different story of the dozens he wrote about Father Brown?
Frederick Forsyth: THERE ARE NO SNAKES IN IRELAND (1982)
— an Indian immigrant in Ireland sets a revenge plot in motion; lovely last little twist
Ngaio Marsh: DEATH ON THE AIR (1947)
— nasty head-of-household terrorizes his family until somebody electrocutes him (on Christmas Eve); nicely plotted and paced but a mite fantastical
Robert Barnard: BREAKFAST TELEVISION (1987)
— adultery and television, young lovers and crimes as old as humanity
Simon Brett: AN UNMENTIONABLE DEATH (1988)
— a quiet man, another even quieter man, and a deadly disease, or is it? wonderful pacing and writing but ending a bit too pat
Michael Gilbert: THE AFRICAN TREE-BEAVERS (1982)
— another lovely visit with Master Spies Calder & Behrens, this time concerning animal use in research, a miracle-working vicar, and an in-bred little village
Antonia Fraser: HAVE A NICE DEATH (1983)
— sly little tale with a moral, about a wimpy author whose latest bestseller proves to be the end of him; quite delicious
Patricia Moyes: THE HONEST BLACKMAILER (1982)
— ex-policeman has a lucrative sideline that could have kept him comfortably for the rest of a long life, but, alas, he got greedy...; smooth, with a nice zinger at the end
Reginald Hill: THE WORST CRIME KNOWN TO MAN (1984)
— "...is cheating", tennis and love and revenge, sort of; very powerful writing but ending is confusing
P. G. Wodehouse: JEEVES AND THE STOLEN VENUS (1959)
— another improbable crime by Bertie, Aunt Dahlia, and Jeeves; very light and a bit too sweet but fun
Dorothy L. Sayers: THE HAUNTED POLICEMAN (1938)
— birth of a Wimsey, plus an artistic crime; beautifully crafted
A. A. Milne: A PERFECTLY ORDINARY CASE OF BLACKMAIL (1948)
— surprisingly dark, well-plotted tale of two lawyers and a politician, and their odd sense of justice
Liza Cody: LUCKY DIP (1991)
— a young girl on the streets, but she's got brains - and is offered a chance; superb
Peter Lovesey: THE WASP (1988)
— subtle little bit about a con man, a sick man, a wife
Gillian Slovo: LOOKING FOR THELMA (1991)
— deliciously dark riff on Chandler: yet another Moose wants "his" Thelma, but nothing goes quite right
Nicholas Blake: A STUDY IN WHITE (1949)
— robbery on a train, and a falling-out; nearly formulaic, good writing but dull timetable puzzler
John Dickson Carr: The CASE OF THE RED WIG (1940)
— charming traditional tale of a stalwart policeman and a beautiful reporter, nice murder plot too
Patricia Highsmith: WOODROW WILSON'S NECKTIE (1993)
— a serial murderer in training; creepy, sad, and a sly twist at the end
Frances Fyfield: NOTHING TO LOSE (1996)
— an older woman has a fling with a man while on vacation; quiet little tale with a surprising edge
Gillian Linscott: POISON PEACH (1997)
— a wastrel disturbs the peace of his family estate and pays for it; superb.
Agatha Christie: FOUR SUSPECTS (1932)
— spy vs. spy, but with a purely domestic resolution; gently philosophical, almost too sweet
Lord Dunsany: THE TWO BOTTLES OF RELISH (1936)
— a man murders a woman in a lonely cottage but no-one can prove it; superb - endlessly anthologized - and worth it
Peter Robinson: THE TWO LADIES OF ROSE COTTAGE (1997)
— elegant, gentle tale of a very old murder, and two quite old women - extraordinary!
Jonathan Gash: EYES FOR OFFA REX (1979)
— man vs. woman tale, sly and cruel, well twisted but unpleasantly creepy
Margery Allingham: ONE MORNING THEY'LL HANG HIM (1950)
— Police and Albert Campion team up to solve a murder for profit of a fairly familiar sort; pleasant but not her best, she wrote many better short stories, don't understand why this one is usually the one chosen to be included in anthologies
Catherine Aird: HOME IS THE HUNTER (1994)
— odd little story, quite disjointed and confusing, about a now-elderly French Resistance Fighter from World War 2 who returns to a small town in France to die; didn't enjoy it at all.
Michael Z. Lewin: FAMILY BUSINESS (1994)
— a close-knit Italian family runs a detective agency; smooth, sweet, gently funny: wonderful.
Elizabeth X. Ferrars: JUSTICE IN MY OWN HANDS (1988)
— subtle tale of two sisters, a handsome husband loved by both, and their wealthy old auntie - who thinks she's going mad
Ruth Rendell: MEANS OF EVIL (1977)
— Chief Inspector Wexford and Inspector Burden solve a murder (or was it suicide?) and an attempted-murder case, all intertwined with mushrooms, the good, the bad, and the deadly...
Ian Fleming: Octupussy (1963)
— dry sad tale of an operative who goes bad, lives the Good Life, meets an odd death; voice is that of the op, Bond is quite peripheral
Anne Perry: Heroes (1999)
— moody little tale of life on the Front during World War I, narrated by a chaplain who has pretty much come to the end of his rope
August 24, 2017
The final stories were by Margery Allingham, Catherine Aird, Michael Z. Lewin, Elizabeth Ferrars, Ruth Rendell, and the last two, the best of the lot, by Ian Fleming ("Octopussy") and a WW1 story by Anne Perry. Most of the stories in this book were good, some better than others, a few rather boring, but it was great to read shorts written by authors I had never heard of as well as authors I had read in full length book form. As much as I enjoyed it, and as much as I have great respect for the form, I am still not a big fan of the short story.
November 28, 2021
While many of these stories are great, once you realize the book is called British Mystery and Suspense, and includes a story by Patricia Highsmith (born in Texas, spent much of her life in France) you start to wonder about the editor's honesty. Decent foreword by Jon Breen, everything else can be found in better edited anthologies.
May 28, 2019
short stories by famous british mystery writers, had some good stories in it.
April 5, 2020
A good collection that introduced me to some writers, new to me. A good variety, lots with interesting characters and good plot twists. I've had this book for decades and finally finished it!
June 1, 2020
Great mystery short stories and each is so well written and done. Many by well known authors. Highly recommend.
March 17, 2015
Конец февраля, а я наконец дочитала первую в этом году книгу. Все скатилось в пропасть, думаю я, как же я могла так низко пасть. Ведь это практически как совсем-совсем не читать. Я уже не представляю чем и как себя стимулировать к чтению, ибо мне хочется читать. Столько всего хочется, ридер, конечно же, забит под завязку, я мечусь от одной книги к другой, то не хватает времени, то усталость накопилась такая, что даже за книгой не расслабится. Собственно о чем я, все эти факторы сложились и я выбрала для себя формат рассказов, пыталась провернуть что-то подобное вроде "прочитал и забыл". Скажу честно, с большинством рассказов так и было. Книга в целом, как и любая книга с рассказами, идет волнами "хорошо-плохо-хорошо-плохо" и так далее, хотя к концовке ей становится совсем плохо. Но я смогла в ней найти для себя новых авторов, и это уже большой плюс, на мой взгляд.
Из внезапностей, что предподнесла мне эта книга, это рассказ Вудхауза. Кто давно меня читает, помнит как сильно я плевалась от Дживса и Вустера в свое первое прочтение и говорила, что никогда-никогда и это скучно, и это ужасно. А тут внезапно и понравился рассказ! Нет, я, конечно, не бросила сразу исправляться и быстрее-быстрее читать Вудхауза, но сделала себе заметочку, что надо бы попробовать еще разок. Плюс изменить себе и начинать не сначала цикла, а с чего-нибудь более разрекламированного в этом самом цикле.
Про книгу можно сказать лишь то, что если вам нравятся детективы и форма рассказов, то берите. Вы обязательно найдете что-то для себя, я уверена. Кстати, был там один прекрасный рассказ (к слову, я из тех, кто любит, когда ему разжевывают как же великий сыщик смог узнать кто преступник), так вот рассказ заканчивается и курсивом идет текст "дальше мы раскроем вам убийцу, но автор оставил вам ровно восемь подсказок, попробуйте сначала сами найти эти подсказки и раскрыть кто же убил того-то", далее называется имя убийцы и каждая подсказка списком. Это самый любимый мой рассказ из книги. Но это я такая! Были там, конечно, и рассказы в стиле "сразу знаем кто убийца" и смотрим как он готовит преступление, или медленно, но верно подтолкнем человека к убийству того-то.
Из внезапностей, что предподнесла мне эта книга, это рассказ Вудхауза. Кто давно меня читает, помнит как сильно я плевалась от Дживса и Вустера в свое первое прочтение и говорила, что никогда-никогда и это скучно, и это ужасно. А тут внезапно и понравился рассказ! Нет, я, конечно, не бросила сразу исправляться и быстрее-быстрее читать Вудхауза, но сделала себе заметочку, что надо бы попробовать еще разок. Плюс изменить себе и начинать не сначала цикла, а с чего-нибудь более разрекламированного в этом самом цикле.
Про книгу можно сказать лишь то, что если вам нравятся детективы и форма рассказов, то берите. Вы обязательно найдете что-то для себя, я уверена. Кстати, был там один прекрасный рассказ (к слову, я из тех, кто любит, когда ему разжевывают как же великий сыщик смог узнать кто преступник), так вот рассказ заканчивается и курсивом идет текст "дальше мы раскроем вам убийцу, но автор оставил вам ровно восемь подсказок, попробуйте сначала сами найти эти подсказки и раскрыть кто же убил того-то", далее называется имя убийцы и каждая подсказка списком. Это самый любимый мой рассказ из книги. Но это я такая! Были там, конечно, и рассказы в стиле "сразу знаем кто убийца" и смотрим как он готовит преступление, или медленно, но верно подтолкнем человека к убийству того-то.
Want to read
January 26, 2025Read so far:
The copper beeches / Arthur Conan Doyle --3
The man in the passage / Gilbert K. Chesterton --2
There are no snakes in Ireland / Frederick Forsyth --4
Death on the air / Ngaio Marsh --3
Breakfast television / Robert Barnard --3
*An unmentionable death / Simon Brett --
*The African tree-beavers / Michael Gilbert --
Have a nice death / Antonia Fraser --3
The honest blackmailer / Patricia Moyes --3
The worst crime known to man / Reginald Hill --4
Jeeves and the stolen Venus / P.G. Wodehouse --3
The haunted policeman / Dorothy L. Sayers --2
A perfectly ordinary case of blackmail / A .A. Milne --2
Lucky dip / Liza Cody --
*The wasp / Peter Lovesey --
Looking for Thelma / Gillian Slovo --
A study in white / Nicholas Blake --3
The clue of the red wig / John Dickson Carr --3
Woodrow Wilson's necktie / Patricia Highsmith --2
Nothing to lose / Frances Fyfield --
Poison peach / Gillian Linscott --
The four suspects / Agatha Christie --3
The two bottles of relish / Lord Dunsany --3
The two ladies of Rose Cottage / Peter Robinson --
Eyes for Offa Rex / Jonathan Gash --
One morning they'll hang him / Margery Allingham --3
Home is the hunter / Catherine Aird --
*Family business / Michael Z. Lewin --
Justice in my own hands / Elizabeth Ferrars --3
Means of evil / Ruth Rendell --
Heroes / Anne Perry--3
The copper beeches / Arthur Conan Doyle --3
The man in the passage / Gilbert K. Chesterton --2
There are no snakes in Ireland / Frederick Forsyth --4
Death on the air / Ngaio Marsh --3
Breakfast television / Robert Barnard --3
*An unmentionable death / Simon Brett --
*The African tree-beavers / Michael Gilbert --
Have a nice death / Antonia Fraser --3
The honest blackmailer / Patricia Moyes --3
The worst crime known to man / Reginald Hill --4
Jeeves and the stolen Venus / P.G. Wodehouse --3
The haunted policeman / Dorothy L. Sayers --2
A perfectly ordinary case of blackmail / A .A. Milne --2
Lucky dip / Liza Cody --
*The wasp / Peter Lovesey --
Looking for Thelma / Gillian Slovo --
A study in white / Nicholas Blake --3
The clue of the red wig / John Dickson Carr --3
Woodrow Wilson's necktie / Patricia Highsmith --2
Nothing to lose / Frances Fyfield --
Poison peach / Gillian Linscott --
The four suspects / Agatha Christie --3
The two bottles of relish / Lord Dunsany --3
The two ladies of Rose Cottage / Peter Robinson --
Eyes for Offa Rex / Jonathan Gash --
One morning they'll hang him / Margery Allingham --3
Home is the hunter / Catherine Aird --
*Family business / Michael Z. Lewin --
Justice in my own hands / Elizabeth Ferrars --3
Means of evil / Ruth Rendell --
Heroes / Anne Perry--3
December 31, 2010
Nice, fat (560 pg) selection of mysteries. I enjoyed the mid and later 2000th century stories most. Authors included Ruth Rendell, Jonathan Gash, Gillian Linscott, Reginald Hill, Robert Barnard, Nicholas Blake, P.G. Wodehouse, Dorothy Sayers and others.
May 15, 2015
I enjoyed the selections that were presented in the book. If you like Ruth Rendell, Dorothy Sayers,Simon Brett and so many more this is a book for you.
My only problem with the book; now I want to read all the books by all the authors!
My only problem with the book; now I want to read all the books by all the authors!
Displaying 1 - 10 of 10 reviews