Stark is an endangered species. He's the last Jewish private detective in the south Bronx and his days may be numbered. It's the summer of 1965: the Yankees are making another pennant run, the war in Vietnam is heating up, hemlines are rising and the old neighborhood is changing. These days it's easier to stumble on a mugging than to find a good bagel. Stark is not a tough guy. In the trade, he's what's known as a peeper. His business is adultery and his weapon is a camera with a long lens not a snub-nose revolver. But Stark's life is beginning to unravel. His wife left him, his secretary hates him, his mother wants to mother him, he can't shake his shrink's voice from his head and he's got a strange pain in his chest. Then things go from bad to worse. He witnesses a shocking murder and suddenly Stark goes from being the hunter to the hunted, as he races through a decaying world of bookies, transvestites, loan sharks, slum lords and thugs for hire. "Stark in the Bronx" is the dazzling first novel by acclaimed historian Saul Landau. A kind of comic noir, Landau's atmospheric novel is both thrilling and hilarious: imagine the "Maltese Falcon" narrated by Woody Allen.Praise for Saul Landau and Stark: "Saul Landau, like the narrator of 'The Great Gatsby, marvels at how the rich so joyously make messes secure in the knowledge that others will clean up. But what if, one day, they don't?" -- Gore Vidal"You'll believe him, laugh with him, weep and get off your ass." -- John Berger, author "Ways of Seeing"

Times have certainly changed for Moses Wine since the days of his first case in “The Big Fix”—he’s gone from cheap detective to respected private investigator in just twenty-five years. Add in a beautiful girlfriend and a lucrative business with a roster of corporate clients, and he should be feeling on top of the world. But he’s not. In fact, he feels as though he’s lost touch with his roots, now “living the kind or bourgeois live I once reviled,”’ as he notes. Moses Wine of the sixties has been pushed aside by the lure of vacations at Lake Tahoe, expensive meals, and unlimited access to courtside seats at Los Angeles Lakers games. Now the shadow of Wine’s radical days has come back to haunt him. His college-age son, Simon, a radical environmentalist, has been accused of killing a logger in Northern California. Allying himself with his hostile ex-wife, Wine heads off to find the real killer whether it’s Simon or not! Laced with Roger L. Simon’s mordant wit, California politics and not-so-casual sex, The Lost Coast is vintage Wine at its best. Ever restless, ROGER L. SIMON has spent his life moving between books and movies, gaining distinction in both. In books, he is best known for the seven Moses Wine detective novels, which have won prizes in the U.S. and Great Britain and been published in over a dozen languages. In film, most prominent among his six produced screenplays—including his adaptation of The Big Fix—is Enemies, A Love Story, for which Simon was nominated for an Academy Award.

Frank Kalinyak, disgraced ex-cop, returns to Pittsburgh, Pa., "Iron City", his hometown, from Tucson where he has been living a desperate existence since the death of his young daughter. He has been summoned home by Bobby Mack, an Assistant D.A., to find out who murdered an old high school friend. Kalinyak is swept into a whirlpool of bizarre killings, religious fanaticism, church duplicity, hustlers, cops, junkies, old friends gone bad. Amid the fractured landscape of Iron City, rusting mills, rotting industry, he struggles to find sense in his life. Ultimately he must ask: who is he and can he survive? "David Scott Milton can write like an angel... a writer hell bent on fulfilling the legacy of John Steinbeck, carrying on the tradition of James Jones and exploring his own heights." -- Alabama Journal "It was my misfortune to have missed 'The Quarterback', and thus be unaware of this fine, unflinching writer. He does not prettify, embroider, ornament of otherwise offend against the utter dignity of his hard, enduring characters; out of their meanness, and misery, he has made a story which I envy, in prose as clean and businesslike as a switchblade. Make sure everybody hears about this book; it's not about a gambler and a broad and a fighter at all-it's about the human condition, and it's beautiful." -- George V. Higgins, author of The "Friends of Eddie Coyle"

KILL THE BOSS GOOD-BY Tom Fell, the boss, is gone, and Pander has temporarily taken over the rackets in town. He's got some ideas of his own how the bookies should be operating. The business needs some fresh blood. Then Fell is back, back from his rest at Desert Farm where Dr. Emilson has been treating him for manic depression; back with Cripp, his right-hand man. Fell knows he's been gone too long, that Pander has stepped in and made some changes. Pander thinks he's got the big bosses behind him, but what he doesn't know is that Fell may be manic, but he knows what he wants--power. And nobody is going to stop him from taking it. MISSION FOR VENGEANCE Eight years ago they were running guns, then something went wrong and they were all running for their lives. Farret spent some time in a South American prison but now he's back and out to even the score. One of the four betrayed him, and Farret knows you got to keep the score even on these things. John Miner owns a ranch and is engaged to Getterman's daughter, Jane. He's the first to find out about Farret. But Farret isn't interested in Miner yet. First he's got to settle with Lena; and after that, Metz. And if it isn't Metz who set him up, Getterman is next. But sooner or later, it all comes down to Miner. Miner brought him into the group--and his is the biggest score to settle of them all.

THE CUT OF THE WHIP Daniel Port is driving through Texas when the other car appears out of nowhere. When Port eventually wakes up, he finds a ministering angel named Jane and her father, Carl Heering, the richest man in town. Heering admits that it was his son, Robert, that ran into Port and that the kid has run off with important business papers. He offers Port an easy grand to bring his son and the papers back. But when Port tracks the kid down, all is not as it seems. The business papers are love letters, the Heering heir is kidnapped, and Port finds he must solve the mystery and rescue Robert before he himself is implicated in the plot and put in prison for kidnapping. BRING ME ANOTHER CORPSE He could go it alone, or he could do it with the knowledge and help of a big organization. He didn't like either alternative because it would be too much like going back, like starting all over in the kind of a life about which he no longer had any illusions ... All those surface satisfactions that used to make life spin around with a speed that made you think, Sure now--you're going someplace. "I'll try it your way," he said to Lubinski, "and I hope it's the fast way out." Lubinski smiled at Port. The smile lasted a second, and then Lubinski opened his briefcase and drew out the usual folder. "It can be fast," he said. "A lot of it is already set up." "Where do I fit?" "You go to Cleveland," said Lubinski, "and you hire out as your own killer..." TIME ENOUGH TO DIE Port thinks he's escaped his problems. Time moves slowly in the Mexican coastal village of Guanadera, and that's just the way he likes it--the sun on his face, a beer in his hand and nothing but Maria on his mind. So when Maria asks him to help her find her missing neighbor, an elderly gent named Kiamoto, he doesn't give the project much thought. How could he know that d'Ortega and his henchman Capo were also looking for Kiamoto? They figure that an American gangster--and why else would Port be living in Guanadera?--must be in on the caper. Because Kiamoto is much more than he seems. And pretty soon there are American agents in on the game. Just when Port thought he was out of the rackets for good, he gets pulled into a crime that might cost him his life.