Harry Stephen Keeler - Riddle Of The Travelling Skull

 

Harry Stephen Keeler is a writer many mystery fans have never heard of — but once you step into his world, it’s hard to get out. Riddle of the Travelling Skull is one of his most famous (and most unhinged) novels, a book that reads like something Agatha Christie might’ve written... on LSD.

The story follows Calthorpe, who accidentally switches suitcases on a train trip to Chicago. Back home, he opens the suitcase only to find — a skull. Inside it: a bullet, mysterious papers, and clues that lead him down a bizarre investigation involving theft, murder, and deception.

We learn that a man named Phalmsey had stolen $20,000 from a gambler, and his friend Pelton — instead of reporting him — decided to kill him and take the money for himself. Things grow even more tangled when a man named Payne appears, demanding $20,000 in exchange for the skull, which could be used as evidence to send someone to prison for life.

During their conversation, Payne reveals that he is actually Phalmsey — he had foreseen Pelton’s murderous intent, jumped into a river, escaped to London, and found an almost identical skull to fake his own death and later blackmail Pelton for the stolen money.

But in the final twist, when Calthorpe lights a match in the darkness of the park, he sees that the man he's been speaking to isn’t Phalmsey — but his old friend, John Barr. What this means exactly remains unclear. The mystery is unresolved. The novel ends in a way that may seem either nonsensical or brilliant — depending on your patience and your tolerance for chaos.

To be honest, I was a bit disappointed by the ending. The final twist — where the mysterious blackmailer turns out to be John Barr, a relatively minor character — raises more questions than it answers. If it really was Barr, how could he have known all the intricate details about Phalmsey, Pelton, the stolen money, and the skull?

One might argue that Keeler was more interested in creating a dizzying narrative than in resolving it. The novel leaves you with the sense that the answer is just out of reach — or that maybe there was never meant to be one at all.

Still, the book is an experience. For readers who enjoy strange logic, relentless twists, and narratives that feel like dreams verging on nightmares, Riddle of the Travelling Skull offers a truly unique ride — even if it doesn’t quite take you to a clear destination.

Fredric Brown - Knock Three-One-Two

Fredric Brown (1906–1972) was an American writer known for his mastery of both science fiction and crime fiction, often blending the two genres with a sharp wit and surprising twists. His stories are typically concise, packed with suspense, dark humor, and clever plot turns that keep readers guessing until the last page.

Brown excelled in crafting short stories and novels that explore human psychology, moral ambiguity, and the unexpected consequences of seemingly simple actions. His work influenced many later writers in the thriller and mystery genres, and he is celebrated for his ability to combine entertainment with thoughtful reflection.

Whether in the realm of a chilling mystery or speculative science fiction, Fredric Brown’s storytelling remains engaging, unpredictable, and uniquely memorable.

Fredric Brown’s Knock Three-One-Two is a masterclass in noir storytelling — short, sharp, and deeply unsettling. With its grim moral landscape and ironic twists of fate, it offers not just suspense, but a disturbing psychological portrait of broken lives and failed ambitions.

The novel centers on Ray Fleck, a man in deep financial ruin, whose mounting gambling debts push him toward a horrifying plan: to manipulate an active serial killer into murdering his wife, Ruth, and collect her life insurance. To cover his tracks, Ray engineers a drunken arrest — getting himself locked up overnight so he’ll have an airtight alibi.

But the brilliance of Brown’s storytelling lies in how fate, madness, and irony collide.

Ray’s cellmate that night is a delusional racetrack tout, a man who has long insisted (falsely) that he is the one killing women around the city. He is unstable, obsessed with the idea of being taken seriously, but has never actually committed murder — until now. After waking from a vivid nightmare in which a demon taunts him, the man becomes fixated on Ray Fleck, recognizing him as the figure from the dream. This isn’t rational — it’s raw psychosis. To him, killing Ray becomes proof of his power, a way to make the demon go away, and to finally be seen as dangerous.

And so, Fleck — who thought he had planned the perfect crime — ends up the victim of a mind even more unhinged than his own schemes.

Meanwhile, Ruth, unaware of her husband's betrayal, is working her shift at a Greek restaurant. Her boss, Mikos, harbors quiet affection for her and becomes suspicious when a strange, unsettling phone call comes in asking for her. Trusting his gut, Mikos walks Ruth home, checks her apartment for danger, and leaves — but remains uneasy. When he sees a man lurking nearby who vaguely resembles Ray, he rushes back just in time to confront the real serial killer. After a violent struggle, he subdues the man and saves Ruth, who survives the attack with minor injuries.

The novel ends on a surprisingly tender note: Mikos writes a letter to a police inspector friend, recounting the strange chain of events, and expressing his hope to marry Ruth now that her treacherous husband is dead.

Brown wraps it all in his trademark style: compact prose, moral ambiguity, and a deep, noir-tinged sense of irony. Knock Three-One-Two isn’t just about crime — it’s about how delusion, desperation, and fate entangle until no one gets out clean. Even the "rescue" feels like chance, not justice.

Cornell Woolrich - Four Novellas Of Fear

This is good introduction to noir world of Cornell Woolrich, somewhat forgotten master of noir fiction and often dubbed as 'Poe of twentieth century'. Woolrich was a troubled man, deeply attached to his mother, closeted homosexual and his life is like some character from his fiction, full of doubt and sense of doom and he tragically ended life in seedy motel after his mother died, with untreated gangrene in his leg, so they had to amputate it. He was bound to a wheelchair (dark irony considering movie rear window based on his story), and he began to drink heavily after his mother passing.

Collected in this volume are four novellas : Eyes That Watch You, great starting point about paralyzed woman who suspects foul play against her son; The Night I Died; gripping story about man who fakes his suicide with an ironic twist at the end; You'll Never See Me Again, probably best story in collection  about wife of a husband who goes from him and in the end one more good story, Murder Always Gather Momentum about desperate man needing cash to pay debt for his flat and when he tries to take money from former employer things go wrong and he accidentally kills him with pistol, leading to further troubles and ending with another dark twist at the end.

French Crime Fiction - Claire Gorrara

Frustrated by the general dominance of English and American traditions in crime fiction, I picked up this volume focused on French crime fiction — part of a wider European series including entries on Germany and Italy. It turned out to be an insightful and rewarding read.

The book traces the evolution of the genre in France, beginning with the argument that France may have originated crime fiction itself, citing Vidocq — the real-life criminal-turned-detective who inspired Edgar Allan Poe’s foundational detective stories. From there, it explores a fascinating literary lineage including Fantômas, Arsène Lupin, Georges Simenon, Gaston Leroux, Jean-Patrick Manchette, Frédéric Dard, Fred Vargas, Léo Malet, and the often-overlooked but brilliant Sébastien Japrisot — whose The Sleeping Car Murders and One Deadly Summer stand as major achievements of psychological noir.

One of the most important cultural forces discussed is the Série Noire imprint by Gallimard, launched in 1945. This series not only translated American and British hardboiled fiction for French audiences (introducing figures like Jim Thompson, James M. Cain, and Chester Himes) but also provided a crucial platform for French authors to reinvent and shape the genre in their own voice. Writers like Manchette, Malet, and Japrisot crafted stories with existential themes, gritty realism, and political critique, giving birth to a distinctly French noir sensibility.

The book also touches on how French crime fiction expanded beyond novels into film and comics, reinforcing its cultural presence and giving it a unique visual and stylistic identity — think Rififi, Le Samouraï, or the Fantômas films.

Even if I was already familiar with many of the writers discussed, this book gave me a closer understanding of how they connect and differ from the Anglo-American crime canon. For anyone growing weary of the more formulaic aspects of British or American crime fiction, this is an excellent way to explore a darker, more cerebral, and stylistically bold tradition.

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Jim Thompson - A Hell Of A Woman

While many consider Hammett, Chandler, or even Horace McCoy as the titans of noir, I’d argue none of them reached the psychological depths Jim Thompson plumbs here. A Hell of a Woman isn’t about cool detectives or stylish grit—it’s about raw, unraveling desperation. Thompson doesn't just show a man breaking down; he invites us inside the break.

Jim Thompson’s A Hell of a Woman is a pitch-black plunge into the fractured psyche of a man spiraling out of control. Like much of Thompson’s work, this 1954 noir novel is less a crime story than a psychological case study—tense, paranoid, and brutally honest about the lies we tell ourselves to survive.

Frank “Dolly” Dillon, a low-level collections agent trapped in a loveless marriage and seething with quiet desperation, becomes ensnared in a scam that quickly mutates into something darker and bloodier. But what sets A Hell of a Woman apart isn’t just the plot—it's the way the narrative fractures alongside Frank’s mind. At times, Frank tells his story in his own anxious, bitter voice. At others, a detached, almost clinical tone takes over—as if a reporter or outsider is telling it instead. This jarring shift is no accident: it reflects Frank’s crumbling sense of identity and his increasingly tenuous grip on reality.

Thompson's brilliance lies in his ability to make the reader complicit. We follow Frank down his self-destructive path not because we agree with him, but because Thompson forces us to see through his eyes—then slyly reminds us we can't trust what we see.

By the final chapter, the line between fantasy and truth is so thoroughly blurred that the ending can be read multiple ways. Did Frank kill himself? Was it all a delusion? The ambiguity is the point. A Hell of a Woman doesn’t offer resolution—it offers a mirror to madness.

Bleak, sharp, and psychologically unsettling, this is classic Thompson: a noir novel where the most terrifying villain is the voice inside your own head.

Thompson’s stories often center on grifters, losers, sociopaths, and psychopaths—some on the fringe of society, others at its very core. His characters’ nihilistic worldview is best explored through first-person narratives, which offer a chillingly deep dive into the minds of the morally corrupted. There are few good guys in Thompson's literature—most characters are either abusive or merely biding their time until an opportunity presents itself. But even in his darkest characters, there are often glimpses of decency, making the line between good and evil blur even further.

Jim Thompson was relatively obscure when in mid 80's Black Lizard rediscovered him, but he was popular in France where film adaptation was made in 1979 called Serie Noire with Patrick Dewaere, some would say perfect casting for that role. 

Dorothy Salisbury Davis - A Death In The Life

Idle wife of absent newspaperman decide to roam free around the city and experience real life meeting prostitutes, pimps, and other scum, but when murder of famous actor shows up she takes a role of detective along with the police. Good crime novel, now a bit overlooked.

Ross Macdonald - Tom Nolan

This 400 pages biography of Ross Macdonald is very extensive and detailed story of famous writer life, from his childhood to old age and death. Author tell us how Ross was troubled kid, on a verge to become a criminal but when he discovered Hammett and Chandler he went to university and finished it, then tried his luck at writing detective novels. Although some chapters are little tedious (like when his new book comes out and then author list a handful of good reviews, and his generally ordinary life), for the most part is interesting, especially Macdonald love for the ocean, his relationship with fellow writer Margaret Millar, his troubled daughter and her long escape where he tracked her down through United States to her ultimate death at 31. It is  a bit sad that Macdonald got Alzheimer disease in his old age and quickly died. But for anyone seriously interested in crime fiction in general and for Macdonald fans, this is a must read book.

Dashiell Hammett - Man Of Mystery

This is informative book on Dashiell Hammett from Sally Cline. However frustrating it may have been because Hammett rarely spoke of himself and maintained personal life in the shadows, author give us a brief overview of his life, from his earlier days, struggling with writing until he became acclaimed crime novelist, his first marriage and second to Lillian Hellman, his involvement with communists, all tell us a story about complex man. Maybe most dashing parts were his perpetual illness and writers block, but with his four novells and collection of stories he is forever regarded as one of the greatest crime novelists of all time.

John Wainwright - All On A Summer's Day

Good police procedural, very realistic given that author was policeman before turning into crime fiction, very alike Ed McBain's novels. Plot revolves about different crimes occuring on a day's police work.

A Pin To See A Peepshow - F. Tennyson Jesse

A Pin to See a Peepshow by F. Tennyson Jesse is a chilling and thought-provoking novel based on true crime, weaving together a tragic tale of love, betrayal, and the dark consequences of desperation. Set against the backdrop of early 20th-century England, the story follows Julia, a woman trapped in a loveless marriage to Herbert. Her life takes a dramatic turn when she falls in love with Leo, leading to a passionate affair that ultimately results in Herbert's death after a confrontation between Leo and Herbert. The aftermath sets in motion a harrowing journey that culminates in Julia and Leo being arrested, tried, and eventually hanged.

The novel delves deep into Julia’s emotional turmoil as she grapples with the complexities of love, loyalty, and guilt. Her marriage to Herbert is strained from the start, with no affection between them, and her bond with Leo represents a desperate escape. However, the novel’s real tension builds as the relationship between Julia and Leo spirals into something far more dangerous when Herbert discovers their affair. The subsequent confrontation leads to Herbert’s death at Leo’s hands, setting in motion a series of events that ultimately end in their arrest and execution.

One of the most striking aspects of the novel is the portrayal of Julia’s feelings in the period leading up to her execution. As she faces the inevitable end of her life, there is a profound sense of internal conflict—her love for Leo, her guilt over Herbert’s death, and the overwhelming weight of her fate. Julia’s reflections are especially poignant as she contrasts her situation with the lives of "normal" people going about their everyday routines—people heading to jobs, living mundane lives. This thought brings a sense of surreal isolation and helplessness, as she contemplates how life simply moves on for others while hers is tragically coming to an end. Jesse captures Julia’s quiet desperation, fear, and reflection on her life choices in a way that is both heartbreaking and haunting.

While the novel is gripping, it is worth noting that at 400 pages, it may feel a bit long for some readers. There are sections that linger on Julia’s inner thoughts and emotions, which, while providing depth, may seem drawn-out at times. However, these moments contribute to the overall tone of the story, adding to the sense of suffocating inevitability that hangs over the characters.

The novel’s structure also reflects the societal attitudes of the time, making it a fascinating study of both the characters and the culture they inhabit. The ending, while tragic, feels inevitable, making it all the more impactful. It’s a story that lingers in your mind long after the final page, forcing you to reflect on love, consequences, and the fragility of life.

Overall, A Pin to See a Peepshow is a dark and captivating exploration of the human condition, set against the grim backdrop of a true crime. F. Tennyson Jesse’s writing captures the complexities of the heart and the destructive power of love in a way that resonates with readers who enjoy literary thrillers and psychological dramas. Though the novel’s tragic conclusion and its somewhat lengthy nature may leave you feeling conflicted, it is undoubtedly a story worth reading.

Patrick Hamilton - Hangover Square

Hangover Square is one of those novels that leaves you with a lingering sense of unease long after you’ve turned the last page. Written by Patrick Hamilton and first published in 1941, this dark and atmospheric work blends psychological tension with the gritty, post-Victorian streets of London. It’s a compelling piece of fiction that digs deep into the human psyche, making it a unique read for those who enjoy the darker side of crime fiction.

Plot Overview

At the heart of Hangover Square is George, a lonely and troubled man living in London in the years leading up to World War II. He’s not your typical protagonist: a deeply complex, often self-destructive figure, George battles internal demons, including a strained relationship with his own identity, alcoholism, and an obsession with a woman named Netta. His struggles create a gripping portrait of inner turmoil, a stark departure from the usual fast-paced plots of crime fiction.

The story is told with an unsettling intimacy, as we watch George’s downward spiral in his search for love, belonging, and escape. The novel shifts back and forth between George’s relatively peaceful moments and the manic, darker side of his mind, all while London itself looms as a backdrop—an ominous, almost hostile cityscape that reflects George's state of mind.

Psychological Depth and Atmosphere

What makes Hangover Square stand out, especially for crime fiction readers, is its psychological complexity. The novel may not fit neatly into the crime genre, but it shares similar themes of moral ambiguity, mental instability, and the darker undercurrents of human nature. George’s mind becomes both his prison and his battleground, and Hamilton’s writing pulls you into that turmoil, leaving you questioning the reliability of George’s perceptions. The novel’s slow burn of tension, the sense of inevitable tragedy, makes it feel almost like a psychological thriller rather than a traditional crime novel.

Hamilton’s portrayal of London in the 1930s is equally as bleak as George’s inner world. The atmosphere is heavy, and it often feels as though the city itself is a character, influencing the choices George makes. The novel’s pacing can feel slow at times, especially when Hamilton spends long stretches diving into George’s tortured thoughts, but it’s this very depth that creates a lasting impression of desperation and isolation.

Themes of Love, Obsession, and Self-Destruction

At its core, Hangover Square is a novel about obsession—specifically George’s obsessive and unhealthy fixation on Netta. This relationship is as toxic as it is compelling, making it one of the driving forces behind George’s descent into madness. For fans of crime fiction, this theme will resonate, as it mirrors the complex and often destructive dynamics we see in noir protagonists and their struggles with desire, self-worth, and moral conflict.

While the novel may not feature a conventional crime plot, it explores the crime of the human mind—how obsession, jealousy, and desperation can lead to irreversible consequences. The psychological toll George experiences, paired with his interactions with others, takes the reader into darker territory than a typical whodunit.

Final Thoughts

Hangover Square may not be for everyone, especially for readers who prefer fast-paced action or straightforward crime plots. The novel’s psychological intricacies and pacing require patience, but for those who appreciate a deep dive into the complexities of the human mind, it offers a uniquely haunting experience. The story’s exploration of mental illness, love, and obsession will appeal to fans of crime fiction who enjoy psychological tension as much as the more traditional aspects of the genre.

If you’re someone who appreciates the darker, more introspective side of crime stories and enjoys a slow-burning narrative, Hangover Square is definitely worth the read. It’s a reminder that sometimes the most chilling crimes happen not in the streets, but within the very minds of the people we least expect. Hamilton also wrote script for famous movie Gaslight.

Cameron McCabe - The Face On The Cutting Room Floor

This novel was quite a mystery back in the day, with uncertainty about its author. Julian Symons called it a detective story to end all detective stories. It revolves around film studio where girl has been killed in the cutting room floor. Cameron McCabe, narrator of the story, tells about possible suspects but when the film is showed there  is depiction of man and woman struggling and maybe in accident he kills herself with a knife. Jensen, the possible culprit is later found dead, poisoned and shot from revolver. Now Jensen was lover of the girl, but also was McCabe so inspector Smith puts the blame on Cameron and sends him to trial. After Cameron is aquitted, he returns home only to face Smith who murders him. Very unusual crime story, and final touch is imagined review of his work as afterword. But after 30 years real name of the writer is revealed : Ernest Borneman, german who worked in the film industry. He wrote couple of other novels and died from suicide at 79 year old. 

One of the standout aspects of Face on the Cutting Room Floor is its unconventional narrative structure. The novel opens with what seems like a straightforward story of a man working behind the scenes in the movie industry. However, as the story progresses, it becomes clear that the world McCabe is constructing is anything but simple. The blending of fact and fiction within the narrative is brilliantly executed, with a fictional "review" of the book included by an imaginary critic. This metatextual element adds an intriguing layer of complexity to the story.

The plot is full of twists and turns, with the protagonist being drawn into a murder mystery that seems to have connections to both his professional life and personal history. The slow unveiling of secrets keeps readers on their toes, making it a difficult book to put down.

The novel explores the nature of film, identity, and the construction of truth. The editor at the center of the story deals with film reels—cutting, splicing, and rearranging footage. In a similar way, the novel itself feels like it's being cut and reassembled, with reality constantly shifting under the reader's feet. McCabe also plays with themes of voyeurism, illusion, and the idea of perception versus reality.

The writing is sharp and clever, with a noir-ish tone that complements the dark, mysterious atmosphere. McCabe’s ability to create a sense of unease and uncertainty is one of the novel's strengths.

The characters are well-developed, especially the protagonist. His character is driven by a desire to uncover the truth, yet he is constantly forced to question what’s real and what’s been fabricated—both in the case he’s investigating and in his own life. The supporting characters, though not as fleshed out, still contribute to the overall sense of mystery.

In conclusion, Face on the Cutting Room Floor is a fascinating and thought-provoking read that plays with narrative structure, genre conventions, and the idea of truth in a world filled with illusion. The novel feels ahead of its time, foreshadowing many modern techniques used in contemporary storytelling. If you're a fan of mystery, film noir, and books that defy traditional narrative forms, McCabe's work is certainly worth exploring.

Picador Classics also include afterword where they put interview with Borneman, and some other info about him.

Automat

Frenk je u mladosti bio veliki ljubitelj umetnosti u svim njenim vidovima, i prošavši obuku za istoričara umetnosti proveo je neko vreme uživajući u remek delima, slikama, skulpturama i građevinama, međutim sada, u njegovim četrdesetim godinama završio je kao kustos u jednom muzeju u Beogradu, provodeći radne dane u tišini, gledajući kroz prozor, i ponekad (a to je bilo retko) upoznajući mladiće i devojke sa poznatim delima. Dani su mu prolazili u dosadi dok je brisao prašinu sa knjiga o istoriji umetnosti, osećajući kako se svet promenio u 21 veku do te mere da je nekad pomišljao da je umetnost mrtva, i da se nikad više neće vratiti. Pomalo neobično, ali nikako neshvatljivo u slobodnim časovima igrao je rulet u kazinu nedaleko od muzeja, i ubrzo je zavoleo tu igru, gledajući kako se loptica vrti u ruletu, posmatrajući je kao nekakvo živo umetničko delo. Mnogo novca je stekao igrajući rulet, ali ga je sreća napustila kada je pao u veliki dug izgubivši mnogo novca u nekoliko večeri.

Osećajući veliku krivicu i planirajući kako će sa svojom bednom platom kustosa u muzeju preživeti, ispijao je pivo u nekom lokalnom baru. Bilo je već kasno i ulica je bila pusta, dok su semafori besmisleno prelazili iz crvenog preko žutog i zelenog, u bar je ušao njegov stari drugar iz kockarskih dana, Majkl. 

Frenk ga pozdravi i ponudi ga pivom.

-Ćao, Frenk. Dugo je bilo otkad se nismo videli.

-Da. Frenk je već ispijao drugu čašu piva dok je Majkl počinjao svoju. Zapalivši cigaretu, Majkl ga upita:

-Nešto si mi napet, Frenk. Slobodno mi reci šta te muči.

Frenk je takođe zapalio cigaretu i zakašljavši se ispljunuo šlajm u papirnu maramicu. Barmen je tiho sedeo na kraju hodnika, čisteći sto.

-Majkl, upao sam u velike dugove. Zbog jebenog ruleta.

-Oh, tako mi je žao, Frenk. O kolikoj sumi pričaš?

-Velikoj. Čak i sa podizanjem kredita, ne znam kako ću ga vratiti.

Odjednom Frenk zaplače i obrli Majkla oko vrata. 

-Pomozi mi, molim te.

Majkl ga nežno odgurne od sebe i ponudi mu jedan bromazepam da se smiri. 

-Samo polako Frenk. Popij ovo, pomoći će ti.

Frenk popije bromazepam sa pivom i malo se opusti. Zapalio je još jednu cigaretu. 

-Mogu da ti pomognem Frenk, ali biće to malo ilegalno.

-O čemu se radi?

-Poznajem jednu bandu kradljivaca slika. Zainteresovani su za jednu sliku, pa pošto si ti kustos u muzeju, možda ti je pri ruci.

-O kojoj slici se radi?

-Automat od Edvarda Hopera.

Odjednom se u njegovoj glavi stvorila slika žene zaokupljene nečim kako sedi u kafeu. Osećao se udaljen od svega kao i ta slika dok je pripaljivao cigaretu.

-Da, posedujemo tu sliku. Koliko nude za nju?

-50 000 evra. Da li bi ti to pomoglo?

-Veoma.  

-Ok. Hoćeš li da se nađemo kod njih sutra, recimo u podne? Zapisaću ti adresu na parčetu papira. Fini su to momci.

Dok je Majkl zapisivao adresu Frenk se osećao sve udaljenijim od okoline, ali i osnažen ovom poslovnom ponudom. Majkl mu dade papirić i pozdravi ga. Platio je za pivo i izašao iz bara. Kiša je padala dok su semafori još uvek besciljno menjali boje iz crvenog preko zelenog do žutog i natrag. Frenk je osećao veliku krivicu zbog odluke koju je počinio, ali takođe i veiki predah. Dugo je razmišljao o svemu tome dok je izlazio iz kafića. Dok je prelazio ulicu pomislio je da još uvek može da odustane dok je policijski automobil išao njemu u susret. Vratio se kući, skinuo odeću i zaspao.

Ujutru se osećao posebno bedan i očajan. Svu tu lepotu, duhovnost, njegovu celu ličnost je bacio u vodu zbog para. Posle popijene kafe i cigarete obukao se i otišao na zakazano mesto. Ispred zgrade je bio parkiran veliki mercury cyclone. Bili su to fini ljudi, i tokom razgovora izmenio je nekoliko opservacija o degeneraciji savremenih slikara. Tu je bio i Majkl. Dogovarali su se kako da najbolje izvedu sliku iz galerije.

-Ima sporedni ulaz, tu možete doći kolima, dok ću vam ja spremiti sliku. I da, hoću pare unapred.

Kriminalci se nasmejaše na tu izjavu.

-Ok, dobićeš polovinu sada i polovinu kad nam daš sliku. Dali su mu štosove novčanica. Tu je sigurno bilo 25 000 evra, pomisli Frenk.

-Ne moraš da brojiš. Kad možemo da dođemo po sliku?

-Večeras pred zatvaranje, oko 7 uveče.

-Dobro. Donećemo i kopiju.

-Ok.

Tokom razgovora Frenk nije osetio da je bio duboko uvučen u kriminalni svet i kad se vratio na posao neprestano je gledao automat sliku i osećao veliku usamljenost, kao na toj slici. Takođe je postao i prilično paranoičan, svo vreme misleći da mu je policija za petama. Pare koje je dobio sakrio je između stranica svojih knjiga u njegovoj biblioteci. Primicalo se 7 sati uveče i Frenk oseti zvuk trube iz kola. Pogledavši kroz prozor video je crvenog mercury cyclone kako se približava parkingu. Polako je uzeo sliku i poneo je sa sobom do sporednog izlaza. Osim automobila nije bilo nikog na ulici. Preko puta je bio parkiran crveni plymouth road runner. Iz auta je izašao mladić sa kopijom slike i torbom sa parama. Bez reči su razmenili robu. Frenk je neko vreme stajao na pločniku dok se mercury nije udaljio, i ostavio ga samog pred ulazom, samog sa svojim mislima punim izmešanih osećanja, krivice, straha, bola, zadovoljstva...vratio se u muzej i pažljivo postavio kopiju. Zaključavši vrata muzeja otišao je sa torbom punom para do svog stana gde je prilično brzo zaspao, svo vreme misleći da je ovo ružan san.

Forenzičarka Tea je bila veliki ljubitelj umetnosti tako da je jednog dana otišla do muzeja gde je Frenk upoznao sa poznatim delima. Tea pogleda Falsifikat Automata i neki čudni osećaj je obuzme. Posle nekog vremena izašla je iz galerije i otišla do policijse stanice. Tamo su u kancelariji detektiv i Nataša pisali izveštaje dok je mačak Fric jeo mačju travicu.

-Ćao, Tea. Imaš nešto da nam kažeš? Jesi li dobila neki dokaz od mrtvog tela?

-Pa bila sam malopre u muzeju i slika automat od edvarda hopera mi se učinila nekako drugačijom.

-Ko je Edvard Hoper?, upita detektiv.

-I ja se to pitam, odgovori Nataša.

-Čuveni slikar, reče Tea. -Ali razumljivo je da vi ništa ne znate o umetnosti. Možda ako bih našla nekog eksperta da vidi da li je original ili je bila krađa...

-Pitaj Čeda Pitersona, on zna puno umetnika.

-Ok.

Tea se odveze do kancelarije Čeda Pitersona, privatnog detektiva. Nešto je crtao kad je pokucala na vrata.

-Uđite, reče Čed Piterson pitajući se ko bi to mogao biti u ovom kišnom i hladnom danu. Iznenadio se kad je primetio Teu.

-Ćao, Čede. Treba mi tvoja pomoć. Bila sam u nekom muzeju i slika automat mi se činila nekako izmenjena kao da je u pitanju falsifikat.

Čed Piterson zapali cigaretu. 

-Moguće je da je bila krađa. Mogu da pošaljem stručnog eksperta da pobliže pogleda tu sliku, a znam i jednog tipa koji mi je učinio uslugu, upoznat je sa svetom kradljivaca slika.

-Hvala ti.

Ubrzo je ekspert došao do muzeja gde ga je Frenk uveo. Tu su bili i detektiv i Nataša, Tea, i Čed Piterson. Staviviši pozlaćeni okvir ispred očiju, pobliže je pogledao sliku i posle detaljnog gledanja utvrdio da je falsifikat.

-Ovo je sigurno falsifikat. Znate li kako je dospeo ovde?, upita Frenka.

-Nemam pojma, reče Frenk.

-Molim vas da ostanete u muzeju dok ne rešimo ovo pitanje. Sa vama će biti policajac.

-Dobro. 

Frenk je drhtao od straha. Proklet bio dan kad je u taj bar ušao Majkl.

Čed Piterson je pozvao u pomoć jednog bivšeg kriminalca koji mu je rekao o aktivnoj bandi kradljivaca slika. Uz njegovu pomoć Nataša se kamuflirala u preprodavca umetničkih dela i odvezla se plymouth acapulco do njihove jazbine. Neko vreme su pričali dok Nataša nije izvadila pištolj i rekla : Policija! Stojte tu gde ste! Sve što kažete može biti iskorišćeno protiv vas, imate pravo na advokata i pravo na ćutanje! 

Izvela je kriminalce i ubacila ih u plymouth acapulco za čijim volanom je sedeo detektiv. Posle mnogo ispitivanja u policijskoj stanici doznali su sve pojedinosti.

Frenk je osećao kako se obruč oko njega sužava kada su detektiv i Nataša došli kod njega da ga uhapse. Pobegao je u drugu sobu i skočio kroz prozor, i njegova zadnja sećanja su bila letovanje u italiji gde je razgledao biste romanskih imperatora...

Joel Townsley Rogers - The Red Right Hand

This is classic piece of crime fiction which may be overlooked today. It is a haunting psychological thriller that delivers an unsettling and surreal experience, reminiscent of a David Lynch film. With its intricate plot twists, shifting identities, and a sense of creeping dread, it leaves readers questioning everything they think they know.

The novel follows a complex web of characters, with a central focus on a soon to be husband and wife who are travelling to get married but are stopped by a hobo who kills her lover and leaves with the car. But like in best crime novels, things are not what they seem, and what starts as as a straightforward mystery quickly morphs into a deeper exploration of the human psyche. The narrative is filled with unexpected turns, particularly as the husband of the victim is revealed as the killer. The pacing of the book is deliberately slow, building tension with every page, as the characters and their motives come into focus. While the surreal elements can sometimes leave readers confused, it’s clear that this disorientation is intentional, immersing the reader in a world where nothing is quite as it seems. The final pages are particularly complex, leaving more questions than answers and adding to the book's Lynchian atmosphere. At its core, Red Right Hand is a study of human nature and identity, exploring the lengths to which people will go to hide their darkest secrets. Its mix of noir, suspense, and psychological complexity makes it a captivating read for fans of crime fiction, though it’s not for the faint of heart. The story’s ambiguity and eerie tone stay with you long after you’ve turned the last page. Foreword by Joe R Landsdale in the preface suggest to be read in one go, as its stream of counciousness by central character, Dr. Ridller is continuosly pushing the story with no brakes in chapters. This novel won french police novel award in 1951. Story blends atmosphere of 1920's era of mystery fiction, hard boiled noir, psychological thriller and horror fiction. Anthony Boucher says that it has tension of Woolrich, fertule plot imagination of Keeler, techical ingenuity of Christie and stern deductions of Carr. In his introduction Landsdale says that it's far more stylistically adventurous than most clue on clue novels, and as a mystery that transcends it genre, operating on a stream of conciousness in the vein of William Faulkner, and presaging the work of Jack Kerouack. Thanks to Otto Penzler, this hidden gem is now again available.

Marc Behm - Eye Of The Beholder

Eye of the Beholder is a psychological thriller that delves into the complex and obsessive nature of human desire. The novel follows an investigator who becomes deeply involved with a woman he is tracking—despite knowing she is a serial killer. His professional investigation quickly turns personal as he grows fascinated with her, blurring the lines between duty and obsession.

The story explores themes of loneliness, control, and the moral ambiguity of human behavior. The investigator’s fascination with the woman isn’t just about solving a crime; it’s about understanding her mind and, perhaps, confronting his own emotional emptiness. As the plot unfolds, the reader is left questioning the nature of obsession and the consequences of trying to connect with someone who might be beyond reach.

A gripping and thought-provoking tale, Eye of the Beholder reveals the dark side of human connection and the dangerous allure of the unknown. It was also made into a french movie Deadly Cuircuit with Isabelle Adjani.

Ethel Lina White - The Lady Vanishes

The Lady Vanishes by Ethel Lina White is a gripping crime novel that blends suspense, mystery, and psychological tension. Set aboard a train traveling through Europe, the story follows young Iris Carr, who is on her way home from a holiday. As she rides the train, she befriends an elderly woman named Mrs. Froy, a charming, somewhat eccentric lady. However, after a brief nap, Iris wakes up to find that Mrs. Froy has mysteriously disappeared—vanished without a trace.

As Iris attempts to investigate the disappearance, she faces growing skepticism from the other passengers. Everyone denies having seen Mrs. Froy, and some even suggest that Iris may have imagined her or is losing her sanity. Despite the doubts of those around her, Iris persists, determined to uncover the truth. She finds herself caught in a web of conspiracy, with people actively trying to undermine her efforts.

As the story unfolds, Iris is forced to navigate a complex mystery, where nothing is quite what it seems. She discovers that Mrs. Froy’s disappearance is linked to a larger plot involving espionage, and in a surprising twist, the elderly woman was not just a simple traveler—she was involved in a dangerous game of international intrigue.

The novel explores themes of trust, perception, and the battle between reality and illusion. Through Iris’s eyes, we see how easily reality can be distorted, and how perseverance and courage can ultimately reveal the truth. The ending offers a satisfying resolution, with Iris uncovering the shocking truth about Mrs. Froy's identity and her role in the mystery.

The Lady Vanishes is a masterfully crafted tale that keeps readers on the edge of their seats, combining elements of psychological thriller and classic crime fiction. It’s a timeless story of mystery and deception, where the line between what’s real and what’s imagined becomes increasingly blurred. It was adapted as a film by Alfred Hitchcock.