Brown (1906-1972) was a popular and respected author of more than 20 mysteries and science fiction novels (The Fabulous Clipjoint, won the 1948 Edgar Award for best mystery novel). This study looks closely at his work and chronicles his unusual life. Paper edition (unseen), $16.95. Annotation copyright by Book News, Inc., Portland, OR

Drawing from fictional and real accounts, movies, personal interviews, and tours of mental hospitals both active and defunct, Rondinone uncovers a story at once familiar and bizarre, where reality meets fantasy in the foggy landscape of celluloid and pulp.

In honor of the 70th birthday of Professor Douglas G. Greene, mystery genre scholar and publisher, this book offers 24 new essays and two reprinted classics on detective fiction by contributors around the world, including ten Edgar (Mystery Writers of America) winners and nominees. The essays cover a myriad of authors and books from more than a century, from J.S. Fletcher's The Investigators, originally serialized in 1901, to P.D. James' Death Comes to Pemberley, published at the end of 2011. Subjects covered include detective fiction in the Edwardian era and the "Golden Age" between the two world wars; hard-boiled detective fiction; mysteries and intellectuals; and pastiches, short stories and radio plays.

"This book is about Charles Fort, his followers, and the surprising influence they have had on science fiction, the avant-garde, UFOlogy, and more broadly on the role of spirituality and conspiracy in the modern world. Fort was an author and maverick philosopher who wrote four non-fiction books about anomalies-rains of frogs, mysterious disappearances, unexplained lights in the sky-for which he offered hypotheses that even he did not (always) accept as true. His books developed into a monistic philosophy that denounced science as a machine for generating truth. In his view, science was a small part of a larger system in which truth and falsity were constantly transforming one into the other. This was not a rejection of the modern world but, instead, its fulfillment: Fort prophesied the next stage in intellectual evolution after the scientific era. He inspired four overlapping groups: members of the Fortean Society; science fiction fans and writers; avant-garde artists; and flying saucer enthusiasts. First We Must Think to New Worlds takes up each of these groups in turn to ask: How can the human imagination be expanded? What is the fundamental structure of the universe? And, how does power move? As they developed their responses, Fort's followers mixed Forteanism with Fundamentalism, New Agery, and conspiracy, as well as a host of other forms of modern enchantments, such as the ironic imagination, scientific wonder, and Theosophical syncretism. Each chapter is interrupted by and concludes with shorter sections that focus on particular Forteans or Fortean events as a way to deepen themes"--

Prior studies of post-war American Gothic literature (and even American horror films) have primarily interpreted Gothic cultural production of the post-war period through a Cold War lens. Despite legitimate reasons for such an approach, this emphasis has limited inquiries into post-war fiction as well as our understanding of the nation’s complicated identity. While the federal government and its investigative agencies may have been preoccupied with the so-called ‘red menace’ that threatened to spread across the planet, each region of the country already possessed major strains of Gothic fiction that focused on regional anxieties – namely of those connected to women and minorities that threatened the region’s constructed identity and balance of power. The Haunted States of America shifts the focus to these Gothic strains by examining how the anxieties, fears and concerns illustrated in the works of several post-World War II writers can be best understood through regional history and identity.

In the 1960s the masters of crime fiction expanded the genre’s literary and psychological possibilities with audacious new themes, forms, and subject matter—here are five of their finest works This is the first of two volumes gathering the best American crime fiction of the 1960s, nine novels of astonishing variety and inventiveness that pulse with the energies of that turbulent, transformative decade. In The Murderers (1961) by Fredric Brown, an out-of-work actor, hanging out with Beat drifters on the fringes of Hollywood, concocts a murder scheme that devolves into nightmare. This late work by a master in many genres is one of his darkest and most ingenious. Dan J. Marlowe’s The Name of the Game Is Death (1962) channels the inner life of a violent criminal who freely acknowledges the truth of a prison psychiatrist’s diagnosis: “Your values are not civilized values.” Written with unnerving emotional authenticity, the story hurtles toward an annihilating climax. Charles Williams drew on his experience in the merchant marine for his thriller Dead Calm (1963). A newlywed couple alone on a small yacht find themselves at the mercy of the mysterious survivor they have rescued from a sinking ship, in a suspenseful story that chillingly evokes the perils of the open ocean. In the beautifully told and sharply observant The Expendable Man (1963), Dorothy B. Hughes’s final masterpiece of suspense, a young man in the American Southwest runs afoul of racial assumptions after he picks up a hitchhiker who soon turns up dead. In twenty-four brilliantly constructed novels, Richard Stark (a pen name of Donald Westlake) charted the career of Parker, a hard-nosed professional thief, with rigorous clarity. The Score (1964), a stand-out in the series, finds Parker and his criminal associates hatching a plot to rob simultaneously all the jewelry stores, payroll offices, and banks in a remote Western mining town, only to come up against the human limits of even the most intricate planning. Volume features include an introduction by editor Geoffrey O'Brien (Hardboiled America), newly researched biographies of the writers and helpful notes, and an essay on textual selection.

The Historical Dictionary of Science Fiction in Literature is a useful reference to the broad and burgeoning field of science fiction literature. Science fiction literature has gained immensely in critical respect and attention, while maintaining a broad readership. However, despite the fact that it is a rapidly changing field, contemporary science fiction literature also maintains a strong sense of its connections to science fiction of the past, which makes a historical reference of this sort particularly valuable as a tool for understanding science fiction literature as it now exists and as it has evolved over the years. The Historical Dictionary of Science Fiction in Literature covers the history of science fiction in literature through a chronology, an introductory essay, and an extensive bibliography. The dictionary section has over 300 cross-referenced entries including significant people; themes; critical issues; and the most significant genres that have formed science fiction literature. This book is an excellent access point for students, researchers, and anyone wanting to know more about this subject.