When Dave Fenner is hired to solve the Blandish kidnapping, he knows the odds on finding the girl are against him - the cops are still looking for her three months after the ransom was paid. And the kidnappers, Riley and his gang, have disappeared into thin air. But what none of them knows is that Riley himself has been wiped out by a rival gang - and the heiress is now in the hands of Ma Grisson and her son Slim, a vicious killer who can't stay away from women, especially his beautiful new captive. By the time Fenner begins to close in on them, some terrible things have happened to Miss Blandish ...

James Hadley Chase (Rene Brabazon Raymond) was born in London in 1906 and started his career as a bookseller. With the aid of a dictionary of American slang and reference books on the American underworld he wrote his first novel, NO ORCHIDS FOR MISS BLANDISH, over six weekends. The book achieved remarkable popularity and became one of the best-sold books of the decade. FLESH OF THE ORCHID is a wild, thrill-ride of a sequel to NO ORCHIDS. Taking up the story 22 years later, the central figure is once again a Blandish girl, but Carol Blandish is not the helpless victim that her mother was. Indeed, she is a volatile blend of simmering sexuality, strained innocence and hair-trigger cruelty. Her explosive outbursts of savage violence make her a force to be reckoned with. Escaping from a mental institute during a raging storm, and definitely off her meds, Carol Blandish is soon pursued by a seedy cast of characters who all want a piece of the Blandish fortune. The novel bristles with crazy plot twists, edge-of-the-seat suspense and intriguing low-life's who mix it up for an immensely enjoyable read.

"When a curvaceous, beautiful girl walks into your office, strips, and offers you a 6,000 retainer to help her out of the trouble she's in, it's hard to refuse. Especially it you're private eye Dave Fenner, the man who busted the notorious Blandish case. But by the time Dave had been beaten half to death and been forced to shoot his way out of a load of unhealthy situations, he realised that chivalry - even if it was paid for a hard cash - was no way to stay alive. Only one man could satisfy Glorie Leadler's craving for love and affection. And though this golden-haired bit of feminine dynamite could have had a dozen men at her feet for the asking, it was a solitary Asian who made her heart beat fast. When jealous rivals tore that midnight love from Glorie's arms, her over-heated emotions burst forth in a volcano of love-stricken vengeance that rocked Florida and left a mark on many men's souls."--goodreads.com.

Veda Rux, a beautiful blonde, known professionally as a stripper, steals a priceless Cellini dagger from the safe in millionaire Lindsay Brett's home. Her agent, Cornelius Gorman, approaches Floyd Jackson, a private investigator and first-rate blackmailer, and asks him to return the dagger before the theft is discovered. Jackson should have known there was something wrong with the whole situation, but, blinded by the beauty of Veda and more money than he had ever seen, he agreed to the proposition. From the moment he fell in love with Veda, his doom was sealed—he was caught up in a relentless intrigue that made him a cat's-paw for murder.

International jewel thief, Paul Hater, knows a secret that everyone wants to know - and will go to any lengths to uncover. How long can he remain silent? When Hater is arrested in possession of a stolen necklace, the police use every possible means to persuade him to reveal the location of the rest of the collection. He remains silent and so begins his twenty-year prison sentence. Having exhausted all their leads, the International Detective Agency, acting on behalf of the insurers, must patiently await Hater's release before they can hope to find out more. But just as his day of release approaches, Hater is kidnapped by a ruthless international gang determined to force the secret from him and prepared to go to any lengths to do so....

In Origins and Legacies of Marcel Duhamel’s Série Noire Alistair Rolls, Clara Sitbon and Marie-Laure Vuaille-Barcan propose an account of a translation practice that is surprisingly innovative and that counters the myths and received wisdom that have dogged this iconic French series.