BEYOND SCOTLAND YARD

By Edgar Wallace. Edited and Introduced by Graeme R. Newman
Welcome to the fifth volume of The Spies and Criminals of Edgar Wallace — Beyond Scotland Yard., Volume 5. As we continue our journey through the vast, thrilling archives of the man who once had a book on every bedside table in England, we move away from the procedural confines of the Yard and into the shadowy territories of global conspiracies and nocturnal terrors. Edgar Wallace was never just a writer of "whodunnits." He was a pioneer of the "thriller" in its most visceral form—a master of the ticking clock, the hidden organization, and the villain whose reach spans continents.
The Fourth Plague (1913). One of Wallace’s most ambitious early works, The Fourth Plague introduces us to the "Red Hand," a sinister Italian secret society that holds London in a grip of terror. This isn't a mere case of theft or individual murder; the Red Hand threatens the very fabric of society with a biological ultimatum. Wallace masterfully blends the tropes of the "Yellow Peril" and Italian vendetta narratives of his era into a high-stakes race against time. It is a proto-techno-thriller that showcases Wallace’s fascination with how easily modern civilization can be brought to its knees by a dedicated few.
A King by Night (1925). Written at the height of his fame and dedicated to his close friend P.G. Wodehouse, A King by Night is a different beast entirely. When a young woman from Sacramento arrives in London searching for her missing uncle, she is swept into a nightmare involving a mysterious, legendary criminal known as "The King." Set against a backdrop of fog-drenched streets and eerie country estates, this novel highlights Wallace’s ability to create a sense of mounting dread. It is a classic example of his "terror" novels—where the villain is not just a man, but a looming, almost supernatural presence.
Why "Beyond Scotland Yard"? While the "Blue Eyed Boy" of the C.I.D. often made appearances in Wallace’s work, these stories remind us that the most dangerous criminals don't always leave a trail the police can follow. Sometimes, it takes an adventurer, a victim’s desperate relative, or a rogue investigator to venture into the places where the law fears to tread.
In Volume 5, the stakes are higher, the villains are bolder, and the mysteries are shrouded in the dark corners of the world. Turn the page, and prepare to meet the criminals who thought they were beyond the reach of justice—only to find that Edgar Wallace was waiting for them.

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BEYOND SCOTLAND YARD

By Edgar Wallace. Edited and Introduced by Graeme R. Newman

The Spies and Criminals of Edgar Wallace: Scotland Yard and Beyond — Volume 4 brings readers two of Edgar Wallace’s most entertaining and unusual adventure novels: Bones and Bones in London. Blending humor, mystery, and crime with the author’s trademark pace and vivid storytelling, these stories reveal a lighter but no less thrilling side of Wallace’s imagination.

At the center of both novels is the unforgettable character Bones, a well-meaning but wildly unpredictable figure whose adventures unfold amid colonial intrigue, bureaucratic mishaps, and unexpected encounters with criminals and conspirators. In Bones, readers travel to the colorful and often chaotic world of colonial Africa, where the enthusiastic but frequently misguided Bones attempts to prove his courage and competence while stumbling into one outrageous situation after another.

In Bones in London, the action moves to the heart of the British capital. Far from the jungles and rivers of Africa, Bones finds himself navigating the complexities of metropolitan life, where his talent for attracting trouble follows him wherever he goes. What begins as a simple visit soon becomes entangled with crime, deception, and the watchful presence of Scotland Yard.

Filled with sharp dialogue, comic mishaps, and moments of genuine suspense, these two novels showcase Edgar Wallace’s remarkable range as a storyteller. Famous for his crime thrillers and detective tales, Wallace was equally skilled at creating characters whose humanity and humor shine through even in the midst of danger.

Volume 4 of The Spies and Criminals of Edgar Wallace offers readers another captivating installment in this series celebrating the work of one of the most widely read writers of the early twentieth century. For fans of classic adventure, crime fiction, and unforgettable characters, these lively stories remain as engaging and entertaining today as when they were first published.

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SCOTLAND YARD AND BEYOND

By Edgar Wallace. Edited and Introduced by Graeme R. Newman

The Spies and Criminals of Edgar Wallace: Scotland Yard and More — Volume 3 brings together two exciting works by one of the most prolific and entertaining masters of crime fiction. Edgar Wallace’s stories of clever criminals, daring investigators, and ingenious plots captivated millions of readers in the early twentieth century, and they continue to deliver suspense and adventure today.

This volume features The Adventures of Heine, a lively collection of tales centered on one of Wallace’s most intriguing characters. Moving through the underworld of international intrigue and high-stakes deception, Heine encounters spies, smugglers, and master criminals in stories filled with wit, danger, and unexpected twists. Wallace’s fast-paced storytelling and sharp dialogue make each episode a memorable adventure.

Also included is the gripping novel The Girl from Scotland Yard, a thrilling story that places a determined investigator at the center of a web of mystery and crime. As secrets unfold and danger closes in, the story showcases Wallace’s remarkable ability to blend suspense, clever plotting, and dramatic tension.

Together these works reveal the rich variety of Wallace’s crime fiction—from clever short adventures to full-length mystery. Filled with secret schemes, daring investigations, and the ever-present struggle between crime and justice, Volume 3 of The Spies and Criminals of Edgar Wallace offers another exciting glimpse into the world of classic detective storytelling.

Perfect for readers who enjoy classic mysteries, Scotland Yard investigations, and the golden age of crime fiction, this collection continues the tradition of suspense and adventure that made Edgar Wallace one of the most widely read thriller writers of his time.

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 SCOTLAND YARD AND BEYOND

By Edgar Wallace. Edited and introduced by Graeme R. Newman

From the shadowed streets of London to the secret worlds of spies and master criminals, Edgar Wallace delivers the kind of high-speed storytelling that made him one of the most widely read writers of his age.

The Spies and Criminals of Edgar Wallace — Volume 1 gathers a thrilling selection of Wallace’s most entertaining tales of intrigue, deception, and daring adventure. Within these pages readers encounter brilliant detectives, elusive thieves, secret societies, and dangerous conspiracies that challenge the keenest minds of Scotland Yard. Each story unfolds with Wallace’s trademark pace—swift, suspenseful, and filled with surprising twists.

A master of popular fiction, Wallace combined sharp dialogue, vivid characters, and ingenious plots to create stories that remain as gripping today as when they first captivated readers in the early twentieth century.

This exciting new edition invites modern readers to rediscover a classic voice of crime fiction and experience the suspense, wit, and adventure that made Edgar Wallace a legend of the thriller.

By Hugh Clifford (Author), Graeme Newman (Introduction)

Studies in Brown Humanity by Sir Hugh Clifford is a striking collection of literary sketches drawn from the author’s experiences as a British colonial administrator in the Malay Peninsula during the late nineteenth century. Blending storytelling with observation, Clifford presents a series of vivid portraits of village life, local customs, personal conflicts, and dramatic encounters shaped by the social structures of colonial Southeast Asia. The narratives explore themes of honor, betrayal, justice, and authority, often focusing on moments when traditional Malay codes of conduct collide with the legal and moral framework imposed by the British colonial state.

Although written as literary sketches rather than formal social analysis, the book provides revealing insights into the ways communities understand wrongdoing and punishment. Clifford’s stories depict acts of violence, disputes over reputation, and conflicts between individuals and authority, illustrating how social norms, kinship ties, and communal expectations shape both criminal behavior and responses to it. In this sense, the work can be read not only as colonial literature but also as an early, informal contribution to the sociological study of crime and social control.

At the same time, Studies in Brown Humanity reflects the attitudes and assumptions of its imperial context. Clifford’s interpretations are filtered through the perspective of a European observer, and the book reveals much about the intellectual climate of the British Empire at the turn of the twentieth century. For modern readers, the volume is therefore both a vivid narrative of colonial life and a historical document that illuminates how crime, justice, and cultural difference were understood within the framework of empire.

Rich in atmosphere and dramatic detail, Clifford’s work remains valuable today as a window into the complex social worlds of colonial Southeast Asia and as a reminder of how early narratives about crime and punishment were shaped by the cultural and political conditions of their time.

Read-Me.Org Inc. New York-Philadelphia-Australia. 2026. 291p.

Sir Hugh Clifford, K. C. M. G.

The Further Side of Silence by Hugh Clifford is a collection of interrelated stories set in the Malay Peninsula during the late nineteenth century, a period when traditional Malay societies were increasingly encountering the expanding authority of the British Empire. Drawing heavily on Clifford’s own experiences as a colonial administrator in the region, the book portrays the lives, customs, conflicts, and moral dilemmas of the people who inhabited the jungles, villages, and royal courts of Malaya.

Through dramatic narratives and vivid descriptions of the tropical landscape, Clifford explores themes of loyalty, honor, justice, and power within a society shaped by ancient traditions and emerging colonial rule. His stories depict Malay chiefs, warriors, villagers, and forest peoples whose lives are entangled in political intrigue, personal rivalries, and the pressures of a changing world.

Part adventure literature and part social observation, the book offers modern readers a window into the cultural and political realities of Southeast Asia during a transformative historical moment. At the same time, it stands as an example of early twentieth-century colonial literature, reflecting both the fascination and the assumptions with which Western writers interpreted the societies they governed.

Read-Me.Org Inc. New York-Philadelphia-Australia. 2026. 198p.

By Arthur Train. Introduction by Graeme R. Newman

The transition of the American legal system from the rough-and-tumble nineteenth century into the more structured, investigative era of the early twentieth century is nowhere more vividly captured than in Arthur Train’s True Stories of Crime from the District Attorney’s Office. As an Assistant District Attorney for New York County during a period of rapid urbanization and social upheaval, Train occupied a unique vantage point that allowed him to witness the collision of old-world criminal archetypes with the emerging complexities of modern life. This collection of narratives serves as a clinical yet deeply compelling autopsy of the era’s most notorious legal battles, offering readers a rare glimpse into the machinery of justice at a time when forensic science was in its infancy and the power of the prosecutor’s office was expanding into new, uncharted territories.

Train’s work is particularly significant for its early exploration of what would eventually be termed white-collar crime. While the public imagination of 1908 was often captured by tales of blunt violence and physical daring, Train directs his focus toward the "super-criminal"—the manipulative mastermind who utilized the administrative and financial structures of the city as their primary tools of exploitation. Through these accounts, we see the emergence of a new kind of threat that required a equally sophisticated response from the legal establishment. Train describes a landscape where economic desperation and social isolation were the primary drivers of criminal behavior, yet he also highlights the systemic vulnerabilities that allowed institutional fraud to flourish. By documenting these cases, he provides a foundation for the study of victimology, illustrating how the legal system often struggled to keep pace with the evolving ingenuity of those who sought to undermine it.

Beyond their historical and legal value, these stories possess a narrative vitality that reflects the tension between the sensationalism of early tabloid journalism and the rigorous demands of the courtroom. Train’s prose is informed by his experiences on the front lines of the District Attorney’s office, where the outcome of a trial often hinged as much on rhetorical flair and personal intuition as it did on physical evidence. In revisiting these cases today, we are invited to consider the persistent challenges of defining and delivering justice within a complex bureaucracy. Train does not shy away from the moral ambiguities of his profession, and his reflections on the nature of guilt and the limitations of the law remain strikingly relevant. This volume stands not only as a record of forgotten crimes but as an enduring meditation on the social fabric of a metropolis in flux, capturing the moment when the modern era of criminal justice truly began.

Read-Me.Org Inc. 2026. 184p.

By ROBERT W. CHAMBERS. Introduction by Colin Heston

When The King in Yellow appeared in 1895, it slipped quietly into a literary world already saturated with decadence, occult enthusiasms, and the fin-de-siècle’s peculiar blend of anxiety and intoxication. Yet Robert W. Chambers’s strange mosaic of tales—united by a fictional forbidden play that unhinges those who read it—swiftly distinguished itself from its contemporaries. In the decades since, this slim volume has grown into one of the foundational works of the American weird tradition, prefiguring H. P. Lovecraft, influencing generations of modern horror writers, and unexpectedly resurfacing in the twenty-first century as a cultural touchstone.

What makes Chambers’s book so unusual is its deliberate blurring of boundaries: between reality and hallucination, sanity and delusion, art and contagion. The collection opens with “The Repairer of Reputations,” a tale set in an imagined New York of 1920—an unsettling mixture of futurism, authoritarian regulation, and manic delusion. It is here that the mysterious “King in Yellow” first exerts his influence. The narrator, a deeply unreliable figure, is convinced of his noble birthright and guided by an enigmatic “repairer” who traffics in scandal and blackmail. The narrative unfolds as a case study in self-deception, political paranoia, and the fragility of identity—yet nothing in the story is easily dismissed as mere fantasy. Reality itself buckles under the weight of the narrator’s convictions.

The Mask, perhaps the most haunting of the early tales, shifts the setting to the Latin Quarter of Paris, where art, science, and obsession converge. The grotesque beauty of Boris Yvain’s alchemical solution—capable of transforming living beings into flawless marble—creates a collision of aesthetics and mortality that typifies Chambers’s most powerful work. The story’s dreamlike quality reflects the decadent movement’s fascination with artificiality, transformation, and the erotic pull of the inanimate. Throughout, the shadow of the forbidden play hovers, never fully seen but always felt.

Other sections—“In the Court of the Dragon,” “The Yellow Sign,” and additional sketches—extend the book’s architecture of dread. Chambers never provides the text of the play itself, only its aftershocks, its “second act” whispered about as a psychic abyss from which there is no return. This structural absence is one of the book’s great innovations: The horror lies not in spectacle but in suggestion, in the void where meaning should be. The King in Yellow, the Pallid Mask, and the Lost City of Carcosa are not fully explained but instead exist as fragments of a mythology the reader assembles intuitively, as though the stories themselves are encoded with an infectious idea.

The power of The King in Yellow endures because it is not simply a collection of supernatural tales—it is a meditation on contagion: of ideas, of aesthetics, of inner instability. Chambers’s fictional play does not merely frighten; it corrodes. It reveals hidden fractures in those who encounter it and amplifies their darkest impulses. In this sense, the book mirrors its age. The 1890s were marked by the collapse of old certainties, the rise of new sciences of the mind, and an artistic fascination with decadence, degeneration, and the beautiful ruin of the self. Chambers captured that atmosphere with uncanny acuity.

Today, amidst digital conspiracies, fractured identities, and a renewed cultural fascination with alternate realities, The King in Yellow feels more relevant than ever. It invites the reader to step into a world where truth is unstable, where art is dangerous, and where the boundaries of perception are mercilessly thin. The book’s whispered mythology has become larger than the text itself, seeding later works, reappearing in unexpected media, and reminding us that the most enduring horrors are those we cannot fully see.

To open these stories is to risk a glimpse of the Yellow Sign—a symbol of beauty, madness, and forbidden knowledge. Chambers offers no assurances. He only extends an invitation to enter Carcosa, where twin suns sink over black waters and where, once the play begins, the mask cannot be removed.

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By Francis Beeding. Introduction by Colin Heston.

In the shadows of a Europe still scarred by the Great War, a new and more terrifying conspiracy awakens. When Thomas Preston arrives in Geneva, he expects nothing more than a quiet diplomatic mission. Instead, he is thrust into a lethal game of cat-and-mouse after stumbling upon the secrets of the "Seven Sleepers"—a clandestine cabal of German industrialists and embittered generals plotting to shatter the fragile peace of the League of Nations.

Equipped with a terrifying hidden technology and a ruthless determination to rewrite the Treaty of Versailles, the Sleepers have already set their clock for a second global cataclysm. Preston’s only hope lies with the enigmatic Colonel Alastair Granby of British Intelligence. From high-speed chases across the continent to the inner sanctums of hidden laboratories, they must race to dismantle the conspiracy before the world is plunged back into the abyss of total war.

Originally published in 1925, The Seven Sleepers is the pulse-pounding debut of Francis Beeding’s most famous hero. It is a classic of the "clubland" thriller era, blending atmospheric suspense with the high-stakes espionage that defined a generation.

NU. Little Brown & Co. 1925.. New York-Philadelphia-Australia.. Read-Me.Org Inc. 2026. 182p.

By Frederic F. Van de Water. Introduction by Graeme R. Newman

When Grey Riders appeared in 1922, Frederic F. Van de Water was already emerging as one of the most capable interpreters of American frontier mythology. A journalist, historian, and novelist, he had spent years documenting the enduring tensions between law, order, memory, and violence in the development of the Atlantic seaboard. Grey Riders stands as one of his most vivid contributions to that project: a narrative history and interpretive reconstruction of the Border Riders—Vermont and New York militiamen, irregulars, and informal vigilante bands who policed, contested, and sometimes exploited the wilderness regions between the American colonies and British Canada during the late eighteenth and early nineteenth centuries

Van de Water had a journalist’s fascination with complexity, and Grey Riders is at its strongest when it illuminates the contradictions inherent in a frontier culture that simultaneously demanded firmness of justice and tolerated the improvisational violence of irregular policing. In his account, the riders are men shaped by hardship—farmers, Loyalists, deserters, Yankee patriots, trappers, smugglers, and opportunists—who alternately defended and defied the emerging legal structures of the early United States. Their world was one where the line between protector and predator was always negotiable.

The book’s historical frame—stretching most visibly from the late Revolutionary era through the War of 1812—allows Van de Water to explore how unresolved grievances, economic scarcity, and geopolitical rivalry produced a frontier culture that did not neatly conform to the nation-state boundaries we take for granted today. The riders themselves were products of this ambiguity. While some acted as scouts and auxiliaries for the Continental Army or state militias, others drifted into banditry, smuggling, or private vengeance. Van de Water refuses to simplify this ambiguity; instead, he constructs a narrative that emphasizes how the frontier’s conditions forged men who were, by necessity, adaptable to both moral clarity and moral shade.

For the modern reader, Grey Riders also holds value as part of the broader early-twentieth-century reconsideration of American origins. The 1920s were a period of heightened nostalgia, cultural nationalism, and renewed interest in the country’s formative conflicts. Van de Water, however, avoids sentimentalism. His frontier is not a place of heroic inevitability but a zone of tension where identity, loyalty, and legitimacy are constantly renegotiated. In this respect, the book anticipates the more critical frontier historiography that would emerge later in the century.

Contemporary scholars may also find in Grey Riders an instructive account of how local communities develop security practices when state institutions are weak, distant, or contested—an issue that remains resonant in discussions of borderlands worldwide. The riders, as Van de Water portrays them, are precursors to many modern forms of irregular security actors: militias, local auxiliaries, self-appointed protectors, and armed community defense groups. Their actions demonstrate both the necessity and danger of such formations, especially when scarcity and political friction define daily life.

This new edition returns readers to a moment when questions of national boundaries, informal justice, and community resilience are central to global debate. Van de Water’s riders, moving through a grey zone of legality and identity, offer a powerful reminder that the frontier has never been a simple place—and that the forces shaping it never truly disappeared.

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By George W. Cable

The Grandissimes: A Story of Creole Life stands among the most vivid and penetrating literary portraits of early New Orleans—its tangled ancestries, its hierarchies of caste and color, and its rich cultural complexity at the turn of the nineteenth century. First published in 1880, George W. Cable’s novel announced the arrival of a distinctive Southern voice: one capable of blending romance, social critique, historical reconstruction, and an almost anthropological attention to the manners and moral contradictions of Creole society.

Cable, himself native to New Orleans, wrote at a moment when the American public was only beginning to recognize the significance of Louisiana’s unique heritage. The city had passed from French to Spanish control, then back to France, then suddenly into the hands of the United States through the Louisiana Purchase. In Cable’s imagination, this swirl of sovereignties—compounded by the interwoven legacies of France, Spain, Africa, the Caribbean, and Indigenous peoples—created a society unlike any other on the continent. The Grand–issimes dramatizes this world at a moment of profound transition, when old loyalties struggled against the pressures of Americanization, and when the boundaries of race, class, and honor were both fiercely guarded and constantly transgressed.

At its center stands the old Creole family of the Grandissimes, whose branches include both the proud white aristocracy and a free man of color who bears the same name—a blood relationship that must not, in respectable society, be spoken aloud. Through this intricate family history, Cable exposes the contradictions of slavery, the moral compromises of privilege, and the tragic limitations imposed on people of mixed heritage. Yet the novel is anything but a simple moral allegory. Its pages teem with humor, local color, memorable characters, and a richly textured atmosphere that evokes the city’s architecture, dialects, festivals, and customs with unmatched fidelity.

Cable’s realism—rare among Southern writers of his generation—caused both admiration and controversy. His depictions of racial injustice were received with anger in parts of the post-Reconstruction South, and his advocacy for Black civil rights would eventually drive him to relocate to the North. Today, his work is recognized as foundational: a precursor to later explorations of New Orleans identity by Kate Chopin, Lafcadio Hearn, Lyle Saxon, and many others.

This edition of The Grandissimes invites readers to rediscover Cable’s great novel not merely as an historical document but as a living work of art. Its themes of belonging, cultural collision, and the moral weight of inherited systems remain deeply resonant. In tracing the fate of a family—and of a city—at a crossroads, Cable offers a vision both critical and compassionate, illuminating a world whose complexities still echo through the streets of New Orleans today.

Read-Me.Org Inc. New York-Philadelphia-Australia. 2025. p.248.

By Ring W. Gardner (Author), Colin Heston (Preface) Format: Kindle Edition

Round Up gathers together the taut, muscular stories of Ring W. Lardner, a writer whose work bridges the divide between the mythologized West and its harsher, less forgiving realities. In these pages, Lardner is neither sentimental nor nostalgic. He strips the Western narrative to its barest elements, presenting us with a landscape that is both expansive and claustrophobic, and characters who are caught between the lure of freedom and the inevitability of fate.
Lardner’s contribution to the American short story lies in his ability to invest the familiar tropes of frontier life with psychological depth and moral ambiguity. His cowboys and ranchers are not mere archetypes; they are restless souls negotiating loyalty, isolation, and survival in a world where law and justice are provisional at best. The violence in these stories is never gratuitous—it is sudden, often senseless, and always carries a human cost. Lardner understands that the West was not only a place but also an idea, one that promised reinvention yet often delivered ruin.
What sets Lardner apart from many of his contemporaries is his prose: terse, unsentimental, yet charged with a quiet lyricism. His narratives move with the inevitability of a gathering storm, his dialogue as spare as the plains he describes. The result is a body of work that feels astonishingly modern in its refusal of easy resolutions.
In an era when the Western genre risks being dismissed as an artifact of popular culture, Round Up demands reconsideration. These are not mere adventure tales or moral fables. They are stories of a liminal world, where the boundaries between civilization and wilderness, justice and vengeance, myth and memory, blur and collapse. Lardner’s West is not simply the West that was; it is also the West as it continues to haunt the American imagination.

USED BOOK. MAY CONTAIN MARK-IP

By Robert Graves

“The troublesome reign of Tiberius Claudius Caesar, emperor of the Romans (born 10 b.c., died a.d. 54), as described by himself; also his murder at the hands of the notorious agrippin a (mother of the emperor nero) and his subsequent deification, as described by others.”

NY. Vintage Random House. 1962. 584p.

By Colleen McCullough

FROM THE COVER: “The publication thirteen years ago of Birds was a landmark event, a remarkable achievement now surpassed by a novel in which storytelling and scholarship combine to bring to life one of history's most important epochs. The First Man in Rome sweeps the reader into an irresistibly vivid world of political intrigue, danger, wars, assassinations, devas- tating upheaval, intricately passionate family alliances and rivalries - and undeniable reality. It is New Year's Day of 110 B.C., and two of the latest in a long line of noble Roman mediocrities are assuming the coveted mantle of consul. But among those watching are two very different men, men whose vision, ruthlessness, and courage will force shattering change upon the Roman Republic, strug- gling to cope with mushrooming territorial possessions and the growing resentment of the Italians it treats as third-class citizens. One of these two men is Marius, a wealthy rustic barred by his low birth from grasping his prophesied destiny, to become the First Man in Rome- he who stands above all his peers through sheer excellence. The second is (continued on back flap)…..”

NY. William Morrow and Company, Inc. 1960. 897p. USED BOOK CONTAINS MARK-UP

By Franz Kafka. Translated by David Wyllie

From Wikipedia: The Trial (German: Der Process,[1] previously Der Proceß, Der Prozeß and Der Prozess) is a novel written by Franz Kafka in 1914 and 1915 and published posthumously on 26 April 1925. One of his best known works, it tells the story of Josef K., a man arrested and prosecuted by a remote, inaccessible authority, with the nature of his crime revealed neither to him nor to the reader. Heavily influenced by Dostoevsky's Crime and Punishment and The Brothers Karamazov, Kafka even went so far as to call Dostoevsky a blood relative.[2] Like Kafka's two other novels, The Castleand Amerika, The Trial was never completed, although it does include a chapter which appears to bring the story to an intentionally abrupt ending.

After Kafka's death in 1924 his friend and literary executor Max Brod edited the text for publication by Verlag Die Schmiede. The original manuscript is held at the Museum of Modern Literature, Marbach am Neckar, Germany. The first English-language translation, by Willa and Edwin Muir, was published in 1937.[3] In 1999, the book was listed in Le Monde's 100 Books of the Century and as No. 2 of the Best German Novels of the Twentieth Century.

Berlin. Verlag Die Schmiede. 1925. 213p. CONTAINS MARK-UP

By Franz Kafka. : Willa and Edwin Muir, Tania and James Stern

This is a 1971 collection of all Kafka’s finished works. It contains all the amazing, weird and wonderful unsettling stories from Metamorphisis to In the Penal Colony.From Wikipedia: “In 1912, Kafka wrote Die Verwandlung (The Metamorphosis, or The Transformation),[150] published in 1915 in Leipzig. The story begins with a travelling salesman waking to find himself transformed into an ungeheures Ungeziefer, a monstrous vermin, Ungezieferbeing a general term for unwanted and unclean pests, especially insects. Critics regard the work as one of the seminal works of fiction of the 20th century.[151][152][153] The story "In der Strafkolonie" ("In the Penal Colony"), dealing with an elaborate torture and execution device, was written in October 1914,[82] revised in 1918, and published in Leipzig during October 1919. The story "Ein Hungerkünstler" ("A Hunger Artist"), published in the periodical Die neue Rundschau in 1924, describes a victimized protagonist who experiences a decline in the appreciation of his strange craft of starving himself for extended periods.[154] His last story, "Josefine, die Sängerin oder Das Volk der Mäuse" ("Josephine the Singer, or the Mouse Folk"), also deals with the relationship between an artist and his audience.[155]

NY. Schoken. 1971. 487p. CONTAINS MARK-UP

By Markus Zusak

The Dunbar boys bring each other up in a house run by their own rules a family of ramshackled tragedy their mother is dead their father has fled they love and fight and learn to reckon with the adult world. It is Clay, the quiet one, who will build a bridge; for his family, for his past, for his sins. He builds a bridge to transcend humanness. To survive A miracle and nothing less. Markus Zusak makes his long-awaited return with a profoundly heartfelt and inventive novel about a family held together by stories, and a young life caught in the current: a hoy in search of greatness, as a cure for a painful past. “‘Brilliant and hugely ambitious...the kind of book that can be life changing.” The New York Times. “‘Unsettling, thought-provoking, life affirming, triumphant and tragic, this is a novel of breathtaking scope, masterfully told.” Guardian. ‘Zusak’s novel is a highwire act of inventiveness and emotional suppleness’ The Australian.

Australia. Picador Macmillan. 2018. 581p.

By Robert Harris

From the cover: “Ancient Rome - ‘a city of glory built on a river of filth teems with ambitious and ruthless men. None is more  brilliant than Marcus Cicero. A rising young lawyer, backed by a shrewd wife, he decides to gamble everything on one of the most dramatic courtroom battles of all time. Win it, and he could win control of Rome itself. Lose it, and he is finished forever. Internationally acclaimed for its storytelling power and historical accuracy, Robert Harris’s new novel is an epic account of the timeless struggle for power and the sudden disintegration of society.”

London.. Random House. 2006. 495p.

Edited by Maria Aristodemou; Fiona Macmillan; Patricia Tuitt

This book opens up a range of important perspectives on law and violence by considering the ways in which their relationship is formulated in literature, television and film. Employing critical legal theory to address the relationship between crime fiction, law and justice, it considers a range of topics, including: the relationship between crime fiction, legal reasoning and critique; questions surrounding the relationship between law and justice; gender issues; the legal, political and social impacts of fictional representations of crime and justice; post-colonial perspectives on crime fiction; as well as the impact of law itself on the crime fiction’s development. Introducing a new sub-field of legal and literary research, this book will be of enormous interest to scholars in critical, cultural and socio-legal studies, as well as to others in criminology, as well as in literature.

Abingdon, Oxon, OX; New York: Birkbeck Law Press; 2017. 181p.