Monday, May 29, 2017

Hake Talbot : The Other Side, 1990 (published posthumous)

This is an analysis about the tricks of the Locked Room at The Other Side by Hake Talbot. Who didn't read the short story, postpones the reading of this article after the reading of the short story

Some Anglo-Saxon critics overlook Hake Talbot, in my opinion. The reason is that they are based on Carr's critical judgment, which he passionately lauded Rim of the Pit. But Carr praised above all the scenic invention and the atmosphere. You should then analyze the plot properly and how it has been done and resolved if you want to give the masterpiece palm to that novel. Mike Grost, whom I really admire for his divulgatory work and for his omnivorous knowledge, said: "Talbot is the only Carr imitator whose work could actually be preferred to that of Carr himself ... I hope it is clear .. .that while Talbot was influenced by Carr's approach, he in all cases showed plenty of personal creativity. "
I do not quite agree with that opinion. I was extinct it years  ago when I analyzed Rim of the Pit. I'm not gonna repeat myself. Who wants to know my judgment can compare it with his reading my old article in italian (soon it will be published in english) :
I still think Talbot's best work is not Rim of the Pit but The Hangman's Handyman:
The limits of Hake Talbot in making a perfect plot can also be highlighted in The Other Side. It’s one of two short stories by Hake Halbot. Really Halbot wrote a  lot of short stories, now lost, unless someone finds them in some loft of Arlington, as wrote Bob Adey in the notes relating to the short story, included into the anthology “Murder Impossible”. Indeed the short story was published posthumous in that anthology. The other short story is The High House, yet to be published in Italy. The Other Side has been published together Rim of the Pit, by Ramble House, a few years ago.

The characters are those already seen in Rim of the Pit, that is, the player Roger Kinkaid, and the illusionist Svetozar Vok.
This time, they are committed to expose the head of a sect, the Hungarian Ergon, who has gained considerable power on Imogen Lathrop, guardian of the age of sixteen, and therefore still underage, Daphne Lathrop, daughter of a brother of Imogen who died prematurely and thanks to this influence, is trying to acquire protection for the girl in order to be able to administer the great fortune. However, his plan is opposed by the two brothers of Imogen, Colonel Boyd Lathrop, and Major Clifford Lathrop. The older between two brothers, Boyd, has casually encountered Kincaid, who has already known in the past, and asks for help in eradicating Ergon. So he leads him to his home, and here Kincaid also does Ergon's knowledge, as he lives in the apartment adjacent to that of the two brothers and girl. Just before Kincaid, there is another clash between Ergon and the two brothers: Ergon wants to stay alone with the two, then there is a continuation of  clash between them, followed by the pronouncement of an obscure threat, which in essence is a Mortal curse, against Boyd reo of challenging the one who is protected by the powers of the Last Man.
While the atmosphere is overheated, and Boyd is disturbed by the threat of death addressed by Ergon, the irreparable thing happens: with the excuse to go into the living room, where there is the fireplace and a collection of shooting weapons, of which the two are fanatical, trying a gun, it happens that Boyd seems to have turned against himself one pistol, since a second after he left the room where his brother and Kincaid are, they  feel the gunshot and Rogan just walked through the door of the room, sees Boyd Lathrop falling dead, mortally wounded by a bullet, over his right eye.
There is no one in the room, the windows are closed from the inside, and there is no opening other than the one through which Kincaid was attracted by the shot; and the fact that he just arrived in time to see Boyd's lifeless body sink on the ground means that no one else had the chance to kill the colonel and get out of there, “vanishing into thin air” by force.
The gun is found under a couch. It is left there waiting for the science police and Lieutenant Nichols, who is acquainted with Kinkaid, to arrive. When it is examined, only the footprints of the colonel are found, and it turns out that it is exactly the weapon used to kill.
At this point it would seem that only the hypothesis of suicide stands: the gun has only handled he, it is the gun that fired, there was no other in the room, the door was just the one through which it had passed He and Kincaid, and the windows were barred.
In conclusion…
But the brother of the victim does not look back: there was no reason for his brother to commit suicide; end then why? Rather ... he may have been induced to kill himself. And how? Through the singing that everyone heard speak by Ergon, just minutes before the tragedy. Then someone thinks that induction to killing himself was possible through another form of instigation to murder: hypnotism.
In short Kincaid calls on his friend Svetozar Vok to help him find out how Ergon has killed the colonel without leaving any trace of himself.
Vok arrives and elaborates a plan to surprise the Hungarian. He is Czech but the Hungarian idiom knows him: he will try to force him to betray himself. What's happening. The next attempt to kill Vok will prove his guilt.
Let's say immediately that the Locked Room is really like this: there is not someone who helps Ergon like it happens other times and nor there are tricks about time, and it could not be because Kincaid when he comes to the momentum In the room from where he heard the shotgun, he does not see the steaming gun (in that case various might be the tricks to make that happens it) but the body that falls lighted up: so there is no time to put a trick; if anything it’s (and there’s), it has already been put into practice. Rather there was a staging before the killing, which is not directly related to killing but instead has a different task: to suggest that there has been a suicide or in any case that Ergon through a curse or hypnotic intimation launched from the adjacent apartment Lerd Ferbeh maghaad, "you're gonna blow your brains," he managed to make the colonnel kill himself.
In reality, the trick was another and in this is the touch of Talbot's genius: since the two apartments, the one occupied by the Lathrop brothers and the other by the Hungarian magician, are identical and adjacent and also have the same accessories, that is, a fireplace per side , With the common side and the chimney in common, could be hidden a secret door in the interior masonry of the chimney (as in Indiana Jones and the last crusade) . Instead, the fireplace has nothing to do, and furthermore, having been fire and ashes, if anyone had passed, since there was no material time to clean up - shot, death, staging Kincaid - would remain the trace of dust on the floor. No. The trick is another, more brilliant: on the side of the fireplace, in both apartments, there are lampholders fixed at the same point: leaving a hole in the wall to the side, basically, being the dividing walls, slender, between the two apartments, so that Ergon's curse is heard, it was enough to break through that little masonry, to have a connecting hole: through this the gun barrel was introduced, and when the high colonel bent to practice with a gun contained In the cassette next to the fireplace, was centered at the front by a shotgun shot almost as burning.
Told so, the story would be a must. But, it does not seem to me. I mean.
When I analyzed Rim of the Pit, I said, "Talbot  does not seem to be able to give a clear and acceptable explanation of the crimes, which remain cumbersome and unresolved, to testify that not always, climbing on the mirrors, you can climb them up".  So what in a much more specialized environment than mine, others say: "The actual impossible murders (there are two) are well set up but less convincingly resolved, though they're certainly original. In my opinion it's very good, but not great. "
I said it on that occasion, I repeat it now: Talbot is great in the mis-en-scene, creates a great trick and is also capable of attempting a diversified action by believing suicide, and in this case can also create an atmosphere tangible such that until very shortly before the end, one really thinks of the clash between two psychically strong entities: Vok and Ergon. When Vok, with Kincaid and some policemen including Nichols, comes into Ergon's apartment, and there, psychically, the two, the Czech and the Hungarian, face it, the scene is highly characterizing and the reader keeps the breath suspended and until lastly, he thinks that Ergon was in turn hypnotized by Vok and forced to self-test. But the story is weak in the face of the resolution of the problem: in other words, Talbot, when he created the plot and created a spectacular trick that explains the arcane, then he can not take all the advantage he would want because it is somewhat disadvantaged . I locate the plot flaws in:
Gun replacement: I told  a gun was found beneath the edge of the couch. As it turns out, it will be exemplified in the final explanation: Ergon took possession of two guns, and when he appeared for the first time in front of Kincaid and asked to stay alone, leading to the large sleeve of the wig wearing a gun , he managed to drop her near the couch. Now, dropping something standing, it can also be done hoping that no noise will be produced drawing attention or even produce a noise equal to distracting the noise. But then it was necessary - by force - to replace this gun, used already and with the imprints of the two brothers, with the other, the one that fired. And how did Ergon do it?  Of this second entry, no exemplification is given.

Major Boyd's ignorance: is it possible that after the death of his brother, the Major did not control the weapons he and his brother used to and did not notice that another gun was missing from the box?  Unlikely
But above all the hole in the wall: because death was possible, it was necessary not only that Ergon removed the support of the lamp holder from his apartment, but also that of the adjacent apartment, otherwise the gun shot would blow up the lamp holder of the 'Two brothers' apartment and not Boyd Lathrop's brain. But then, you should automatically assume that the support from the room of the two had been previously removed to execute the assassination. In this case, one should ask why the two brothers have not noticed the bulb removed from the wall of their apartment. But also if the support of the lamp holder was in place in the wall, masking the hole, and only a moment before Ergon's murder, he pushed it across the board, dropping it and releasing the hole, how could he ever get rid of the hole after shot? That's the point. Because after the death of Boyd Lathrop, while recognizing Kincaid's subtle deductive psychology in the other part of the book - by it he can see and explain what others do not see or don’texplain - when he entered the room and saw the poor Lathrop falling down, did not see any hole in the wall; And after a moment, Clifford entered the room, and he did not even notice a hole in the wall and the absence of a lamp holder? Moreover, there is also a direct consequence of this in the final clash between Vok and Ergon: what was the end of a clash between Vok and Ergon if the method of killing without entering the apartment was already clear before?
Finally there is the above-mentioned psychic confrontation between Vok and Ergon:
That thing I don’t  understand is what this psychic confrontation is and which purpose it has, if the purpose is not hypnotizing. Theoretically, Vok psychically clashes with Ergon for obtain some proof, that would otherwise be futile: but what evidence is it, if talks Vok and not Ergon, if Vok explains what Ergon did? Moreover Vok says Kincaid had already understood everything, but it needed a representation to induce such a strong personality, capable of subjugating, to be subjugated. However, this statement is also defective: how  Kincaid did understand everything, if they entered Ergon's apartment immediately before the psychic confrontation, and only then they realize that the two apartments are mirrored and furnished with the same accessories, except for the Furniture that there is not but a rough mat on the floor?
That's because I say that, like Rim of the Pit, this story does not solve all that is included: this is Talbot's big limit, which can not take into account all that he thinks. It's like writing his own works without taking into account the expectations that everything he had written would have generated. He Does not waste - in other words - of too much imagination not being mitigated by rationality: how does he ignore the hole in the wall? And how can not you think that Kincaid is spitting for a fine brain, just in the event of the discovery of the corpse, does not he notice it, and the missing brother does not realize it neither? It is quite unlikely.
Although I have to admit that the trick to shoot through a hole in the wall, masked by two appliques,it is brilliant: however, it is in a way a variation of the solution of a famous Carr Locked Room, The Judas Window, in turn varied many years after by Randal Garrett in Too Many Magicians. Talbot is clearly a debtor to Carr: he creates great atmospheres, and here the atmosphere is frankly the best; And he creates “great” locked rooms, and in it he is Carr's debtor securely. But while Carr explains everything, and everything has a rational explanation, Talbot can not explain everything that he puts in his works. There are not many suspects as well as in Carr's stories: only that there really are necessary the flames and counterfeits to explain the arcane there.

Pietro De Palma

Wednesday, March 22, 2017



He was old 87 years.
He was known for his INSPECTOR MORSE series of novels.


Sunday, March 12, 2017

The miracle of a GAD italian publishing house: POLILLO Editore

In the recent years the italian publishing houses have gone through a severe crisis, also due to the economic crisis: those who see their salaries reduced, improbable buy books. Then of course the book itself, though in the past it was the favorite pastime when the technological means were not as advanced as today, now it no longer is. And so it happens that even in times of economic crisis, the tablet or smartphone does not encounter obstacles to his statement, the book does.
As part of the detective genre, for decades, the sector has been dominated by the publishing house Mondadori, who invented the genre in Italy and then constantly updated it over time, entering more and new authors. It resisted in time to the attack by various publishing houses that had tried to create their own space, but this thing until the past decade, even for its wrong market vision (trying to force the audience traditionally accustomed to the mystery, to accept new genres ), it has increasingly lost its audience. This exodus has benefited a small publishing house, founded years ago by a former executive of Mondadori, Marco Polillo, who one day wanted groped his own project: creating an ideal library of 50 volumes that could ideally be considered the core of a library devoted to the genre of Crime Fiction, and in particular of the GAD.
The success was sensational, because he circulated titles that many years before had been translated by Mondadori, but then they had vanished.
The publisher has introduced changes in his project, led by increasing support, and the ideal library that had to be 50 volumes, today it has 177. This ideal library is based on a series entitled “I Bassotti” (= The Dachshunds) devoted to Anglo-Saxon mystery genre. Even this publishing house was affected by the economic crisis and for a time suspended publications. But today it’s again espanding.
The publishing house prints only paper copies and it is not attracted by the digital copy, fearing, as revealed last year the publisher in an exclusive interview given to me for my Italian blog, someone can illegally spread them on the internet, and thus have his publishing house a loss in revenues.
Hi are all the titles in catalog:

1. I delitti di Praed Street [Dr. Priestley] (The Murders in Praed Street, 1928) John Rhode
2. L’ospite invisibile (The Invisible Host, o The Ninth Guest, 1928) Gwen Bristow/ Bruce Manning
3. Morte a vele spiegate (Death Under Sail, 1932) C.P. Snow (Charles Percy Snow)
4. L’uomo con la mia faccia (The Man With My Face, 1948) Samuel W. Taylor
5. Il caso dei cioccolatini avvelenati [Roger Sheringham 5] (The Poisoned Chocolate Case, 1929) Anthony Berkeley
6. Il problema della cella n. 13 (The Problem of Cell 13, 1907) Jaques Futrelle
7. La belva deve morire [Nigel Strangeways 4] (The Beast Must Die, 1938) Nicholas Blake
8. Il volo delle 12,30 da Croydon [Ispettore French 11] (The 12:30 from Croydon, 1934) Freeman Wills Crofts
9. Il morto che non riposa (Post Mortem, 1953) Guy Cullingford
10. Il dramma di corte rossa (The Red House Mystery, 1922)  A.A. Milne (Alan Alexander Milne)

11. Delitto a Middle Temple (The Middle-Temple Murder, 1919) J.S. Fletcher (Joseph Smith Fletcher)
12. Il dardo piumato [Barone von Kaz 2] (The Feather Cloak Murders, 1936) Darwin L. & Hildegarde T. Teilhet
13. L’enigma dei tre omini [Dr. George Matthews 1] (The Deadly Percheron, 1946) John Franklin Bardin
14. L’omicidio è un affare serio (Malice Aforethought, 1931) Francis Iles
15. La compagnia dei distratti (The Absent-Minded Coterie, #) Robert Barr
16. Il segreto delle campane [Lord Peter Wimsey 11] (The Nine Tailors, 1934) Dorothy L. Sayers
17. Il visitatore che non c’era (Night of the Jabberwock, 1951) Frederic Brown
18. L’uomo nella cuccetta n. 10 [Miss Cornelia Van Gorder 1] (The Man in the Lower Ten, 1906) Mary Roberts Rinehart
19. C’è un cadavere dall’avvocato (Smallbone Deceased, 1950)  Michael Gilbert
20. Niente orchidee per Miss Blandish [Dave Fenner 1] (No Orchids for Miss Blandish, o The Villain And the Virgin, 1939)  James Hadley Chase
21. Il caso del sette del calvario (The Case of the Seven of Calvary, 1937) Anthony Boucher
22. La strana fine di Mr. Benedik (The Rynox Murder, 1930) Philip MacDonald
23. Morte al pub [Roderick Alleyn 9] (Death at the Bar, 1940) Ngaio Marsh
24. Undici calze di seta [John J. Malone 6] (The Big Midget Murders, 1942) Craig Rice
25. Delitti di Natale (Anthology)
– L’assassino sconosciuto [Reginald Fortune] (The Unknown Murderer, da “People’s Magazine”, 1° marzo 1923) di H.C. Bailey (Henry Christopher Bailey) – Traduzione di A.C.C.
– Un problema in bianco (è indicato il titolo originale A Problem in White ma è più facile si tratti di A Stury in White, da “EQMM”, maggio 1949) di Nicholas Blake – Traduzione di Stefano Bortolussi
– Una buona bevanda calda (Cambric Tea, 1928) di Marjorie Bowen – Traduzione di Franca Pace
– Una tragedia natalizia (A Christmas Tragedy, 1932) di Agatha Christie – Traduzione di Lidia Lax
– Di ritorno per Natale (Back From Christmas, da “The New Yorker”, 7 ottobre 1939) di John Collier – Traduzione di Cecilia Vallardi
– Serenata per un assassino [Brooks Banner] (Serenade to the Killer, da “Mystery Digest”, luglio 1957) di Joseph Commings – Traduzione di Dario Pratesi
– Persone o cose ignote (Persons or Things Unknown, da “The Sketch”, Natale 1938) di Carter Dickson (John Dickson Carr) – Traduzione di Dario Pratesi
– Il tocco del fantasma (The Ghost’s Touch, da “The Pocket Magazine”, dicembre 1899) di Fergus Hume – Traduzione di Cecilia Vallardi
– Il morto che ascoltava la radio [Roderick Alleyn] (apparso originariamente come Murder at Christmas su “The Grand Magazine”, dicembre 1934, ristampato poi come Death on the Air su “EQMM”, gennaio 1948) di Ngaio Marsh – Traduzione di Giovanni Viganò
– La bambola del delfino (apparso originariamente come The Dauphin’s Doll su “EQMM”, dicembre 1948, ristampato poi come With the Compliments of Comus su “MacKill’s Mystery Magazine”, gennaio 1953) di Ellery Queen – Traduzione di Giovanni Viganò
– La vigilia di Natale del maggiordomo (The Butler’s Christmas Eve, 1941) di Mary Roberts Rinehart – Traduzione di Sara Caraffini
– La collana di perle [Lord Peter Wimsey] (The Necklace of Pearls, dall’antologia “Hangman’s Holiday”, 1933) di Dorothy L. Sayers – Traduzione di Bruno Amato
– Il codice di Natale [Dr. Sam Johnson] (The Stolen Christmas Box, da “EQMM”, gennaio 1946) di Lillian de la Torre (Lillian McCue) – Traduzione di Tracy Lord
– Statue di cera (Waxworks, 1930) di Ethel Lina White – Traduzione di Sara Caraffini
– L’impronta dell’assassino (I Wouldn’t be in your Shoes, da “Detective Fiction Weekly”, 12 marzo 1943) di Cornell Woolrich – Traduzione di Marilena Caselli
26. Charlie Chan e la casa senza chiavi [Charlie Chan 1] (The House Without a Key, 1925) Earl Derr Biggers
27. Assassinio nel labirinto [Sir Clinton Driffield Mystery 1] (Murder in the Maze, 1927) J.J. Connington
28. La signora scompare (The Lady Vanishes, o The Wheel Spins, 1936) Ethel Lina White
29. La morte cammina per Eastrepps (Death walks in Eastrepps, 1931)  Francis Beeding
30. Il mistero del menu francese (The Long Dinner, 1934) H.C. Bailey (Henry Christopher Bailey)
31. La rossa mano destra (The Red Right Hand, 1945) Joel Townsley Rogers
32. Delitto al concerto [Francis Pettigrew 3] (When the Wind Blows, o The Wind Blows Death, 1949) Cyril Hare [
33. Occhiali neri [Dr. Gideon Fell 10] (The Black Spectacles, o The Problem of the Green Capsule, 1939) John Dickson Carr
34. Orme sul ponte [Miles Bredon 2] (The Footsteps at the Lock, 1928) Ronald A. Knox
35. L’uomo che non doveva vivere (Rogue Male, o Man Hunt, 1939) Geoffrey Household
36. I due ciechi (Blind Man’s Bluff, o Blind Date with Death, 1943) Baynard Kendrick
37. Maschera bianca (White Face, 1931) Edgar Wallace
38. Come in uno specchio (Through a Glass, Darkly, 1950) Helen McCloy
39. Uno della famiglia [Ispettore Cockrill 3] (Suddenly at His Residence, o The Crooked Wreath, 1946) Christianna Brand
40. Morte al telefono [Henry Gamadge Mysteries 7] (Murder Listens In, o Arrow Pointing Nowhere, 1949) Elizabeth Daly
41. Il pappagallo bianco (The White Cockatoo, 1933) Mignon G. Eberhart
42. Altri delitti di Natale (Anthology)
– Un lieto Fine (A Happy Solution, 1916) di Raymund Allen – Traduzione di Gianni Montanari
– La mattina di Natale [Albert Campion] (On Christmas Day in the Morning, da “The London Evening Standard”, 23 dicembre 1950) di Margery Allingham – Traduzione di Cecilia Vallardi
– L’avventura del dolce di Natale [Hercule Poirot] (The Adventure of the Christmas Pudding, da “The Sketch”, 12 dicembre 1923) di Agatha Christie – Traduzione di Giovanni Viganò
– L’espresso delle 4.15 (The Four-Fifteen Express, da “Routledge’s Christmas Annual 1867”, 1866) di Amelia Edwards – Traduzione di Cecilia Vallardi
– La sorella Bessie (apparso originariamente come Sister Bessie or Your Old Leech su “The London Evening Standard”, 23 dicembre 1949, ristampato poi come Blackmail, with Loving Greetings su “The Saint Detective Magazine”, maggio 1956) di Cyril Hare – Traduzione di Cecilia Vallardi
– Il mistero del campanile [Dr. Sam Hawthorne] (The Problem of the Christmas Steeple, da “EQMM”, gennaio 1977) di Edward D. Hoch – Traduzione di Marilena Caselli
– Di spada (By the Sword, [1938] da “EQMM”, gennaio 1952) di Selwyn Jepson – Traduzione di Sara Caraffini
– L’enigma del canto di Natale [capitano Duncan Maclain] (apparso originariamente come Silent Night su “Sleuth Mystery Magazine”, dicembre 1958, ristampato poi come A Clue from Bing Crosby su “Suspense”, gennaio 1959) di Baynard Kendrick – Traduzione di Federica Adami
– Un paio di scarpe infangate (apparso originariamente come A Pair of Muddy Shoes nell’antologia “Eight Short Stories”, 1919, ristampato poi come The Hands of a Stranger su “Lilliput”, maggio 1942) di Lennox Robinson – Traduzione di Cecilia Vallardi
– Il Natale di ballerino Dan (Dancing Dan’s Christmas, da “Collier’s”, 31 dicembre 1932) di Damon Runyon – Traduzione di Tracy Lords
– Un Natale di Maigret (Un Noël de Maigret, 1950) di Georges Simenon – Traduzione di Federico Riccardi
43. Assassinio all’università (Blood is a Beggar, 1946) Thomas Kyd
44. Tre donne in abito da sera [Ispettore McKee 10] (Three Women in Black, 1941) Helen Reilly
45. Il coltello nella schiena [Dr. Hailey] (The Case of the Gold Coins, 1933) Anthony Wynne
46. Una carrozza nella notte (The Mystery of 31 New Inn, 1912) Richard Austin Freeman
47. Il corpo nell’armadio (Murder by the Clock, 1929) Rufus King
48. L’enigma dell’alfiere [Philo Vance 4] (The Bishop Murder Case, 1928) S.S. Van Dine
49. I fatali 5 minuti (The Fatal Five Minutes, 1932) R.A.J. Walling
50. I delitti della camera chiusa (Anthology)
– La 51ª stanza sigillata (The 51st Sealed Room, or The MWA Murder, da “EQMM”, ottobre 1951) di Robert Arthur jr. – Traduzione di Giovanni Viganò
– Omicidio per procura (Murder by Proxy, 1897) di Matthias McDonnell Bodkin – Traduzione di Sara Caraffini
– Mistero all’obitorio (The Spherical Ghoul, da “Thrilling Mystery”, genanio 1943) di Fredric Brown – Traduzione di Bruno Amato
– Il terzo proiettile [Dr. Gideon Fell] (The Third Bullet, [1937] da “MacKill’s Mystery Magazine”, febbraio 1953) di John Dickson Carr – Traduzione di Giovanni Viganò
– Il sogno [Hercule Poirot] (apparso originariamente come The Dream su “The Saturday Evening Post”, 23 ottobre 1937, ristampato poi come The Three Strange Points su “EQMM”, dicembre 1964) di Agatha Christie – Traduzione di Grazia Griffini
– Il gufo alla finestra (The Owl at the Window, 1923) di G.D.H. (George Douglas Howard) e M.I. (Margaret Isabel) Cole – Traduzione di Bruno Amato
– I delitti di X Street [Brooks Banner] (The X Street Murders, da “Mystery Digest”, marzo-aprile 1962) di Joseph Commings – Traduzione di Gian Matteo Montanari
– La prima camera chiusa (The First Locked Room, 1950) di Lillian de la Torre (Lillian McCue) – Traduzione di Tracy Lord
– Il pugnale d’alluminio [Dr. John Thorndyke] (The Aluminium Dagger, da “Pearson’s Magazine”, marzo 1909) di Richard Austin Freeman – Traduzione di Giovanni Viganò
– La foglia di tè (The Tea Leaf, 1925) di Edgar Jepson e Robert Eustace – Traduzione di Franca Pece
– L’episodio del chiodo e del requiem [Trevis Tarrant] (The Episode of the Nail and the Requiem, da “Mystery”, 1935; “EQMM”, maggio 1944) di C. Daly King – Traduzione di Dario Pratesi
– Dopo accurata ispezione (Solved by Inspection, [1925] da “Argosy”, aprile 1939) di Ronald A. Knox – Traduzione di Gian Matteo Montanari
– A mille miglia, nel cielo (The Thousand Mile Shot, da “EQMM”, novembre 1956) di John F. Suter – Traduzione di Giovanni Viganò
51. Il letto d’ebano (The Ebony Bed Murder, 1932) Rufus Gilmore
52. Il grande mistero di Bow (The Big Bow Mystery, 1891)  Israel Zangwill
53. Discesa fatale (Drop to his Death/ Fatal Descent, 1939) John Rhode & Carter Dickson
54. La maledizione dell’arpa (The Episode of the Vanishing Harp, 1935) C. Daly King
55. La scala a chiocciola [Miss Cornelia Van Gorder 2] (The Circular Staircase, 1909) Mary Roberts Rinehart
56. La villa dei delitti (Mystery at Friar’s Pardon, 1931) Martin Porlock
57. Il mistero di Charing Cross (Black Money / The Charing Cross Mystery, 1922) J.S. Fletcher (Joseph Smith Fletcher)
58. Chi è il colpevole? (Ask a Policeman, 1933)
59. Morte nello studio del rettore (Death at the President’s Lodging aka Seven Suspects, 1936) Michael Innes
60. Il caso con nove soluzioni [Sir Clinton Driffield Mystery 3] (The Case With Nine Solutions, 1928) J.J. Connington
61. Sotto la neve (Mystery in White, 1937) J. Jefferson Farjeon
62. La casa fantasma (The Grinning God / The House That Was) Lily May Peel & Jaques Futrelle
63. Enigmi e misteri (Anthology)
– Il grande mistero di Pegram (The Great Pegram Mystery, 1892) di Robert Barr
– Il Caso Vendicatore [Roger Sheringham] (The Avenging Chance, da “Pearson’s Magazine”, settembre 1929) di Anthony Berkeley
– Il villino degli usignoli (Philomel Cottage, o Love from a Stranger, da “The Grand Magazine”, novembre 1924) di Agatha Christie
– Un sabato di pioggia (Wet Saturday, da “The New Yorker”, 16 luglio 1938) di John Collier
– Il delitto nella stanza che non c’è [Colonnello March] (The Crime in Nobody’s Room, da “The Strand”, giugno 1938, ristampato poi su “EQMM”, settempre 1970, con il nome di Carr) di Carter Dickson (John Dickson Carr)
– Il sigillo di Nabucodonosor (The Seal of Nebuchadnezzar, 1909) di Richard Austin Freeman
– La banconota da 5 sterline (Policeman’s Cape, 1941) di David Frome
– Una giuria di sue pari (A Jury of Her Peers, da “Every Week”, 5 marzo 1917) di Susan Glaspell
– Un poliziotto zelante (Superfluous Murder, 1935) di Milward Kennedy
– Il movente (The Motive, da “The Illustrated London News”, 17 novembre 1937) di Ronald A. Knox
– Un atto di Dio [zio Abner] (apparso originariamente come An Act of God su “Metropolitan”, dicembre 1913, ristampato poi come The Three Threads of Justice su “EQMM”, marzo 1962) di Melville Davisson Post
– L’orologio sotto la campana di vetro (The Adventure of the Glass-Domed Clock, da “Mystery League”, ottobre 1933) di Ellery Queen
– Sospetto (Suspicion, da “Mystery League”, ottobre 1933) di Dorothy L. Sayers
– L’undicesimo giurato (The Eleventh Juror, da “Real Detective Tales and Mystery Stories”, agosto 1927) di Vincent Starrett
– Farsi beffe del boia (Cheating the Gallows, da “The Idler”, febbraio 1893; “EQMM”, marzo 1949) di Israel Zangwill
64. I delitti di Hammersmith [Evan Pinkerton Mystery 1] (The Hammersmith Murders, 1930) David Frome
65. Il mistero del diario (The Bleston Mystery, 1928) Robert Milward Kennedy
66. Il cerchio rosso (The Crimson Circle, 1922) Edgar Wallace
67. Ipotesi per un delitto [Ispettore Charlton] (Let X be the Murderer, 1947) Clifford Witting
68. Morte in sala d’attesa (The Divorce Court Murder, 1934) Milton Propper
69. Assassinio alla BBC (Death at Broadcasting House, 1934) Val Gielgud & Holt Marvell
70. Laura (Laura, 1942) Vera Caspary
71. Signori della corte... (A Case to Answer, o One More Unfortunate, 1947) Edgar Lustgaten
72. La ragazza tagliata nel montaggio (The Face on the Cutting-Room Floor, 1937) Cameron McCabe
73. Delitto a Harvard [Jupiter Jones 1] (Harvard Has a Homicide, aka J for Jupiter, 1936) Timothy Fuller
74. La morte di mia zia [Malcolm Warren 1] (Death of My Aunt, 1929) C.H.B. Kitchin (Clifford Henry Benn Kitchin)
75. Omicidio a capodanno [Ludovic Travers 5] (Dancing Death, 1931) Christopher Bush
76. Delitti in codice (Anthology)
– La chiave in Michael [Dexter Drake] (The Key in Michael, da “The Red Book Magazine”, gennaio 1927) di Elsa Barker
– I quattro sospetti [Miss Marple] (apparso originariamente come The Four Suspects su “Pictorial Review”, gennaio 1930, ristampato poi come Some Day They Will Get Me su “EQMM”, marzo 1958) di Agatha Christie
– I pupazzi ballerini (The Adventure of the Dancing Men, 1903) di sir Arthur Conan Doyle
– Firmato “Baby” (The “Baby” Cipher, [1939] da “EQMM”, maggio 1948) di W.A. Darlington
– L’enigma della serratura (The Puzzle Lock, 1925) di Richard Austin Freeman
– La lettera fatale (Mystery of the Fatal Cipher, #) di Jacques Futrelle
– Il tesoro dell’abate Thomas (The Treasure of Abbot Thomas, 1904) – Montague Rhodes James
– Il codice di Calloway (Calloway’s Code, da “Munsey’s Magazine”, settembre 1906) di O’Henry
– La grande finzione [Monsieur Jonquelle] (apparso originariamente come The Great Cipher su “The Red Book Magazine”, novembre 1921, ristampato poi come Deadly Cipher su “The Saint Detective Magazine”, ottobre 1958) di Melville Davisson Post
– E = Delitto (E = Murder, da “This Week”, 4 agosto 1960) di Ellery Queen
– L’affascinante problema del testamento di zio Meleager (The Fascinating Problem of Uncle Meleager’s Will, 1928) di Dorothy L. Sayers
– Il codice n. 2 (Code No. 2, da “The Strand”, aprile 1916; “EQMM”, primavera 1942) di Edgar Wallace
77. Morte in Provenza [Thomas Littlejohn] (Death in High Provence, 1957) George Bellairs
78. Il gatto e il topo (Cat and Mouse, 1950) Christianna Brand [2010]
79. Panico (Panic, 1944)  Helen McCloy
80. La fine dei Greene [Philo Vance 3] (The Greene Murder Case, 1928) S.S. Van Dine
81. L’assassinio invisibile (Sealed-Room Murder, 1937) Rupert Penny
82. La porta socchiusa [Ispettore McKee 13] (The Opening Door, 1944) Helen Reilly
83. Charlie Chan e il cammello nero [Charlie Chan 4] (The Black Camel, 1929) Earl Derr Biggers
84. Gli scapoli di Broken Hill (The Bachelors of Broken Hill, 1950)  Arthur Upfield
85. Caffè al veleno a Piccadilly (The Piccadilly Murder, 1929) Anthony Berkeley
86. Morte in Harley Street (Death in Harley Street, 1945)  John Rhode
87. Un caso per tre detective [Sergente Beef 1] (Case for Three Detectives, 1936) Leo Bruce
88. In un villaggio inglese (The Lord have Mercy, o The Shrew is Dead, 1956) Shelley Smith
89. Nel buio della galleria (Death in the Tunnel, o Dark is the Tunnel, 1936) Miles Burton
90. Non si uccide prima di Natale (Do Not Murder Before Christmas, 1949) Jack Iams
91. Delitti in treno (Anthology)
– L’espresso per Plymouth [Hercule Poirot] (apparso originariamente come The Mystery of the Plymouth Express su “The Sketch”, 4 aprile 1923, ristampato poi come The Plymouth Express Affair su “The Blue Book Magazine”, gennaio 1924; ristampato ancora come The Girl in Electric Blue su “EQMM”, marzo 1955) di Agatha Christie – Traduzione di Lidia Lax
– Una lezione sul crimine (A Lesson in Crime, dall’antologia “A Lesson in Crime”, 1933; “EQMM”, luglio 1944) di G.D.H. (George Douglas Howard) e M.I. (Margaret Isabel) Cole – Traduzione di Sara Caraffini
– L’uomo con gli orologi (apparso originariamente come The Story of the Man with the Watches su “The Strand”, luglio 1898, ristampato poi come The Man with the Watches su “MacKill’s Mystery Magazine”, febbraio 1954) di sir Arthur Conan Doyle – Traduzione di Leslie Calise
– Il mistero dell’espresso della notte (The Mystery of the Sleeping-Car Express, 1921) di Freeman Wills Crofts – Traduzione di Bruno Amato
– Enigma sulla Brighton Line [Hamilton Cleek] (The Riddle of the 5.28, 1910) di Thomas W. Hanshew – Traduzione di Francesca Stignani
– Il problema del vagone ermeticamente chiuso [Dr. Sam Hawthorne] (The Problem of the Locked Caboose, da “EQMM”, maggio 1976) di Edward D. Hoch – Traduzione di Federica Adami
– Nove miglia sotto la pioggia [Nicky Welt] (The Nine Mile Walk, da “EQMM”, aprile 1947) di Harry Kemelman – Traduzione di Leslie Calise
– Il cadavere sulla carrozza (Death on the 8.45, 1929) di Frank King – Traduzione di Sara Caraffini
– La strana morte nella sotterranea (The Mysterious Death on the Underground Railway, 1908) di baronessa Emmuska Orczy – Traduzione di Marisa Castino Bado
– L’assassino del martedì sera (A Mystery of the Underground, 1897) di John Oxenham – Traduzione di Sara Caraffini
– La mia avventura sullo Scozzese Volante (My Adventure in the Flying Scotsman, 1888) di Eden Phillpotts – Traduzione di Bruno Amato
– Un viaggiatore molto taciturno (The Very Silent Traveller, da “Lilliput”, settembre-ottobre 1953) di Paul Tabori (Pál Táborj) – Traduzione di #
– Il quadro di sir Gilbert Murrell [Thorpe Hazell] (Sir Gilbert Murrell’s Picture, da “The Royal Magazine”, ottobre 1905) di reverendo Victor L. Whitechurch – Traduzione di Marisa Castino Bado
92. L’alibi di Scotland Yard (Scotland Yard Alibi, 1938) Don Betteridge
93. Il verdetto dei dodici (Verdict of Twelve, 1940) Raymond Postgate
94. Una parola di otto lettere (A Word of Six Letters,1936 UK / Murder Without Risk,1936 US) Herbert Adams
95. Lord Peter e l’altro [Lord Peter Wimsey 10] (Murder Must Advertise, 1933) Dorothy L. Sayers
96. Svanito nel nulla (Into Thin Air, 1928) Horatio Winslow/ Leslie Quirk
97. Vacanza in Florida (Reunion in Florida, 1952) Tod Claymore
98. Delitto ai grandi magazzini (The Whispering Window, 1936) Cortland Fitzsimmons
99. I tre corni da caccia (The Three Hunting Horns, 1937) Mary Fitt
100. La sera della prima (First Night Murder, 1931) F.G. Parke
101. La casa dei sette cadaveri (Seven Dead, 1939) J. Jefferson Farjeon
102. L’enigma della vasca dei pinguini (The Penguin Pool Murders, 1931) Stuart Palmer
103. I delitti della vedova rossa [Sir Henry Merrivale 3] (The Red Widow Murders, 1935) Carter Dickson (John Dickson Carr)
104. I morti non lasciano impronte digitali (Dead Men Leave No Fingerprints, 1935) Whitman Chambers
105. Tragedia a Oxford (An Oxford Tragedy, 1933) J.C. Masterman (sir John Cecil Masterman)
106. La mattina del 25 dicembre [Malcolm Warren 2] (Crime at Christmas, 1934) C.H.B. Kitchin (Clifford Henry Benn Kitchin)
107. I delitti della casa di campagna (Anthology)
– La maledizione dei Darnaway (The Doom of the Darnaways, da “The Incredulity of Father Brown”, 1926) di Gilbert Keith Chesterton
– Il baronetto scomparso (The Missing Baronet, 1928) di G.D.H. (George Douglas Howard) e M.I. (Margaret Isabel) Cole
– Il pince-nez d’oro (The Adventure of the Golden Pince-Nez, 1904) di sir Arthur Conan Doyle
– La casa a Goblin Wood [Sir Henry Merrivale] (The House in Goblin Wood, da “EQMM”, novembre 1947; ristampato su “MacKill’s Mystery Magazine”, ottobre 1952, con il nome di Carr) di Carter Dickson (John Dickson Carr)
– Come un camaleonte (Introducing Susan Dare, 1934) di Mignon G. Eberhart
– La morte di Amy Robsart (The Death of Amy Robsart, 1937) di Cyril Hare
– Guardare gli alberi e non vedere il bosco [Colonnello Anthony Gethryn] (The Wood-for-the-Trees, da “EQMM”, giugno 1947) di Philip MacDonald
– Tredici soldatini di piombo [Bulldog Drummond] (Thirteen Lead Soldiers, da “The Strand”, dicembre 1937) di H.C. McNeile
– Un tè da pazzi (The Adventure of the Mad Tea Party, da “The Red Book Magazine”, ottobre 1934) di Ellery Queen
– La finestra socchiusa (The Unlocked Window, 1939) di Ethel Lina White
108. In viaggio col morto (Death in the Back Seat, 1936) Dorothy Cameron Disney
109. Una buona tazza di tè [Ludovic Travers 12] (The Case of the Dead Shepherd/ The Tea Tray Murders, 1934) Christopher Bush
110. I delitti di carnevale (The Mardi Gras Murders, 1932) Gwen Bristow/ Bruce Manning
111. Mr. Pinkerton ha un indizio [Evan Pinkerton 8] (MrPinkerton has the Clue, 1936) David Frome
112. Un paio di tacchi alti [Jupiter Jones 2] (Reunion with Murder, 1941) Timothy Fuller
113. Tutto iniziò con un calice spezzato (I met Murder, 1930) Selwyn Jepson
114. Otto innocenti e un colpevole [Sir Clinton Driffield Mystery 7] (The Sweepstake Murders, 1931) J.J. Connington
115. L’alibi perfetto (The Perfect Alibi, 1934) C. St. John Sprigg
116. Assassinio nella brughiera (The Yorkshire Moorland Mystery, 1930) J.S. Fletcher (Joseph Smith Fletcher)
117. La canarina assassinata [Philo Vance 2] (The Canary Murder Case, 1927) S.S. Van Dine
118. Delitto in cielo (Obelists Fly High, 1935) C. Daly King
119. La formula del delitto (Murder by Formula, 1931) J.H. Wallis
120. La poltrona e il rasoio (There Sits Death, 1933) Paul McGuire
121. Uno sparo in biblioteca [Roger Sheringham 1] (The Layton Court Mystery, 1925) Anthony Berkeley
122. La tabacchiera avvelenata (Excellent Intentions, 1949) Richard Hull
123. Il caso della mummia scomparsa (The Mummy Case, 1933) Dermot Morrah
124. La casa degli strani ospiti (The House of Strange Guests, 1932) Nicholas Brady
125. Delitti impossibili   Impossible Murders
– Il macellaio sghignazzante (The Laughing Butcher, da “Mystery Book Magazine”, autunno 1948) di Fredric Brown
– Il gentiluomo di Parigi (The Gentleman from Paris, da “EQMM”, aprile 1950; giugno 1969; settembre 1988; maggio 1991) di John Dickson Carr
– Sotto il mare (Bones for Davy Jones, 1953) di Joseph Commings
– Il diario della morte (The Diary of Death, [1929] da “EQMM”, gennaio 1943) di Marten Cumberland
– Delitto in funivia (The Flung-Back Lid, 1979) di Peter Godfrey
– Nella casa delle tenebre (The Adventure of the House of Darkness, da “The American Magazine”, febbraio 1935) di Ellery Queen
– Gli spezzasti il cuore [John J. Malone] (His Heart Could Break, o Hanged Him in the Mornin’, da “EQMM”, marzo 1943; “Edgar Wallace Mystery Magazine”, marzo 1966) di Craig Rice
– La boccia avvelenata (The Poisoned Bowl, 1939) di Forrest Rosaire
– Al di là (The Other Side, 1940) di Hake Talbot
126. La stanza n. 18 [Sarah Keate] (The Patient in Room 18, 1929) Mignon G. Eberhart
127. La stessa sera alla stessa ora (The Chief Witness, 1940) Herbert Adams
128. Profumo di violette (Odor of Violets, o Eyes in the Night, 1941) Baynard Kendrick
129. Il delitto della portantina (Murder at the Pageant, 1930) Victor L. Whitechurch
130. Il cottage giallo (The Yellow Bungalow Mystery, 1933) Leonard R. Gribble
131. Il mistero del villaggio [Francis McNab 3] (Murder on the Marsh, 1930) John Ferguson
132. Morte al castello [Dr. Hailey] (Murder of a Lady, o The Silver Scale Mystery, 1931) Anthony Wynne
133. Uscendo di casa una mattina [Thomas Littlejohn] (Death Before Breakfast, 1962) George Bellairs
134. Il terrore che mormora (He Who Whispers, 1946) John Dickson Carr
135. In una sera di pioggia [Sovrintendente Mallett 10] (Death and the Pleasant Voices, 1946) Mary Fitt
136. Il mistero delle tre querce (The Three Oak Mystery, 1924) Edgar Wallace
137. Il raccomandato (Who Is the Thief? - “Atlantic Monthly”, april 1858, republished like The Biter Bit “EQMM”, June1949) William Wilkie Collins
138. Una sciarpa intorno al collo (Strawstack aka The Strawstack Murders, 1939) Dorothy Cameron Disney
139. Gli omicidi della “Z” (The “Z” Murders, 1932) J. Jefferson Farjeon
140. Delitti & Castighi (Anthology)
- Un uomo di nome Falcon (Gay Falcon, da “The Strand”, gennaio 1940) di Michael Arlen
- Un tiro azzardato [Nigel Strangeways] (apparso originariamente come It Fell to Earth su “The Strand”, giugno 1944, ristampato poi come The Long Shot su “EQMM”, febbraio 1964; “EQMM”, marzo 1991) di Nicholas Blake
- Copia dell’originale (Copy of the Original, 193?#) di Hylton Cleaver
- Pari e patta (Dead Heat, da “EQMM”, luglio 1946) di Lillian Day e Norbert Lederer
- Assassinio alla Corte Suprema [Colonnello John Primrose] (apparso originariamente come The Clock Strikes su “The American Magazine”, maggio 1935, ristampato poi come The Supreme Court Murder su “EQMM”, giugno 1970) di Leslie Ford
- Le banche non sbagliano mai (apparso originariamente come The Wicked Scheme of Jebal Deeks su “Esquire”, settembre 1952, ristampato poi come Banks Are Never Wrong su “EQMM”, marzo 1956) di John D. Hess
- L’attesa (The Interruption, da “Liberty”, 4 luglio 1925; “Argosy”, luglio 1937) di W.W. Jacobs
- Morte in cucina (Death in the Kitchen, [1930] da “Lilliput”, luglio 1937) di Milward Kennedy
- Un passato pieno di ombre (apparso originariamente come Shake Hands with Death su “The American Magazine”, aprile 1950, ristampato poi come The Outer Darkness su “EQMM”, aprile 1959) di Helen McCloy
- Il rubacuori (apparso originariamente come A Christmas Present for His Wife su “The Strand”, dicembre 1930, ristampato poi come The Chobham Affair su “EQMM”, gennaio 1945) di Edgar Wallace
141. Il canto di Natale [Ispettore Charlton] (Catt Out of the Bag, 1939) Clifford Witting
142. La morte viaggia in autobus (Death Goes by Bus, 1936) Leslie Cargill
143. Il caso del gong cinese [Ludovic Travers 13] (The Case of the Chinese Gong, 1935) Christopher Bush
144. L’occhio di Osiride [Dottor Thorndyke 3] (The Eye of Osiris aka The Vanishing Man, 1911) Richard Austin Freeman
145. L’assassino scrive di notte [Henry Gamadge 5] (Nothing Can Rescue Me, 1943) Elizabeth Daly
146. Sette piccioni sporchi di sangue [Thatcher Colt 2] (About the Murder of Geraldine Foster, 1931)  Anthony Abbot
147. Morte in palcoscenico (Blood on the Bosom Devine, da “The Saturday Review”, 21 febbraio 1948) Thomas Kyd
148. Enigma a Cape Cod [Asey Mayo 1] (The Cape Cod Mystery, 1931) Phoebe Atwood Taylor
149. Invito con delitto (Journey Downstairs, 1934) R. Philmore
150. Partire è un po’ morire (Murder in Time, 1953) Elizabeth Ferrars
151. L’incredibile viaggio [Hugh Rennert] (Vultures in the Sky, 1935) Todd Downing
152. La rocca maledetta (He Arrived at Dusk, 1933) R.C. Ashby
153. I quattro giusti [I Quattro Giusti 1] (The Four Just Men, 1905) Edgar Wallace
154. Charlie Chan e la crociera tragica [Charlie Chan 5] (Charlie Chan Carries On, 1930) Earl Derr Biggers
155. Troppi cugini (Too Many Cousins, 1946) Douglas G. Browne
156. La finestra sulla notte (The Window at the White Cat, 1910) M.R. Rinehart
157 - AA.VV., “Veleni, pugnali e altre amenità” (Anthology)
– L’indizio della parrucca rossa (The Clue of the Red Wig, da “The Strand”, dicembre 1940; “EQMM”, dicembre 1948) di John Dickson Carr
– Nella nebbia (In the Fog, apparso in volume nel 1901 e ristampato a puntate da “EQMM”, aprile, maggio e giugno 1960) di Richard Harding Davis
– Delitto senza passione (Crime Without Passion, [1936] “EQMM”, primavera 1942) di Ben Hecht
– Il cadavere nella piscina (The Body in the Pool, da “EQMM”, febbraio 1955) di Rufus King
– L’enigma del Museo Nero [Hildegarde Withers] (The Riddle of the Black Museum, da “EQMM”, marzo 1946) di Stuart Palmer
– L’assassino (The Murderer, da “The Saturday Evening Post”, 23 novembre 1946; “EQMM”, novembre 1971) di Joel Townsley Rogers
– Non colpevole (Not Guilty, 1939) di Will Scott
– Il più grande investigatore degli Stati Uniti [Willis Perkins] (Perkins’ Second “First Case”, da “Collier’s”, 25 aprile 1931; “EQMM”, aprile 1946) di Philip Wylie
– Reparto delitti impossibili [Paul Dawn] (D.I.C. Department Impossible Crimes, da “EQMM”, luglio 1943) di James Yaffe
– L’inchiesta (The Inquest, da “The Strand”, aprile 1932) di Loel Yeo
158 - “Morte in ascensore” (The Death of Laurence Vining, 1929)   A. Thomas
159 - “Sangue sulla neve”
(Blood Upon the Snow,  )   H. Lawrence
160 - “Un pomeriggio da ammazzare” An Afternoon to Kill    S. Smith
161 - “Compleanno con delitto”
The Birthday Murder     L. Lewis
162 - “Quella cara vecchietta”
 Like a Guilty Thing  B. Cobb
163 - “Arsenico”
As a Thief in the Night      R. A. Freeman
164 - “La dama in rosso”
The Holbein Mystery / The Red Lady  A. Wynne
165 - “Il cadavere in pantofole rosse”
The Corpse in the Crimson Slippers   R. A. J. Walling
166 - “Le mani di Mr. Ottermole”
The Hands of Mr. Ottermole  T. Burke
167 - “L'enigma della stanza impenetrabile”
Whistle Up the Devil   D. Smith
168 - “Qualcuno ti osserva” E. L. White
169 - “Omicidio in laboratorio” The Murder in the Laboratory    T. L. Davidson
170 -  “Delitti quasi perfetti” (Anthology)
Joseph Commings, 1949; Sir Arthur Conan Doyle, 1897; Jacques Futrelle, 1907; Thomas W. Hanshew, 1910; Richard Keverne, 1941; Helen McCloy, 1955; Douglas Newton, 1936; Quentin Reynolds, 1936; Seamark, 1923; Edgar Wallace, 1919.
171 - “Il club degli assassini”  (The Wooden Overcoat,1951) Pamela Branch
172 - “Promessa mantenuta” (
They Can't Hang Me,1938)  James Ronald
173 - “Congelato” (
Frozen Death, 1934)  Anthony Weymouth
174 - “Asso di quadri - asso di cuori”
(Red Aces, 1929)  Edegar Wallace

175 - “Delitto in mare” (Murder at Sea, 1929)  Richard Connell
176 - “Verdetto aperto” (Open Verdict,1940)  Richar Keverne
177 - “La torre di Scarhaven” (Scarhaven Keep,1922)  Joseph Smith Fletcher

If someone wanted  know other about this series from Polillo, he could read two my interviews to Marco Polillo, maybe helping himself with Google Translation :

P. De Palma


If someone likes buy the Polillo books by Internet, the link is :