
Part of Series
The Library of America and editor Sarah Weinman redefine the classic era of American crime fiction with a landmark collection of four brilliant novels by the female pioneers of the genre, the women who paved the way for Gillian Flynn, Tana French, and Lisa Scottoline. Though women crime and suspense writers dominate today’s bestseller lists, the extraordinary work of the mid-century pioneers of the genre is largely unknown. Turning in many cases from the mean streets of the hardboiled school to explore the anxieties and terrors lurking in everyday life, these groundbreaking novelists found the roots of fear and violence in a quiet suburban neighborhood, on a college campus, or in a comfortable midtown hotel. Their work, influential in its day and still vibrant and extraordinarily riveting today, is long overdue for rediscovery. This volume, the first of a two-volume collector’s set, gathers four classic works that together reveal the vital and unacknowledged lineage to today’s leading crime writers. From the 1940s here are Vera Caspary’s famous career girl mystery Laura, Helen Eustis’s intricate academic thriller The Horizontal Man, Dorothy B. Hughes’s In a Lonely Place, the terrifyingly intimate portrait of a serial killer, and Elizabeth Sanxay Holding’s The Blank Wall, in which a wife in wartime is forced to take extreme measures when her family is threatened. From the Hardcover edition.
Authors


Dorothy B. Hughes (1904–1993) was a mystery author and literary critic. Born in Kansas City, she studied at Columbia University, and won an award from the Yale Series of Younger Poets for her first book, the poetry collection Dark Certainty (1931). After writing several unsuccessful manuscripts, she published The So Blue Marble in 1940. A New York–based mystery, it won praise for its hardboiled prose, which was due, in part, to Hughes’s editor, who demanded she cut 25,000 words from the book. Hughes published thirteen more novels, the best known of which are In a Lonely Place (1947) and Ride the Pink Horse (1946). Both were made into successful films. In the early fifties, Hughes largely stopped writing fiction, preferring to focus on criticism, for which she would go on to win an Edgar Award. In 1978, the Mystery Writers of America presented Hughes with the Grand Master Award for literary achievement.

