Margaret Millar Cover Reveal #2: VANISH IN AN INSTANT, THE LISTENING WALLS and WIVES AND LOVERS

Today we have three wonderful new eBook covers to reveal as we press on in our quest to restore the novels and writings of Margaret Millar. In this round of covers we have two of Millar's most nihilistic novels of suspense, Vanish in an Instant and The Listening Walls, the latter of which will instantly remind readers of Gillian Flynn's Gone Girl -- right down to the missing wife's name.

The third novel in this group -- Wives and Lovers -- is not a novel of suspense but rather a purely literary effort that further cements Millar's legacy as keen observer of  humanity, for better or worse. 

As with the previous two covers, all artwork here is by Jeff Wong. Jeff is designing all of the Syndicate Books editions of Margaret Millar, both in print and digital formats. More to come later on the schedule of the former. 

 

VANISH IN AN INSTANT.jpg

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In this classic noir tale of blurred guilt and flawed innocence, a cynical lawyer uncovers the desperate lives of a group connected only by a gruesome murder.

Eric Meecham is not an optimistic sort. An old-before-his-time lawyer, scratching out a living in courts and jail houses, he is no stranger to desperate cases and has little faith in anything or anyone. But his brand of existential nihilism isn’t without curiosity, and when he gets a chance to represent a local society woman who’s been arrested for murder under very scandalous circumstances, well, even he can’t help but be engaged.

Cold, austere, and used to having her way, Mrs. Hamilton is more than a little upset at having to travel 40 miles west of Detroit, in the dead of winter, to the small city of Arbana. But her careless daughter Virginia has landed herself in trouble again and Mrs. Hamilton will do anything to keep the family name out of a scandal. But she little understands the gravity of her daughter’s arrest. Virginia was found drunk and underclad in the midst of a white-out snow storm. She was also covered in blood. In a cottage not too far away a married man, father of two, lay brutally stabbed to death.

Earl Loftus is the definition of a hard luck case. Broke and terminally ill, Earl’s life has been one tragedy after another. But the spark of a thoughtful intellect still gleams in his eyes and when Loftus comes forward to confess to the crime that Virginia is accused of, Eric Meecham is instantly skeptical. Could a man like Loftus actually commit such an act? The more Meecham interviews Loftus, the less he thinks it’s possible.

 

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In this suspenseful masterpiece about corrupted love, Rupert Kellogg's wife, Amy, goes missing after an ill-fated trip to Mexico—and Rupert becomes the focus of a paranoid investigation.

Amy Kellogg is not having a pleasant vacation in Mexico. She’s been arguing nonstop with her friend and traveling companion, Wilma, and she wants nothing more than to go home to the Bay Area. But an uncomfortable stay in a Mexican hotel takes a nightmarish turn when Wilma is found dead on the street below their room—an apparent suicide. 

Rupert Kellogg has just returned from seeing his wife Amy through the difficulties surrounding the apparent suicide of her friend in Mexico. But Rupert is returning alone—which worries Amy’s brother. Amy was traumatized by the suicide, Rupert explains, and has taken a holiday in New York City to settle her nerves. But as gone girl Amy’s absence drags on for weeks and then months, the sense of unease among her family changes to suspicion and eventual allegations.

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A sincere and compassionate novel about the complications of married life, and the love, loathing, pain, loyalty, disappointments and friendship that grow out of a marriage.

Channel City, California, is a an average coastal town where everyone is doing their best to get by and be respectable, from the sun-grizzled fishermen on the wharf to the perfectly coifed society wives to the over-fed gophers who plague every middle-class garden. But in the hot summer of 1954, one unhappy man's extramarital affair turns the community on its head.  

Hazel Anderson, a dental assistant, is a contentedly divorced forty-something whose ex-husband, George, runs the town's wharf bar. Hazel worries about George, who is smitten with a much younger woman, Ruby, who won't have anything to do with him, and Hazel thinks Ruby is hiding secrets of her own. The dentist Hazel assists, Gordon Foster, works hard to support his wife and three children in their middle-class lifestyle, but he can never satisfy his wife, Elaine, who has always resented being married to a dentist instead of a "real" doctor. All of these relationships become tangled when henpecked Gordon's romantic indiscretion comes to light.  

Here, in this sweet, sad, and incisive literary novel, Margaret Millar accomplishes the same feat as she has with her award-winning crime fiction by offering readers a fascinating snapshot of life as it was, not life as we like to remember it having been.

Millar Cover Reveal #1: BEAST IN VIEW and AN AIR THAT KILLS

The long wait is over. Over the coming months we will be announcing new digital editions of Margaret Millar's celebrated writings with cover reveals and links to purchase.

Soon to follow will be the announcement for the print schedule of the Complete Works of Margaret Millar.

For the first reveal we're sharing two of Millar's most celebrated novels, including the book that won her the 1956 Edgar Award for Best Novel. 

You may recognize the handiwork on these illustrations. That's because Syndicate is working with artist Jeff Wong (who did the Soho Crime edition of GBH by Ted Lewis). What's so cool about having Jeff work on these covers, beyond the fact that he's an amazing artist, is that Jeff is also the foremost (and I MEAN FOREMOST) collector of Ross Macdonald in the world. Macdonald's real name was Ken Millar. You got it. Mr. Maggie Millar. So it's a bit of a passion project for Jeff, evidenced by the two covers below.

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Hailed as one of the greatest psychological mysteries ever written and winner of the 1956 Mystery Writers of America Edgar Award for Best Novel, Beast in View remains as freshly sinister today as the day it was first published.  

Thirty-year-old Helen Clarvoe is scared and all alone. The heiress of a small fortune, she is resented by her mother and, to a lesser degree, her brother. The only person who seemingly cares for her is the family’s attorney, Paul Blackshear. A shut-in, Helen maintains her residence in upscale hotel downtown. 

But passive-aggressive resentment isn’t the only thing hounding Helen Clarvoe. A string of bizarre and sometimes threatening prank phone calls has upended her spinster’s routine. Increasingly threatened, she turns to a reluctant Mr. Blackshear to get to the bottom of these strange calls. Originally doubtful of their seriousness, Blackshear quickly realizes that he is in the midst of something far more nightmarish than he thought possible. As he unravels the mystery behind the calls the identity behind them slowly emerges, predatory and treacherous.

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A gripping novel of ordinary lives ripped apart by lust, deceit, adultery, conspiracy and betrayal. 

On a Saturday night in April, Ron Galloway's friends have all arrived at his Ontario lakeside vacation lodge for a boys' weekend without their wives. But as the night wears on and the host himself doesn't arrive, the party turns sour. Then Ron Galloway's suspicious wife, convinced he is having an affair and trying to track him down, arrives on the scene, followed by the police. It is clear something is very wrong. 

In the hours and days that follow Ron Galloway's disappearance, the secret of an ugly infidelity comes to light, tearing apart Galloway's circle of friends and destroying two marriages. Did Ron Galloway commit suicide to escape his own unforgivable betrayals? What sinister set of circumstances brought him to his desperate end, and how will his survivors cope with the truth without tearing one another apart?

Never has GBH been praised so much!

A pulp-fiction triumph worthy of Jim Thompson or James Ellroy. I can’t remember the last time I turned pages so eagerly.
— John Powers, NPR's FRESH AIR
GBH by Ted Lewis. Afterword by Derek Raymond.

GBH by Ted Lewis. Afterword by Derek Raymond.

The swan song of a noir master finally gets its due. GBH, the late Ted Lewis' final and some say greatest (I might argue for another) novel, is finally getting its day in court and the critics are placing it where it belongs, in the cannon, among the pulp and noir greats.

So here's what's being said:

NPR's FRESH AIR "Gangsters, Goons, and 'Grievous Bodily Harm' in Ted Lewis' London"

NPR Fresh Air critic John Powers writes that, "At his best, [Lewis] achieves something only a handful of crime writers ever do — the chilling sense of cosmic fatality that links noir anti-heroes to the likes of Oedipus and Macbeth" and of Lewis' celebrated, claustrophobic, and brutal Get Carter he writes, "Get Carter is one of the best-ever fictional portraits of a small, industrial English city with its tawdry shops, dingy rooming houses, and suffocating air of decline from something that wasn't that great to begin with."

You can listen to the whole piece on Lewis HERE.

 

BOOKPAGE

Simple and to the point, BookPage dubs GBH: "Lewis' masterpiece."

 

THE LIFE SENTENCE "The Grievous Life of Ted Lewis"

Lisa Levy's brilliant new crime and mystery fiction focused website published a wonderful, and thorough, piece on Lewis and GBH by Brian Greene, which among other things, says: "While [Get Carter] will likely always be the most noted of Ted Lewis’s nine novels, GBH, the final book Lewis published, is his masterwork."

That rest can be read HERE.

 

THE BARNES & NOBLE REVIEW"Ted Lewis and His Kitchen Sink Thrillers"

The online literary review of the nation's largest brick & mortar bookstore chain, and the company where I had my first book related job, ran a terrific review by Charles Taylor about the Carter Trilogy and GBH. Taylor pulls no punches: "Lewis remains a sharp social anatomist of the hopelessness and soul-sucking dinginess of his era. Starting with [Get Carter], Lewis sketched the horror of a Britain where home was the kitchen sink, the sodden bar towel, the decrepit industrial landscape."

You can read the rest of Charles Taylor's review HERE.

 

And hopefully there's more to come!