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Books : Mystery & Thrillers : Authors, A-Z : ( H ) : Highsmith, Patricia
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A major new reissue of the work of a classic noir novelist. With the acclaim for The Talented Mr. Ripley, more film projects in production, and two biographies forthcoming, expatriate legend Patricia Highsmith would be shocked to see that she has finally arrived in her homeland. Throughout her career, Highsmith brought a keen literary eye and a genius for plumbing the psychopathic mind to more than thirty works of fiction, unparalleled in their placid deviousness and sardonic humor. With deadpan accuracy, she delighted in creating true sociopaths in the guise of the everyday man or woman. Now, one of her finest works is again in print: Strangers on a Train, Highsmith's first novel and the source for Alfred Hitchcock's classic 1953 film. With this novel, Highsmith revels in eliciting the unsettling psychological forces that lurk beneath the surface of everyday contemporary life.
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With an autobiographical Afterword by the author, "The Price of Salt" is now recognized as a masterwork, the scandalous novel that anticipated Nabokov's "Lolita."
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The Buckmaster Gallery is staging another Derwatt exhibition, but now an American collector claims that the expensive masterpiece he bought three years ago is a fake. It is, of course, and he wants to talk to Derwatt, but Derwatt, inconveniently, is dead. Ripley needs the perfect solution to keep his role in the fraud a secret and his reputation clean but not everyone's nerves are as steady as his. Especially when it comes to murder...
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The great revival of interest in Patricia Highsmith continues with this work that reveals the chilling reality behind the idyllic facade of American suburban life.In Deep Water, set in the small town of Little Wesley, Vic and Melinda Meller's loveless marriage is held together only by a precarious arrangement whereby in order to avoid the messiness of divorce, Melinda is allowed to take any number of lovers as long as she does not desert her family. Eventually, Vic tries to win her back by asserting himself through a tall tale of murder—one that soon comes true.
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Tom Ripley passes his leisured days at his French country estate tending the dahlias, practicing the harpsichord, and enjoying the company of his lovely wife, Heloise. Never mind the bloodstains on the basement floor.
But some new neighbors have moved to Villeperce: the Pritchards, just arrived from America. they are a ghastly pair, with vulgar manners and even more vulgar taste. Most inconvenient, though, is their curiosity. Ripley does, after all, have a few things to hide. When menacing coincidences begin to occur, a spiraling contest of sinister hints and mutual terrorism ensues, resulting in one of Patricia Highsmith's most elegantly harrowing novels to date.
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In this quietly terrifying exploration of trust and friendship, a troubled young runaway arrives in Villeperce. And when, on the boy's behalf, Tom Ripley is drawn from his lovely estate in the French countryside to Berlin's seamy underworld and into a kidnapping plot that requires the most bizarre methods--and sinister acumen--for intervention, the icily amoral Ripley is transformed into a generous and compassionate projector.
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With the Savage Humor of Evelyn Waugh and the macabre sensibility of Edgar Allan Poe, Patricia Highsmith brought a distinct twentieth-century acuteness to her prolific body of fiction. In her more than twenty novels, psychopaths lie in wait amid the milieu of the mundane, in the neighbor clipping the hedges or the spouse asleep next to you at night. Now, Norton continues the revival of this noir genius with two more of her lost masterpieces: The Blunderer, first published in 1953 and hailed as her finest novel, about the rise and fall of a faithful suburban husband who plots his wife's demise in fantasies gruesome and eerily serene; and a later work from 1983, People Who Knock on the Door, a tale about blind faith and the slippery notion of justice that lies beneath the peculiarly American veneer of righteousness. Both novels, out of print for years, again attest to Highsmith's reputation as "the poet of apprehension" (Graham Greene).
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The honeymoon is over, as they say, the bride dead by her own hand. Ray Garrett, the grieving husband, convinces the police in Rome of his innocence, but not his thuggish father-in-law, an American painter named Ed Coleman, who shoots him at point-blank range and leaves him for dead. Ray survives, however, and follows Coleman to Venice, where the two fall into an eerie game of cat-and-mouse—Coleman obsessed with vengeance and Ray equally insistent on clearing his conscience, though each is at once the hunter and the hunted in a duel composed of tension, hiding, and guessing, and at times punctuated by violence that, even as each manages to walk away, draws them nearer to death.
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At last back in print, one of Patricia Highsmith's most disturbing works.Rife with overtones of Dostoyevsky, The Glass Cell, first published forty years ago, combines a quintessential Highsmith mystery with a penetrating critique of the psychological devastation wrought by the prison system. Falsely convicted of fraud, the easygoing but naïve Philip Carter is sentenced to six lonely, drug-ravaged years in prison. Upon his release, Carter is a more suspicious and violent man. For those around him, earning back his trust can mean the difference between life and death. The Glass Cell's bleak and compelling portrait of daily prison life—and the consequences for those who live it—is, sadly, as relevant today as it was when the book was first published in 1964.
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Connoisseur of art, harpsichord aficionado, gardener extraordinaire, and genius of improvisational murder, the inimitable Tom Ripley finds his complacency shaken when he is scorned at a posh gala. While an ordinary psychopath might repay the insult with some mild act of retribution, what Ripley has in mind is far more subtle, and infinitely more sinister. A social slight doesn't warrant murder of course-- just a chain of events that may lead to it.
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Nothing That Meets the Eye confirms Patricia Highsmith as a great American writer.If only Patricia Highsmith (1921-1995) had been alive to see the thunderous critical response to the publication of the best-selling The Selected Stories of Patricia Highsmith in 2001. Now the Highsmith renaissance continues with this brilliant collection of 28 short stories, a great majority of which have never been seen before. The stories assembled in Nothing That Meets the Eye, written between 1938 and 1982, are vintage Highsmith: a gigolo-like psychopath preys on unfulfilled career women; a lonely spinster's fragile hold on reality is tethered to the bottle; an estranged postal worker invents homicidal fantasies about his coworkers. While some stories anticipate the diabolical narratives of the Ripley novels, others possess a Capra-like sweetness that forces us to see the author in a new light. From this new collection, a remarkable portrait of the American psyche at mid-century emerges, unforgettably distilled by the inimitable eye of Patricia Highsmith.
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Three of them are waiting. Rydal Keener is waiting for something exciting to happen in his grubby little Athens hotel. At forty-odd, Chester MacFarland has been waiting much longer, expecting his life of stock manipulation and fraud to catch up with him. And Colette, Chester’s wife, is waiting for something altogether different.
After a nasty little incident in the hotel, they all wait together. As the stakes—and the tension—in theirthree-cornered waiting game mount, they learn that while passports and silence can be bought, other things can cost as much as your life.
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This “extraordinary story” (Julian Symons) begins with an act of naive voyeurism. Robert Forester, a depressed but fundamentally decent man, liked to watch Jenny through her kitchen window—a harmless palliative, as he saw it, to his lonely life and failed marriage. As he is drawn into her life, however, the recriminations of his simple pleasure shatter the deceptive calm of this small Pennsylvania town. With striking clarity and horrible inevitability, Forester is caught up in a series of deaths in which he is the innocent bystander, presumed guilty. Highsmith has once again, as Graham Greene wrote, “created a world of her own—a world claustrophobic and irrational which we enter each time with a sense of personal danger.” And that sense of danger grows from the first page to the sinister and chilling conclusion.
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Following the national bestseller Selected Stories, this fall brings the republication of two gripping classics. Stories from The Animal-Lover's Book of Beastly Murder portray, with incisive humor, the murderously competitive desires of our most trusted companions. In this satirical reprise of Kafka, cats, dogs, and the occasional cockroach are no longer benign elements of a happy home but actually have the power to destroy it.
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When Ralph Linderman returns a stranger’s wallet he found during a morning stroll through Greenwich Village, he is entirely unprepared for the complex maze of sexual obsession and disturbing psychological intrigue he is about to be drawn into. Patricia Highsmith, author of The Tremor of Forgery, Strangers on a Train, and The Cry of the Owl has once again created an unsettling thriller that explores the bleakest alleyways of human desire. Highsmith has been called “one of the finest crime novelists” by the New York Times and is now considered one of the most original voices in twentieth-century American fiction.