Manhattan Noir

A walk on the wild side! In this series of collections of gritty Noir and Hardboiled stories, you’ll find some of the best writers of the craft writing in their prime.

The Ehrengraf Nostrum is the eighth of ten stories about the determined and resourceful attorney, Martin H. Ehrengraf.

Ehrengraf’s cases, while refashioned by the perverse imagination of his biographer, sometimes draw their inspiration from the real world. Such is clearly the case in the present instance, and readers with good memories will surely recall the rash of pointless deaths that have burdened us to this day with containers of patent medicine that only a child can open.

But I digress...

This anthology was edited by Michael Connelly. His essay is called "Once Upon a Midnight Dreary."

A collection of stories by thriller master Edgar Allan Poe with essays by beloved and bestselling writers, to commemorate the 200th anniversary of Poe's birth. Authors involved include Michael Connelly, Jeffery Deaver, Nelson DeMille, Tess Gerritsen, Sue Grafton, Stephen King, Lisa Scottoline, Laura Lippman, and twelve others.

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Few have crafted stories as haunting as those by Edgar Allan Poe. Collected here to commemorate the 200th anniversary of Poe's birth are sixteen of his best tales accompanied by twenty essays from beloved authors, including T. Jefferson Parker, Lawrence Block, Sara Paretsky, and Joseph Wambaugh, among others, on how Poe has changed their life and work.

Michael Connelly recounts the inspiration he drew from Poe's poetry while researching one of his books. Stephen King reflects on Poe's insight into humanity's dark side in "The Genius of 'The Tell-Tale Heart.'" Jan Burke recalls her childhood terror during late-night reading sessions. Tess Gerritsen, Nelson DeMille, and others remember the classic B-movie adaptations of Poe's tales. And in "The Thief," Laurie R. King complains about how Poe stole all the good ideas… or maybe he just thought of them first.

Powerful and timeless, In the Shadow of the Master is a celebration of one of the greatest literary minds of all time.

The Mystery Writers of America, founded in 1945, is the foremost organization for mystery writers and other professionals dedicated to the field of crime writing.

In his introduction to the The Best American Noir of the Century, James Ellroy writes, 'noir is the most scrutinized offshoot of the hard-boiled school of fiction. It's the long drop off the short pier and the wrong man and the wrong woman in perfect misalliance. It's the nightmare of flawed souls with big dreams and the precise how and why of the all-time sure thing that goes bad.' Offering the best examples of literary sure things gone bad, this collection ensures that nowhere else can readers find a darker, more thorough distillation of American noir fiction.

James Ellroy and Otto Penzler, series editor of the annual The Best American Mystery Stories, mined one hundred years of writing - 1910-2010 - to find this treasure trove of thirty-nine stories. From noir's twenties-era infancy come gems like James M. Cain's 'Pastorale,' and its post-war heyday boasts giants like Mickey Spillane and Evan Hunter. Packing an undeniable punch, diverse contemporary incarnations include Elmore Leonard, Patricia Highsmith, Joyce Carol Oates, Dennis Lehane, and William Gay, with many page-turners appearing in the last decade.

You think you’ve got problems?

Well, how would you like to get a letter from your ex-wife’s lawyer threatening a lawsuit over a measly few months’ alimony? And then be fired from your job as editor of Ronald Rabbit’s Magazine for Boys and Girls simply because the magazine had ceased publication six month ago? And then go home to find your wife has run off with your best friend — and your bank account? And that you are being evicted from your apartment?

What do you do then, when you are left with nothing but your lurid memories, your itchy libido and an unemployed typewriter?

If you are Laurence Clarke, our trepid hero and the world’s most cunning linguist, you immediately plunge into not one but seven simultaneous and overlapping love affairs that would boggle a satyr. And you set into motion the most outrageous, insanely complicated and deviously horny series of interlocking plots and counterplots since Machiavelli began his nursery school.

How did these maniacal manipulations bring together the erstwhile publisher of Ronald Rabbit’s his depraved but virginal secretary, six little schoolgirls who should have had Polly Adler for a housemother, two ex-wives who were usually too prone to argue, one landlord, two law firms, various bystanders, and a partridge in a pear tree?

You’ll have to read the incredible letters of Laurence Clarke to find out, but we will admit to one thing:

We lied about the partridge.

This is the sixth story about Martin H. Ehrengraf, diminutive attorney who represents criminal defendants on a contingency basis. In earlier appearances, the little lawyer has quoted William Blake, Winthrop Mackworth Praed, Thomas Hood, and Andrew Marvell, so it’s clear that he sees poetry as a sacred calling.

However vile the crime, however damning the evidence, Ehrengraf knows with utter certainty that young William Telliford is innocent. And nothing can keep him from establishing that innocence beyond dispute.

Then again, circumstances alter cases, don’t they?

The Ehrengraf Alternative is the seventh of ten stories about the little lawyer whose resourcefulness on behalf of an innocent client is unparalleled.

It seems to me that a couple of real-life cases inspired this story, but I find I can’t call them to mind; the story seems to have outlived its inspiration. Ehrengraf would probably quote Hippocrates. “Ars longa, vita brevis,” he would remark, smiling his little smile.