"[Van de Wetering] is doing what Simenon might have done if Albert Camus had sublet his skull." —John Leonard On a quiet street in downtown Amsterdam, a man is found hanging from the ceiling beam of his bedroom, upstairs from the new religious society he founded: a group that calls itself “Hindist” and supposedly mixes elements of various Eastern traditions. Detective-Adjutant Gripstra and Sergeant de Gier of the Amsterdam police are sent to investigate what looks like a simple suicide, but they are immediately suspicious of the circumstances. This now-classic novel, first published in 1975, introduces Janwillem van de Wetering’s lovable Amsterdam cop duo of portly, wise Gripstra and handsome, contemplative de Gier. With its unvarnished depiction of the legacy of Dutch colonialism and the darker facets of Amsterdam’s free drug culture, this excellent procedural asks the question of whether a murder may ever be justly committed.

A recluse has been shot right between the eyes as he stood looking out of his bedroom window. His neighbor, a schoolteacher who is a pistol shot champion, admits she discovered the body and failed to report it. Is she really guilty of murder?

Maria van Buren, a beautiful, high-class prostitute, is found dead with a knife in her back in her houseboat on an Amsterdam canal. Grijpstra and de Gier must solve the murder. Her tony clients all have sound alibis. Before the murderer is caught, the detectives and their commissaris will investigate allegations of black magic, travel to Curaçao, and pursue the clues to a chilly island off the coast of Holland.

Douwe Scherjoen was a well-to-do livestock dealer from the remote Dutch province of Friesland. Then his corpse was found, half-charred by flames, floating in a dory in Amsterdam's harbor. No one knows why he was in the nation's capital, far from the bucolic pleasures of his native village of Dingjum. But since Grijpstra is Friesian by birth and can understand the dialect, he and his partner de Gier are dispatched to find the killer—or at least the motive for the crime. And they discover that while no one, not even his wife, liked the victim, the culprit is the unlikeliest suspect of all.

Mr. Fortune is suspected of murdering his wife. Grijpstra and de Gier begin a search that leads to the unidentified corpse of a man stuffed into the trunk of a stolen Mercedes. But where is the body of Mrs. Fortune? Tracking a killer without a corpse and a corpse without a killer, the Amsterdam cops finally arrive at the bonechilling truth.

In the twelfth book in an acclaimed series, retired Amsterdam policeman Henk Grijpstra gets a frantic telephone call from his old partner, Rinus de Gier, who thinks he may have killed his girlfriend. He is being blackmailed and can’t remember if he did it; he was just too drunk. But if he did, where is the corpse? Would his old partner please fly over to the US at once? Urged on by their former superior officer, the commissaris, Grijpstra grudgingly travels to Maine to rescue his partner and to confront his own demons as well as de Gier’s.

The beloved Amsterdam Cops - Henrik Grijpstra and Rinus de Gier - have appeared in fourteen novels and thirteen short stories. All of the stories are now collected in this volume and are published here for the first time in paperback. 'The changes van de Wetering rings on the short-story formula do more than any other recent writer's work to inspire confidence in the form.' Kirkus Review 'Excellent news for fans...a series of first class crime stories.' - Bookman News

The accidental death of his brother-in-law sends the commissaris to the secluded town of Jameson, Maine. De Gier goes along to see the United States. But there has been a sinister pattern of deaths in the area, and the two find themselves neck-deep in a murder investigation involving shady real estate deals, with a townful of suspects and the icy breath of a cold-blooded killer stalking their every move.

During a random break-in, three heroin addicts discover the corpse of banker Martin Ijsbreker. They arrange his death to look like a suicide and flee with his valuables, but are found dead of an overdose the next day. The investigating officer dismissed their deaths as an accident, but the commissaris suspects that his cousin and childhood nemesis, Willem Fernandus, murdered Ijsbreker to protect his own shares in the dead man’s bank. When the two finally confront each other as adversaries, someone will die.

There is a popular and romantic myth about Rembrandt and the Jewish people. One of history's greatest artists, we are often told, had a special affinity for Judaism. With so many of Rembrandt's works devoted to stories of the Hebrew Bible, and with his apparent penchant for Jewish themes and the sympathetic portrayal of Jewish faces, it is no wonder that the myth has endured for centuries. Rembrandt's Jews puts this myth to the test as it examines both the legend and the reality of Rembrandt's relationship to Jews and Judaism. In his elegantly written and engrossing tour of Jewish Amsterdam—which begins in 1653 as workers are repairing Rembrandt's Portuguese-Jewish neighbor's house and completely disrupting the artist's life and livelihood—Steven Nadler tells us the stories of the artist's portraits of Jewish sitters, of his mundane and often contentious dealings with his neighbors in the Jewish quarter of Amsterdam, and of the tolerant setting that city provided for Sephardic and Ashkenazic Jews fleeing persecution in other parts of Europe. As Nadler shows, Rembrandt was only one of a number of prominent seventeenth-century Dutch painters and draftsmen who found inspiration in Jewish subjects. Looking at other artists, such as the landscape painter Jacob van Ruisdael and Emmanuel de Witte, a celebrated painter of architectural interiors, Nadler is able to build a deep and complex account of the remarkable relationship between Dutch and Jewish cultures in the period, evidenced in the dispassionate, even ordinary ways in which Jews and their religion are represented—far from the demonization and grotesque caricatures, the iconography of the outsider, so often found in depictions of Jews during the Middle Ages and the Renaissance. Through his close look at paintings, etchings, and drawings; in his discussion of intellectual and social life during the Dutch Golden Age; and even through his own travels in pursuit of his subject, Nadler takes the reader through Jewish Amsterdam then and now—a trip that, under ever-threatening Dutch skies, is full of colorful and eccentric personalities, fiery debates, and magnificent art.