A classic, chilling tale of mystery and psychological horror that “will hold your attention to the last” (The New York Times). When a young, blond, handsome man walks into a psychiatrist’s office, stating that he believes he is losing his mind and asking questions about hallucinations, the doctor is prepared to help his new patient overcome his delusions. But as this twisting tale progresses, the line between what is real and unreal begins to blur—and the story becomes not only a murder mystery but a dark, unsettling voyage into memory, madness, torture, and despair.

The 1947 cult classic from acclaimed crime writer John Franklin Bardin, now available for the first time in eBook edition. Philip Banter is a little too fond of drink, and his marriage isn't what it should be. He's also troubled by a penchant for forgetting. That doesn't mean he's losing his mind. Then Philip finds a manuscript entitled "Confession" in his office. He reads about a surprise dinner party his wife held, of the conversation that took place, and —to his horror—of his own infidelity. But the "confession" turns out to be a prophecy, accurate in almost every detail. Is he the victim of a conspiracy to drive him mad, or did he type the manuscript himself? As the "confession" grows lengthier and more destructive, can he find the willpower to resist its terrifying inevitability?

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Although rarely distinguished from the detective story, the crime novel offers readers a quite different experience. In the detective novel, a sympathetic detective figure uses reason and intuition to solve the puzzle, restore order, and reassure readers that "right" will always prevail. In the crime novel, by contrast, the "hero" is either the killer, the victim, a guilty bystander, or someone falsely accused, and the crime may never be satisfactorily solved. These and other fundamental differences are set out by Tony Hilfer in The Crime Novel, the first book that completely defines and explores this popular genre. Hilfer offers convincing evidence that the crime novel should be regarded as a genre distinct from the detective novel, whose conventions it subverts to develop conventions of its own. Hilfer provides in-depth analyses of novels by Georges Simenon, Margaret Millar, Patricia Highsmith, and Jim Thompson. He also treats such British novelists as Patrick Hamilton, Shelley Smith, and Marie Belloc Lowndes, as well as the American novelists Cornell Woolrich, John Franklin Bardin, James M. Cain, and Fredric Brown. In addition, he defines the distinctions between the American crime novel and the British, showing how their differences correspond to differences in American and British detective fiction. This well-written study will appeal to a general audience, as well as teachers and students of detective and mystery fiction. For anyone interested in the genre, it offers valuable suggestions of "what to read next."

At the beginning of the 20th century, life expectancy at birth in North America and Western Europe was around 50 years of age. Nowadays, women have gained more than 30 years of age and men are trailing closer. However, according to several sociologists such as Louis Chauvel, the notion of a "greying society" is not entirely adequate since aging people are physically and socially younger and more active for a longer time. Of course, the other side of the medal is to tackle the challenge of preventing age-associated chronic diseases. In this book the extensive field of research on neuroendocrine aging has been reviewed. Aging is one of the most complex biological processes determined by the interactions between genetic and environmental factors.

Although rarely distinguished from the detective story, the crime novel offers readers a quite different experience. In the detective novel, a sympathetic detective figure uses reason and intuition to solve the puzzle, restore order, and reassure readers that "right" will always prevail. In the crime novel, by contrast, the "hero" is either the killer, the victim, a guilty bystander, or someone falsely accused, and the crime may never be satisfactorily solved. These and other fundamental differences are set out by Tony Hilfer in The Crime Novel, the first book that completely defines and explores this popular genre. Hilfer offers convincing evidence that the crime novel should be regarded as a genre distinct from the detective novel, whose conventions it subverts to develop conventions of its own. Hilfer provides in-depth analyses of novels by Georges Simenon, Margaret Millar, Patricia Highsmith, and Jim Thompson. He also treats such British novelists as Patrick Hamilton, Shelley Smith, and Marie Belloc Lowndes, as well as the American novelists Cornell Woolrich, John Franklin Bardin, James M. Cain, and Fredric Brown. In addition, he defines the distinctions between the American crime novel and the British, showing how their differences correspond to differences in American and British detective fiction. This well-written study will appeal to a general audience, as well as teachers and students of detective and mystery fiction. For anyone interested in the genre, it offers valuable suggestions of "what to read next."