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.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

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?

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."