SHADOWS DON'T BLEED and THE SHARP EDGE Ramble House is proud to present a double novel by Wade Wright, reprinting the first two Paul Cameron stories (1967/68): Shadows Don't Bleed and The Sharp Edge. They were a departure from the Spillane-like Bart Condor series he had begun in 1964, but he kept his fast-paced, raw style. Every word of the original editions is preserved.

"The White Owl," by Edmund Snell, quivers with the literary hocus pocus that affords mental relief in a materialistic age. Two adventurers, searching for an Aztec temple containing a deity, which flourished before the Spanish conquistadores overran Mexico, find it, and on opening the covering of a shaft one of them is carried down into its fathomless depths by a huge white owl. There appears to the survivor a girl, Naia, who tells him that his friend will reappear after twenty moons. The White Owl having been released, the hatred of the Aztecs for their Spanish oppressors is renewed, and a series of murders of Spaniards in various places in Europe follows, the White Owl with hideous green eyes continually appearing when the mysterious influences are at work. The vanished explorer and the girl Naia are always the instruments.

American readers will rarely see these two thrillers from the 30s by Britain's Roland Daniel. THE SIGNAL (1933) begins with a rich man receiving in the mail five beans (!) just before he's dispatched with a pistol by an unknown hand. Sounds like something Harry Stephen Keeler might have opined. And Fu Manchu has nothing on the inscrutable and titular Wu Fang, whose sordid machinations threaten a young American woman, her Secret Service beau, his cockney sidekick and Superintendent Bill Saville of the Yard. The wily celestial, introduced in 1934, has picked up some new tortures by 1937, and can't wait to try them on the whole crowd.

A collection of projects by some University of Melbourne students involving dolls made up to look like victims and villains from Arthur Conan Doyle's books about Sherlock Holmes.