Margery Allingham, the ever popular master of detective fiction, offers readers a feast of exotic and entertaining adventures starring her beloved sleuth Albert Campion, hero of a PBS Mystery! series. "All impeccably written and gripping".--Manchester Evening News.

This collection of short stories includes spine-chillers enchanced with humour. This collection includes He was Asking After You, Publicity, The Perfect Butler, The Barbarian and Mr Campion's Lucky Day.

A collection of eighteen classic Golden Age short stories from “the best of mystery writers”—with a tribute by Agatha Christie (The New Yorker). Acclaimed by critics and her peers, Margery Allingham was one of the finest writers of her day, crafting fiction that challenged readers’ crime-solving skills and kept them on the edge of their seats. Foul play, mystery, and the macabre set the stage for unforgettable characters who struggled with the complexities of life and their own morality. In these pages, you’ll find eighteen stories that showcase Margery Allingham’s wit, sharp characterization, and clever plotting. From her famous detective’s swift dispatch of a case in “Mr. Campion’s Lucky Day,” to ghost-hunting in a terrorized village in “’Tis Not Hereafter,” to a debate about—and proof of—good and evil in “The Wink,” Margery Allingham shows why she “deserves to be rediscovered” (P. D. James, New York Times–bestselling author). Praise for Margery Allingham “[Allingham was a] rare and precious talent.” —The Washington Post “Don’t start reading these books unless you are confident that you can handle addiction.” —The Independent “One of the finest Golden-Age crime novelists.” —The Sunday Telegraph

“A top-notch mystery full of keen characterization, humor, old English atmosphere, a charmingly decadent family, and a few sudden deaths.” —The New York Times A beggarwoman on a bench arouses Albert Campion’s curiosity—and helps Scotland Yard lure him into a case of family dysfunction. The seemingly destitute woman is none other than a member of the eccentric Palinode family, which has recently lost two of its members. The police suspect a poisoner is on the loose, which is why Campion is willing to go undercover as a lodger in the boardinghouse where they live. As the recently deceased are exhumed, Campion becomes acquainted with the old-fashioned, out-of-the-ordinary family members, who talk in crossword puzzle clues, sneak out at night, and cook vats of stinky food in the basement to save money. And if that’s not enough to keep Campion on his toes, the local undertaker seems to be digging himself into a hole . . . Praise for Margery Allingham “Margery Allingham stands out like a shining light.” —Agatha Christie “The best of mystery writers.” —The New Yorker “Don’t start reading these books unless you are confident that you can handle addiction.” —The Independent “One of the finest Golden-Age crime novelists.” —The Sunday Telegraph “Spending an evening with Campion is one of life’s pure pleasures.” —The Sunday Times

A custom-made killer shocks the fashionable London set in “one of the finest murder books ever written” featuring gentleman sleuth Albert Campion (The New Yorker). Albert Campion’s sister is a success in her own right. A top fashion designer, she works for a legendary couturier and dresses Georgia Wells, the best-dressed actress in the world. Albert also has a connection to Georgia, but his is based on failure, not success. Georgia’s former fiancé disappeared nearly three years ago, and Campion has never been able to find him. Until now . . . The victim’s remains—discovered by Campion in a deserted country house—point to suicide. But the man’s father assumes it was foul play. In a rarified world of wealth and privilege where silence and secrets can be bought, the investigation won’t be easy, especially when another death takes center stage. This time, the victim is Georgia’s current husband—and starring in the role of prime suspect: Albert’s sister. “Top ranking whodunit in Dorothy Sayers tradition . . . Plus sale for non-mysteryites as first rate novel of fashionable London. Suspense—humor—well planned, well written.” —Kirkus Reviews Praise for Margery Allingham “Margery Allingham stands out like a shining light.” —Agatha Christie “The best of mystery writers.” —The New Yorker “Allingham was a rare and precious talent.” —The Washington Post “Don’t start reading these books unless you are confident that you can handle addiction.” —The Independent

“The Tiger in the Smoke is a phenomenal novel.” —J. K. Rowling A fog is creeping through the weary streets of London—so too are whispers that the Tiger is back in town, undetected by the law, untroubled by morals. And the rumors are true: Jack Havoc, charismatic outlaw, knife-wielding killer, and ingenious jail-breaker, is on the loose once again. As Havoc stalks the smog-cloaked alleyways of the city, it falls to Albert Campion to hunt down the fugitive and put a stop to his rampage—before it’s too late . . . “Allingham’s work is always of the first rank.” —The New York Times

Burial Plots in British Detective Fiction offers an overview of the ways in which the past is brought back to the surface and influences the present in British detective fiction written between 1920 and 2020. Exploring a range of authors including Agatha Christie, Patricia Wentworth, Val McDermid, Sarah Caudwell, Georgette Heyer, Dorothy Dunnett, Jonathan Stroud and Ben Aaronovitch, Lisa Hopkins argues that both the literal and literary disinterment of the past use elements of the national past to interrogate the present. As such, in the texts discussed, uncovering the truth about an individual crime is also typically an uncovering of a more general connection between the present and the past. Whether detective novels explore murders on archaeological digs, hauntings, cold crimes or killings at Christmas, Hopkins explores the underlying message that you cannot understand the present unless you understand the past.

From Sherlock Holmes onwards, fictional detectives use lenses: Ocular Proof and the Spectacled Detective in British Crime Fiction argues that these visual aids are metaphors for ways of seeing, and that they help us to understand not only individual detectives’ methods but also the kinds of cultural work detective fiction may do. It is sometimes regarded as a socially conservative form, and certainly the enduring popularity of ‘Golden Age’ writers such as Christie, Sayers, Allingham and Marsh implies a strong element of nostalgia in the appeal of the genre. The emphasis on visual aids, however, suggests that solving crime is not a simple matter of uncovering truth but a complex, sophisticated and inherently subjective process, and thus challenges any sense of comforting certainties. Moreover, the value of eye-witness testimony is often troubled in detective fiction by use of the phrase ‘the ocular proof’, whose origin in Shakespeare’s Othello reminds us that Othello is manipulated by Iago into misinterpreting what he sees. The act of seeing thus comes to seem ideological and provisional, and Lisa Hopkins argues that the kind of visual aid selected by each detective is an index of his particular propensities and biases.

A new collection featuring the story that inspired Real Steel, a major motion picture starring Hugh Jackman.