The definitive edition of America's modern master of crime fiction continues with four classic novels widely considered his best, presented in one volume for the first time with behind-the-scenes accounts of their genesis by editor Gregg Sutter, Leonard's longtime researcher, and rare archival material: a must for any fan. It was during the 1980s that Elmore Leonard came into his own as the most popular and critically acclaimed crime writer in America. The four novels collected here show him at the top of his form, each in its own distinct way: City Primeval is a modern-day Western pitched on the border between law and lawlessness, with Detroit as the frontier; LaBrava, set in Miami, orchestrates a complex scheme involving a long-forgotten film noir actress and an ex-Secret Service man turned photographer; Glitz plunges into the seedy world of Atlantic City casinos and into the twisted mind of the unforgettable Teddy Magyk, one of Leonard's most indelible bad guys; and Freaky Deaky sets in motion a tumultuous '60s flashback, laced with harsh and outlandish comic touches, as a pair of morally dubious veterans of Ann Arbor revolutionary politics try out some new scams. LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation's literary heritage by publishing, and keeping permanently in print, America's best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.
'Like our best women writers (Joan Didion, Joyce Carol Oates), Owens is not afraid to take risks...Owens is a highly intelligent writer and a fiendishly sardonic one--to the extent that her outrageous wit rescues her freaky Jewish anti-heroine from becoming a pain in the Asphalt Jungle. On every page wisecracks explode like anti-personnel mines. We laugh, nervously perhaps, but often.' &#8212; Newsweek &#8220;One of the earliest portraits of the female antihero, a sort of distaff Notes From Underground. It was very funny&#8221; &#8212;Anatole Broyard, The New York Times &#8220;A very funny book by a exhilarating talent.&#8221; &#8212; The New York Times &#8220;&#8230;like watching a woman depilate with an acetylene touch.&#8221; &#8212;Newsweek &#8220;Good enough to have convulsed the late Oscar Levant, barbed, bitchy and hilariously sour.&#8221; &#8212;Kenneth Tynan &#8220;Spiky with mockery, carbon steel wit and mature observation.&#8221; &#8212; Village Voice &#8220;Owens, under the name of Harriet Daimler, was a prominent Parisian pornographer for Olympia Press&#8230;[who] as 'Harriet Daimler', became one of Girodias's most celebrated pornographers, someone who struggled 'against her impossible tendency to write more explicitly than the courts will tolerate&#8217;&#8221; &#8212; Bloomsbury Magazine &#8220;To characterize After Claude as the inevitable lightly veiled autobiography of a &#8216;first&#8217; novel is to deny Ms. Owens her due both as a savagely accurate reporter of the current Greenwich Village-Chelsea Hotel scene, and as a gallow humorist of major order. ..After Claude...is said, with biting verve and accuracy for New York that Mary McCarthy and her reliance on &#8216;facts&#8217; would well envy.&#8221; &#8212;Eleanor Rackow Widmer, Arts and Society 'Hilariously brutal...an addictive, prickly pear of a read.' &#8212;Skakespeare & Co Booksellers blog &#8220; After Claude is a very funny book saved from off-putting vulgarity by an exhilarating talent and intelligence...&#8221; &#8212;Leonard Michaels, The New York Times Book Review &#8220;Miss Owens has created a new kind of monster for your compassion. And isn't that, after all, one of the classical functions of contemporary fiction?&#8221; &#8212;Anatole Broyard, The New York Times 'Novels like Fear of Flying and After Claude created a fresh voice that made us want to laugh out loud, pass the book around, read funny bits to our friends.' &#8212;Morris Dickstein, The New York Times &#8220;Harriet tells her story like a female Lenny Bruce&#8230;while I was reading&#8230;I was laughing too hard to see the page.&#8221; &#8212;John Lahr, Women&#8217;s Wear Daily