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Masterpieces of Mystery Riddle Stories by Joseph Lewis French Pdf
A distinguished American writer of fiction said to me lately: "Did you ever think of the vital American way we live? We are always going after mental gymnastics." Now the mystery story is mental gymnastics. By the time the reader has followed a chain of facts through he has exercised his mind,—given himself a mental breather. But the claims of the true mystery story do not end with the general reader. It is entitled to the consideration of the discriminating because it indubitably takes its own place as a gauge of mastery in the field of the short story.
Masterpieces of Mystery in Four Volumes: Riddle Stories by Various Pdf
"Masterpieces of Mystery in Four Volumes: Riddle Stories" by Various. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.
The Technique of the Mystery Story by Carolyn Wells Pdf
Carolyn Wells's The Technique of the Mystery Story gets to the heart of a craft she defined despite coming to it late in her career. Wells offers a valuable framework for writers looking to follow in her footsteps or readers looking for access to the mind and process of a woman revered in her field, exploring the history of the genre, defining its many different forms, and illuminating the stylistic choices that keep a mystery tale running smoothly. This work begins with an argument for mystery as a legitimate literary art form, supported by numerous quotations from authorities. Then, moving through her topics in a systematic manner, she explains and illustrates the mystery-writing craft with excerpts from mystery works and quotations from literary critics and notable authors. This is essentially a mini-course in mystery story creative writing.
In the near future, tech whiz Milo Warwick, an MIT grad student, is murdered, and the laptop containing his PhD thesis -- a program and a hearing aid-like device that would think for you and recall your past if you couldn’t -- is missing. His best friend, rising tennis star and American “prince” Alex Darlington suspects Chinese espionage and interjects himself into the investigation, led by his godfather, CIA China Bureau chief Mitch Abramson. But the more immersed Alex becomes in the investigation, the more he is drawn into the past and the world of Tamara Chen, the cool Chinese cultural attaché whose staging of Giacomo Puccini’s Turandot for China’s One World Festival may hold the key to why the opera-crazed Milo died and the whereabouts and password of his computer.
Part one of an unusual and astonishing new fantasy trilogy that blends fine literary fare with a terrific romp through the reimagined outskirts of Victorian-era London In the imaginary borough of Filching, the extensive Iremonger family (“kings of mildew, moguls of mould”) have made a fortune from junk, building a dark and sprawling mansion from salvage scrap. Heap House is surrounded by the dangerous, noxious, shifting Heaps that stretch beyond its bounds. And within its walls, certain objects begin to display strange signs of life. Young Clod Iremonger is about to be "trousered" and betrothed (unwillingly) to his cousin Pinalippy when he meets the plucky orphan servant Lucy Pennant, with whose help he begins to uncover the dark secrets of his family’s empire. Mystery, romance and the perils of the Heaps await! Gorgeously (and ghoulishly) illustrated by the author, Heap House is peopled with unforgettable characters with delightfully skewed names--anxious, animal-loving Tummis with his pet seagull; menacing cousin Moorcus; dreadful Aunt Rosamud and more. As Carey writes, “Every life is thick with rubbish, but the Iremongers did it with a difference.”
The Lock and Key Library The most interesting stories of all nations American by Julian Hawthorne Pdf
When Poe wrote his immortal Dupin tales, the name “Detective” stories had not been invented; the detective of fiction not having been as yet discovered. And the title is still something of a misnomer, for many narratives involving a puzzle of some sort, though belonging to the category which I wish to discuss, are handled by the writer without expert detective aid. Sometimes the puzzle solves itself through operation of circumstance; sometimes somebody who professes no special detective skill happens upon the secret of its mystery; once in a while some venturesome genius has the courage to leave his enigma unexplained. But ever since Gaboriau created his Lecoq, the transcendent detective has been in favor; and Conan Doyle's famous gentleman analyst has given him a fresh lease of life, and reanimated the stage by reverting to the method of Poe. Sherlock Holmes is Dupin redivivus, and mutatus mutandis; personally he is a more stirring and engaging companion, but so far as kinship to probabilities or even possibilities is concerned, perhaps the older version of him is the more presentable. But in this age of marvels we seem less difficult to suit in this respect than our forefathers were. The fact is, meanwhile, that, in the riddle story, the detective was an afterthought, or, more accurately, a deus ex machina to make the story go. The riddle had to be unriddled; and who could do it so naturally and readily as a detective? The detective, as Poe saw him, was a means to this end; and it was only afterwards that writers perceived his availability as a character. Lecoq accordingly becomes a figure in fiction, and Sherlock, while he was as yet a novelty, was nearly as attractive as the complications in which he involved himself. Riddle-story writers in general, however, encounter the obvious embarrassment that their detective is obliged to lavish so much attention on the professional services which the exigencies of the tale demand of him, that he has very little leisure to expound his own personal equation—the rather since the attitude of peering into a millstone is not, of itself, conducive to elucidations of oneself; the professional endowment obscures all the others. We ordinarily find, therefore, our author dismissing the individuality of his detective with a few strong black-chalk outlines, and devoting his main labor upon what he feels the reader will chiefly occupy his own ingenuity with,— namely, the elaboration of the riddle itself. Reader and writer sit down to a game, as it were, with the odds, of course, altogether on the latter's side,—apart from the fact that a writer sometimes permits himself a little cheating. It more often happens that the detective appears to be in the writer's pay, and aids the deception by leading the reader off on false scents. Be that as it may, the professional sleuth is in nine cases out of ten a dummy by malice prepense; and it might be plausibly argued that, in the interests of pure art, that is what he ought to be. But genius always finds a way that is better than the rules, and I think it will be found that the very best riddle stories contrive to drive character and riddle side by side, and to make each somehow enhance the effect of the other.—The intention of the above paragraph will be more precisely conveyed if I include under the name of detective not only the man from the central office, but also anybody whom the writer may, for ends of his own, consider better qualified for that function. The latter is a professional detective so far as the exigencies of the tale are concerned, and what becomes of him after that nobody need care,—there is no longer anything to prevent his becoming, in his own right, the most fascinating of mankind. But in addition to the dummyship of the detective, or to the cases in which the mere slip of circumstance takes his place, there is another reason against narrowing our conception of the riddle story to the degree which the alternative appellation would imply. And that is, that it would exclude not a few of the most captivating riddle stories in existence; for in De Quincey's “Avenger,” for example, the interest is not in the unraveling of the web, but in the weaving of it. The same remark applies to Bulwer's “Strange Story"; it is the strangeness that is the thing. There is, in short, an inalienable charm in the mere contemplation of mystery and the hazard of fortunes; and it would be a pity to shut them out from our consideration only because there is no second-sighted conjurer on hand to turn them into plain matter of fact. Yet we must not be too liberal; and a ghost story can be brought into our charmed and charming circle only if we have made up our minds to believe in the ghosts; otherwise their introduction would not be a square deal. It would not be fair, in other words, to propose a conundrum on a basis of ostensible materialism, and then, when no other key would fit, to palm off a disembodied spirit on us. Tell me beforehand that your scenario is to include both worlds, and I have no objection to make; I simply attune my mind to the more extensive scope. But I rebel at an unheralded ghostland, and declare frankly that your tale is incredible. And I must confess that I would as lief have ghosts kept out altogether; their stories make a very good library in themselves, and have no need to tag themselves on to what is really another department of fiction. Nevertheless, when a ghost story is told with the consummate art of a Miss Wilkins, and of one or two others on our list, consistency in this regard ceases to be a jewel; art proves irresistible. As for adventure stories, there is a fringe of them that comes under the riddle-story head; but for the most part the riddle story begins after the adventures have finished. We are to contemplate a condition, not to watch the events that ultimate in it. Our detective, or anyone else, may of course meet with haps and mishaps on his way to the solution of his puzzle; but an astute writer will not color such incidents too vividly, lest he risk forfeiting our preoccupation with the problem that we came forth for to study. In a word, One thing at a time! The foregoing disquisition may seem uncalled for by such rigid moralists as have made up their minds not to regard detective, or riddle stories, as any part of respectable literature at all. With that sect, I announce at the outset that I am entirely out of sympathy. It is not needed to compare “The Gold Bug” with “Paradise Lost"; nobody denies the superior literary stature of the latter, although, as the Oxford Senior Wrangler objected, “What does it prove?” But I appeal to Emerson, who, in his poem of “The Mountain and the Squirrel,” states the nub of the argument, with incomparable felicity, as follows:—you will recall that the two protagonists had a difference, originating in the fact that the former called the latter “Little Prig.” Bun made a very sprightly retort, summing up to this effect:— “Talents differ; all is well and wisely put; If I cannot carry forests on my back, Neither can you crack a nut.” Andes and Paradises Lost are expedient and perhaps necessary in their proper atmosphere and function; but Squirrels and Gold Bugs are indispensable in our daily walk. There is as fine and as true literature in Poe's Tales as in Milton's epics; only the elevation and dimensions differ. But I would rather live in a world that possessed only literature of the Poe caliber, than shiver in one echoing solely the strains of the Miltonian muse. Mere human beings are not constructed to stand all day a-tiptoe on the misty mountain tops; they like to walk the streets most of the time and sit in easy chairs. And writings that picture the human mind and nature, in true colors and in artistic proportions, are literature, and nobody has any business to pooh-pooh them. In fact, I feel as if I were knocking down a man of straw. I look in vain for any genuine resistance. Of course “The Gold Bug” is literature; of course any other story of mystery and puzzle is also literature, provided it is as good as “The Gold Bug,”—or I will say, since that standard has never since been quite attained, provided it is a half or a tenth as good. It is goldsmith's work; it is Chinese carving; it is Daedalian; it is fine. It is the product of the ingenuity lobe of the human brain working and expatiating in freedom. It is art; not spiritual or transcendental art, but solid art, to be felt and experienced. You may examine it at your leisure, it will be always ready for you; you need not fast or watch your arms overnight in order to understand it. Look at the nice setting of the mortises; mark how the cover fits; how smooth is the working of that spring drawer. Observe that this bit of carving, which seemed mere ornament, is really a vital part of the mechanism. Note, moreover, how balanced and symmetrical the whole design is, with what economy and foresight every part is fashioned. It is not only an ingenious structure, it is a handsome bit of furniture, and will materially improve the looks of the empty chambers, or disorderly or ungainly chambers that you carry under your crown. Or if it happen that these apartments are noble in decoration and proportions, then this captivating little object will find a suitable place in some spare nook or other, and will rest or entertain eyes too long focused on the severely sublime and beautiful. I need not, however, rely upon abstract argument to support my contention. Many of the best writers of all time have used their skill in the inverted form of story telling, as a glance at our table of contents will show; and many of their tales depend for their effect as much on character and atmosphere as on the play and complication of events. The statement that a good detective or riddle story is good in art is supported by the fact that the supply of really good ones is relatively small, while the number of writers who would write good ones if they could, and who have tried and failed to write them, is past computation. And one reason probably is that such stories, for their success, must depend primarily upon structure—a sound and perfect plot—which is one of the rare things in our contemporary fiction. Our writers get hold of an incident, or a sentiment, or a character, or a moral principle, or a hit of technical knowledge, or a splotch of local color, or even of a new version of dialect, and they will do something in two to ten thousand words out of that and call it a short story. Magazines may be found to print it—for there are all manner of magazines; but nothing of that sort will serve for a riddle story. You cannot make a riddle story by beginning it and then trusting to luck to bring it to an end. You must know all about the end and the middle before thinking, even, of the beginning; the beginning of a riddle story, unlike those of other stories and of other enterprises, is not half the battle; it is next to being quite unimportant, and, moreover, it is always easy. The unexplained corpse lies weltering in its gore in the first paragraph; the inexplicable cipher presents its enigma at the turning of the opening page. The writer who is secure in the knowledge that he has got a good thing coming, and has arranged the manner and details of its coming, cannot go far wrong with his exordium; he wants to get into action at once, and that is his best assurance that he will do it in the right way. But O! what a labor and sweat it is; what a planning and trimming; what a remodeling, curtailing, interlining; what despairs succeeded by new lights, what heroic expedients tried at the last moment, and dismissed the moment after; what wastepaper baskets full of futilities, and what gallant commencements all over again! Did the reader know, or remotely suspect, what terrific struggles the writer of a really good detective story had sustained, he would regard the final product with a new wonder and respect, and read it all over once more to find out how the troubles occurred. But he will search in vain; there are no signs of them left; no, not so much as a scar. The tale moves along as smoothly and inevitably as oiled machinery; obviously, it could not have been arranged otherwise than it is; and the wise reader is convinced that he could have done the thing himself without half trying. At that, the weary writer smiles a bitter smile; but it is one of the spurns that patient merit of the unworthy takes. Nobody, except him who has tried it, will ever know how hard it is to write a really good detective story. The man or woman who can do it can also write a good play (according to modern ideas of plays), and possesses force of character, individuality, and mental ability. He or she must combine the intuition of the artist with the talent of the master mechanic, but will seldom be a poet, and will generally care more for things and events than for fellow creatures. For, although the story is often concerned with righting some wrong, or avenging some murder, yet it must be confessed that the author commonly succeeds better in the measure of his ruthlessness in devising crimes and giving his portraits of devils an extra touch of black. Mercy is not his strong point, however he may abound in justice; and he will not stickle at piling up the agony, if thereby he provides opportunity for enhancing the picturesqueness and completeness of the evil doer's due. But this leads me to the admission that one charge, at least, does lie against the door of the riddle-story writer; and that is, that he is not sincere; he makes his mysteries backward, and knows the answer to his riddle before he states its terms. He deliberately supplies his reader, also, with all manner of false scents, well knowing them to be such; and concocts various seeming artless and innocent remarks and allusions, which in reality are diabolically artful, and would deceive the very elect. All this, I say, must be conceded; but it is not unfair; the very object, ostensibly, of the riddle story is to prompt you to sharpen your wits; and as you are yourself the real detective in the case, so you must regard your author as the real criminal whom you are to detect. Credit no statement of his save as supported by the clearest evidence; be continually repeating to yourself, “Timeo Danaos et dona ferentes,”—nay, never so much as then. But, as I said before, when the game is well set, you have no chance whatever against the dealer; and for my own part, I never try to be clever when I go up against these thimble-riggers; I believe all they tell me, and accept the most insolent gold bricks; and in that way I occasionally catch some of the very ablest of them napping; for they are so subtle that they will sometimes tell you the truth because they think you will suppose it to be a lie. I do not wish to catch them napping, however; I cling to the wisdom of ignorance, and childishly enjoy the way in which things work themselves out— the cul-de-sac resolving itself at the very last moment into a promising corridor toward the outer air. At every rebuff it is my happiness to be hopelessly bewildered; and I gape with admiration when the Gordian knot is untied. If the author be old-fashioned enough to apostrophize the Gentle Reader, I know he must mean me, and docilely give ear, and presently tumble head-foremost into the treacherous pit he has digged for me. In brief, I am there to be sold, and I get my money's worth. No one can thoroughly enjoy riddle stories unless he is old enough, or young enough, or, at any rate, wise enough to appreciate the value of the faculty of being surprised. Those sardonic and omniscient persons who know everything beforehand, and smile compassionately or scornfully at the artless outcries of astonishment of those who are uninformed, may get an ill-natured satisfaction out of the persuasion that they are superior beings; but there is very little meat in that sort of happiness, and the uninformed have the better lot after all. I need hardly point out that there is a distinction and a difference between short riddle stories and long ones—novels. The former require far more technical art for their proper development; the enigma cannot be posed in so many ways, but must be stated once for all; there cannot be false scents, or but a few of them; there can be small opportunity for character drawing, and all kinds of ornament and comment must be reduced to their very lowest terms. Here, indeed, as everywhere, genius will have its way; and while a merely talented writer would deem it impossible to tell the story of “The Gold Bug” in less than a volume, Poe could do it in a few thousand words, and yet appear to have said everything worth saying. In the case of the Sherlock Holmes tales, they form a series, and our previous knowledge of the hero enables the writer to dispense with much description and accompaniment that would be necessary had that eminent personage been presented in only a single complication of events. Each special episode of the great analyst's career can therefore be handled with the utmost economy, and yet fill all the requirements of intelligent interest and comprehension. But, as a rule, the riddle novel approaches its theme in a spirit essentially other than that which inspires the short tale. We are given, as it were, a wide landscape instead of a detailed genre picture. The number of the dramatis personae is much larger, and the parts given to many of them may be very small, though each should have his or her necessary function in the general plan. It is much easier to create perplexity on these terms; but on the other hand, the riddle novel demands a power of vivid character portrayal and of telling description which are not indispensable in the briefer narrative. A famous tale, published perhaps forty years ago, but which cannot be included in our series, tells the story of a murder the secret of which is admirably concealed till the last; and much of the fascination of the book is due to the ability with which the leading character, and some of the subordinate ones, are drawn. The author was a woman, and I have often marveled that women so seldom attempt this form of literature; many of them possess a good constructive faculty, and their love of detail and of mystery is notorious. Perhaps they are too fond of sentiment; and sentiment must be handled with caution in riddle stories. The fault of all riddle novels is that they inevitably involve two kinds of interest, and can seldom balance these so perfectly that one or the other of them shall not suffer. The mind of the reader becomes weary in its frequent journeys between human characters on one side the mysterious events on the other, and would prefer the more single- eyed treatment of the short tale. Wonder, too, is a very tender and short-lived emotion, and sometimes perishes after a few pages. Curiosity is tougher; but that too may be baffled too long, and end by tiring of the pursuit while it is yet in its early stages. Many excellent plots, admirable from the constructive point of view, have been wasted by stringing them out too far; the reader recognizes their merit, but loses his enthusiasm on account of a sort of monotony of strain; he wickedly turns to the concluding chapter, and the game is up. “The Woman in White,” by Wilkie Collins, was published about 1860, I think, in weekly installments, and certainly they were devoured with insatiable appetite by many thousands of readers. But I doubt whether a book of similar merit could command such a following to-day; and I will even confess that I have myself never read the concluding parts, and do not know to this day who the woman was or what were the wrongs from which she so poignantly suffered. The tales contained in the volumes herewith offered are the best riddle or detective stories in the world, according to the best judgment of the editors. They are the product of writers of all nations; and translation, in this case, is less apt to be misleading than with most other forms of literature, for a mystery or a riddle is equally captivating in all languages. Many of the good ones—perhaps some of the best ones—have been left out, either because we missed them in our search, or because we had to choose between them and others seemingly of equal excellence, and were obliged to consider space limitations which, however generously laid out, must have some end at last. Be that as it may, we believe that there are enough good stories here to satisfy the most Gargantuan hunger, and we feel sure that our volumes will never be crowded off the shelf which has once made room for them. If we have, now and then, a little transcended the strict definition of the class of fiction which our title would promise, we shall nevertheless not anticipate any serious quarrel with our readers; if there be room to question the right of any given story to appear in this company, there will be all the more reason for accepting it on its own merits; for it had to be very good indeed in order to overcome its technical disqualification. And if it did not rightfully belong here, there would probably be objections as strong to admitting it in any other collection. Between two or more stools, it would be a pity to let it fall to the ground; so let it be forgiven, and please us with whatever gift it has. In many cases where copyrights were still unexpired, we have to express our acknowledgments to writers and publishers who have accorded us the courtesy of their leave to reproduce what their genius or enterprise has created and put forth. To our readers we take pleasure in presenting what we know cannot fail to give them pleasure—a collection of the fruits of the finest literary ingenuity and nicest art accessible to the human mind. Gaudeat, non caveat emptor...FROM THE BOOKS.
Thirteen poems pose riddles that challenge readers to "Name That Book." With a glass slipper here and a spiderweb there, Lynn Munsinger's illustrations lead young readers to the solutions.
The Shadow Sphinx's Riddle Solving the riddles of a shadow sphinx to stop it from casting the land into darkness. This story tells of an amazing journey full of mystery, hardship, and the strength of community. It's a touching story that kids will love and learn from, showing how important bravery, friendship, and knowledge are in getting through hard times. Summary: The land of Sunbeam used to be bright, but it became dark when a shadow sphinx cast a terrible spell that made the whole world dark forever. The only way to get out of this sadness was to figure out a set of difficult problems that the Sphinx had put together. During this very important time, three brave friends—Leo, Mia, and Toby—stepped up because they were determined to bring light back to their home country. Their plan to face the Sphinx and break its spell would test their bravery, social skills, and intellectual abilities. The three travelers ran into a number of problems along the way that pushed them to their limits. The Mystic Mountains gave them hard problems to solve, the River of Reflections showed them what they were really thinking, and the Whispering Woods let the wind whisper secrets to them. Every job was like a puzzle that had to be solved. Leo, Mia, and Toby learned the value of working together, the courage to face uncertainty, and the ability to see past what seems to be true. Their journey brought out hidden traits in each other and helped them understand each other and themselves better. It had elements of both inside and outside. The Labyrinth of Shadows, the Cave of Echoes, and the Garden of Whispers all served as reminders of how hard their job was and how mysterious their surroundings were. In the Valley of Mists and the Library of Lost Books, they learned from old stories that had been lost. This meant that they broke through the fog. At the Sphinx's Lair, where the adventure came to an end, Sunbeam's fate relied on how she solved the last puzzle. The sphinxes' job was complete when they finished their last task. The sun came up, marking the start of a new day for Sunbeam and its people. The story of Leo, Mia, and Toby's triumphant return was a beacon of hope and a reminder that good will always win over evil, that working together can get things done, and that real strength comes from having the guts to ask hard questions, the smarts to answer them, and the friendship to get you through the worst times. The people of Sunbeam are still moved by their story, which is about bravery, determination, and the strength of the human spirit. People have learned a lot from it and made a lot of friends. Chapter 1: The Spell of Darkness. In the lovely world of Sunbeam, where the sun's warm rays lit up everything with happiness and brightness, sudden change rushed across the sky. It wasn't like the calm night that comes after every day; this change was more like a thick, never-ending shadow that fell over the sky and covered the morning. It never got to the sky's orange and pink colors, which used to wake the birds up in the morning. Instead, a cold gloom remained, turning day into night so that not a single star could be seen. People from Sunbeam were used to living in a world full of light. All of a sudden, they were surrounded by a strange, cold darkness. People in the area talked about a mysterious being called the "shadow sphinx." This being was said to have such powerful skills that it could throw a dark shadow over the sun. This thing, which was hiding in a dark cave, had used magic so strong that light couldn't get through. It made Leo, Mia, and Toby feel excited. They were three friends who were both brave and interested. They knew that waiting for the sun to come out again wasn't going to be enough. People were set on being the ones to act because something had to be done. They got together and talked about the shadow sphinx and its mysteries. The soft light from a candle left a shadow on their cheeks. It was said that the sphinx liked puzzles and problems, and the only way to bring back Sunbeam's light was to break its spell. The friends knew that their journey would be full of secrets and problems, but the thought of their house staying dark was too much for them to bear. Leo, Mia, and Toby set out to find the shadow sphinx and face it with bravery and knowledge. They were determined to do this. They knew that the journey ahead would be hard and that the puzzles would test their minds and souls. But they also knew that the darkness would end eventually. They thought that if they worked together, the light would come back on. Their trip showed that friendship, hope, and the desire to learn could light up the world, even in the darkest times. It was more than just a quest to save Sunbeam. With the legend map in hand and the resolve to face whatever lay ahead, the three set out into the unknown, ready to face the darkness and show the light that lies beyond fear and doubt.
This collection of four stories, "I Stand Here Ironing," "Hey Sailor, what Ship?," "O Yes," and "Tell me a Riddle," had become an American classic. Since the title novella won the O. Henry Award in 1961, the stories have been anthologized over a hundred times, made into three films, translated into thirteen languages, and - most important - once read, they abide in the hearts of their readers.
Delphi Collected Works of Carolyn Wells (Illustrated) by Carolyn Wells Pdf
Famous today as the creator of the reserved and scholarly detective Fleming Stone, Carolyn Wells was a prolific American writer of popular mystery novels, celebrated for their intricate plots and engaging characters. The first novel in the series, ‘The Clue’ (1909), features on the Haycraft-Queen Cornerstone list of essential mysteries. Throughout her career, Wells produced over 170 titles, including children’s stories, detective novels, anthologies and humorous and nonsense writings. This eBook presents Wells’ collected works, with numerous illustrations, rare texts appearing in digital print for the first time, informative introductions and the usual Delphi bonus material. (Version 1) * Beautifully illustrated with images relating to Wells’ life and works * Concise introductions to the major texts * 73 novels, with individual contents tables * Features many rare novels appearing for the first time in digital publishing * Images of how the books were first published, giving your eReader a taste of the original texts * Excellent formatting of the texts * The complete Patty Fairfield and Marjorie Maynard series * Famous children’s books are fully illustrated with their original artwork * Includes Wells’ rare poetry collections – available in no other collection * Features Wells’ seminal non-fiction work ‘The Technique of the Mystery Story’ * Features the author’s autobiography ‘The Rest of My Life’ (first time in digital print) – discover Wells’ literary life * Scholarly ordering of texts into chronological order and genres Please visit www.delphiclassics.com to browse through our range of exciting titles CONTENTS: The Fleming Stone Series The Clue (1909) The Gold Bag (1911) A Chain of Evidence (1912) The Maxwell Mystery (1913) Anybody But Anne (1914) The White Alley (1915) The Curved Blades (1915) The Mark of Cain (1917) Vicky Van (1918) The Diamond Pin (1919) Raspberry Jam (1920) The Mystery of the Sycamore (1921) The Mystery Girl (1922) Feathers Left Around (1923) Spooky Hollow (1923) The Furthest Fury (1924) Prillilgirl (1924) The Daughter of the House (1925) The Bronze Hand (1926) Where’s Emily (1927) The Crime in the Crypt (1928) The Huddle (1936) Murder in the Bookshop (1936) Murder Will In (1942) Who Killed Caldwell? (1942) The Alan Ford Series The Bride of a Moment (1916) Faulkner’s Folly (1917) The Pennington Wise Series The Room with the Tassels (1918) The Man Who Fell Through the Earth (1919) In the Onyx Lobby (1920) The Come Back (1921) The Luminous Face (1921) The Vanishing of Betty Varian (1922) The Affair at Flower Acres (1923) Wheels within Wheels (1923) Kenneth Carlisle Series Sleeping Dogs (1929) The Patty Fairfield Series All 17 Patty Fairfield novels (too many to list) The Marjorie Maynard Series All Marjorie novels The Dorrance Family Series The Dorrance Domain (1905) Dorrance Doings (1906) The Two Little Women Series Two Little Women (1915) Two Little Women and Treasure House (1916) Two Little Women on a Holiday (1917) Other Novels Abeniki Caldwell (1902) Eight Girls and a Dog (1902) The Gordon Elopement (1904) The Staying Guest (1904) The Matrimonial Bureau (1905) The Emily Emmins Papers (1907) Dick and Dolly (1909) Betty’s Happy Year (1910) Ptomaine Street (1921) Face Cards (1925) The Deep-Lake Mystery (1928) Short Stories Christabel’s Crystal (1905) An Easy Errand (1910) The Adventure of the Mona Lisa (1912) The Adventure of the Clothes-Line (1915) The Poetry and Nonsense Works Many poetry works; too many to list. The Non-Fiction The Technique of the Mystery Story (1913) The Autobiography The Rest of My Life Please visit www.delphiclassics.com to browse through our range of exciting titles or to purchase this eBook as a Parts Edition of individual eBooks
Gabriel Finley & the Raven's Riddle by George Hagen Pdf
Eleven-year-old Gabriel, with the help of the young raven Paladin, which whom he has a magical bond, travels to the foreboding land of Aviopolis, where he must face challenges and unanswerable riddles to rescue his long-missing father.