Overview

LEAVE HER TO HELL Percy Hand is hired to locate Constance Markley--the third Mrs. Markley--who supposedly ran off with another man two years ago. The soon-to-be-fourth Mrs. Markley, Faith Salem, doesn't want any loose ends before she weds Graham Markley. Percy doesn't want the case--what P.I. wants to track down a two-year-old elopement?--but the more questions he asks, the more he finds that there is something not right here. But if Constance and Regis are now living somewhere in connubial bliss, why doesn't anyone want them found... and where are they? LET ME KILL YOU, SWEETHEART! Guy Butler, Rex Tye and Ellis Kuder had all loved Avis Pisano that summer when she waitressed in Sylvan Green, each in their own way. But now Avis is pregnant and desperate, and so takes the train to Rutherford, where the father of her child lives. She calls him Curly. She doesn't realize that Curly will stop at nothing to keep her out of his life--not even murder. But who is this Curly--alcoholic Guy? Mama's boy Rex? Or cold-hearted Ellis? Who indeed... TAKE ME HOME Henry Harper first meets Ivy Galvin in the Greek's diner. The immediate dislike is mutual. But in spite of her caustic comments, he also feels a little sorry for her--broke, nowhere to go. Ivy asks Henry to take her home with him, and for some reason, he agrees. But Ivy has no interest in Henry as a man. He understands. He knows that Ivy is different. He doesn't expect their relationship to be anything but plutonic. But there is something so appealing about Henry, and maybe Ivy can change...

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9781933586953

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The plots are strong enough to capture and hold our attention, and Flora rewards our tenacity with pages of sardonic and often quirky dialogue. -Alan Cranis, Bookgasm A well-plotted 1950s private eye novel with a minimum of sex and violence and a maximum of wit and intelligence. -Sergio Angelini, Tipping My Fedora, on Leave Her to Hell His range remarkable - everything from hard-boiled to police procedurals to straightforward whodunits to light whimsy to historical fiction to probing examinations of 1950s and 1960s morals and mores. -Bill Pronzini, from his Introduction.

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