Bücher der Reihe Lew Archer

Strictly speaking, Lew Archer is only supposed to dig up the dirt on a rich man's suspicious soon-to-be son-in-law. But in no time at all Archer is following a trail of corpses from the citrus belt to Mazatlan. And then there is the zebra-striped hearse and its crew of beautiful, sunburned surfers, whose path seems to keep crossing the son-in-law's-and Archer's-in a powerful, fast-paced novel of murder on the California coast.

In The Goodbye Look, Lew Archer is hired to investigate a burglary at the mission-style mansion of Irene and Larry Chalmers. The prime suspect, their son Nick, has a talent for disappearing, and the Chalmerses are a family with money and memories to burn. As Archer zeros in on Nick, he discovers a troubled blonde, a stash of wartime letters, a mysterious hobo. Then a stiff turns up in a car on an empty beach. And Nick turns up with a Colt .45. In The Goodbye Look, Ross Macdonald delves into the world of the rich and the troubled and reveals that the past has a deadly way of catching up to the present.If any writer can be said to have inherited the mantle of Dashiell Hammett and Raymond Chandler, it is Ross Macdonald. Between the late 1940s and his death in 1983, he gave the American crime novel a psychological depth and moral complexity that his pre-decessors had only hinted at. And in the character of Lew Archer, Macdonald redefined the private eye as a roving conscience who walks the treacherous frontier between criminal guilt and human sin.

In Sleeping Beauty, Lew Archer finds himself the confidant of a wealthy, violent family with a load of trouble on their hands--including an oil spill, a missing girl, a lethal dose of Nembutal, a six-figure ransom, and a stranger afloat, face down, off a private beach. Here is Ross Macdonald's masterful tale of buried memories, the consequences of arrogance, and the anguished relations between parents and their children. Riveting, gritty, tautly written, Sleeping Beauty is crime fiction at its best.If any writer can be said to have inherited the mantle of Dashiell Hammett and Raymond Chandler, it is Ross Macdonald. Between the late 1940s and his death in 1983, he gave the American crime novel a psychological depth and moral complexity that his pre-decessors had only hinted at. And in the character of Lew Archer, Macdonald redefined the private eye as a roving conscience who walks the treacherous frontier between criminal guilt and human sin.