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Ein Killer veranstaltet mit seiner Axt in einem Apartment des Londoner Stadtteils South Kensington ein abscheuliches Massaker. Eine schwere Aufgabe fur die FACTORY und das zustandige Dezernat fur ungeklarte Todesfalle, denn bei der anschlieenden Ermittlung ergeben sich weder Anhaltspunkte noch Zusammenhange. Trotz vieler Bedenken macht man die Suspendierung eines ehemaligen Mitarbeiters des A14 ruckgangig, der diesem Fall als einziger gewachsen zu sein scheint. Doch gerade bei ihm hinterlat der Anblick der ermordeten DORA SUAREZ tiefe psychische Wunden. Auf der Suche nach dem Killer bohrt er sich wie besessen in die Schattenbereiche einer degenerierten Gesellschaft, die sich jenseits unserer Vorstellungskraft befinden. Dieses Buch ist ein radikaler Meilenstein des brit Noir, ein literarischer Amoklauf, der knstlerisch und moralisch neue Grenzen im gesamten Genre definierte.
Derek Raymonds letzter Roman fuhrt direkt in Londons Unterwelt. Es ist die Welt von Gust, einem mude gewordenen Schwerverbrecher, der nach zehn Jahren Knast, ein letztes Mal abraumen will. Kaum hat er fur ein dubiosen Auftraggeber einen Lkw mit druckfrischen Blanko-Passen in seine Gewalt gebracht, beginnt der Body Count. Und als seine Ex-Freundin abgeschlachtet wird, ist fur Gust nur eins sicher: irgend jemand wird dafur bezahlen. Doch es ist verdammt schwierig sich zu konzentrieren, wenn man seine Umwelt durch einen roten Nebel aus Wut und Verzweifelung wahrnimmt. Ein depressiver brit noir Roman um einen in die Jahre gekommenen Schwerverbrecher.
An axe-wielding psychopath carves young Dora Suarez into pieces and smashes the head of Suarez's friend, an elderly woman. On the same night, in the West End, a firearm blows the top off the head of Felix Roatta, part-owner of the seedy Parallel Club. The unnamed narrator, a sergeant in the Metropolitan Police's Unexplained Deaths division, develops a fixation on the young woman whose murder he investigates. And he discovers that Suarez's death is even more bizarre than suspected: the murderer ate bits of flesh from Suarez's corpse and ejaculated against her thigh. Autopsy results compound the puzzle: Suarez was dying of AIDS, but the pathologist can't tell how the virus was introduced. Then a photo, supplied by a former Parallel hostess, links Suarez to Roatta, and inquiries at the club reveal how vile and inhuman exploitation can become. I Was Dora Suarez is the fourth book in the Factory series
This, the third novel in the Factory Series, sees Raymond's nameless detective leave London for a remote village called Thornhill, where he's meant to be looking into the disappearance of a local doctor's wife. How The Dead Live is a haunting, fantastical novel, with a hellish country house at its centre; a mystery with little interest in the mystery, a police procedural with almost no procedure. Instead, and as ever with Raymond, it's a brilliantly unsettling investigation into love and damnation. This is life seen from the very bottom of the bottle - a fitting succesor to classic noir writers such as Jim Thompson and David Goodis.
A man's corpse is discovered in a Rotherhithe warehouse, chopped up, boiled to avoid identification, and bundled into five Waitrose carrier bags. Our nameless narrator from A14 - the 'Unexplained Deaths' division of the Met - is put on the case. Operating, as usual, with his wit and sheer nerve in place of adequate resources and contacts, the narrator's investigations uncover much more than the murderer. As he probes a world of horror in South London, a terrible secret from his own past emerges. 'A bizarre mixture of Chandleresque elegance... and naked brutality' Daily Telegraph 'Hellishly bleak and moving' New Statesman 'Superb... an English Chandler... only better' Daily Mail
It is the 1960s. England has become a dictatorship, governed by a sly, ruthless politician called Jobling. All non-whites have been deported, The English Times is the only newspaper, and ordinary people live in dread of nightly curfews and secret police. Richard Watt used all his journalistic talents to expose Jobling before he came to power. Now in exile in a farmhouse amid the cruel heat of the Italian countryside, Watt cultivates his vineyards. His remote rural idyll is shattered by the arrival of an emissary from London. Derek Raymond?s skill is to make all too plausible the transition from complacent democracy to dictatorship in a country preoccupied by consumerism and susceptible to media spin. First published in 1970, Raymond?s brilliant satire is as dark and frightening as ever.
When a middle-aged alcoholic is found brutally battered to death on a roadside in West London, the case is assigned to a nameless detective sergeant, a tough-talking cynic and fearless loner from the Department of Unexplained Deaths at the Factory police station. Working from cassette tapes left behind in the dead man's property, our narrator must piece together the history of his blighted existence and discover the agents of its cruel end. What he doesn't expect is that digging for the truth will demand plenty of lying, and that the most terrible of villains will also prove to be the most attractive. In the first of six police procedurals that comprise the Factory series, Derek Raymond spins a riveting, and vividly human crime drama. Relentlessly pursuing justice for the dispossessed, his detective narrator treads where few others dare: in the darkest corners of London, a city of sin plagued by unemployment, racism and vice, and peopled by a cast of low-lifes, all utterly convincing and brought to life by Raymond's pitch-perfect dialogue.
First published in 1962, The Crust On Its Uppers, Derek Raymond?s first novel (written when he was Robin Cook) is a gripping tale of class betrayal. With ruthless precision, and a great deal of humour, it brings vividly to life a London of spivs, crooked toffs and bent coppers.