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Parker embarks on one of the most complicated heists in the whole of the classic hard-boiled series, knocking over a casino floating on the Hudson

Richard Stark’s Parker novels are the hardest of hard-boiled, classic crime novels where the heists are huge, the body counts are high, and the bad guys usually win. 

The Parker novels have been a huge influence on countless writers and filmmakers, including Quentin Tarantino, Stephen King, George Pelecanos, Colson Whitehead, Lucy Sante, John Banville, and many more. Their stripped-down language and hard-as-nails amorality create an unforgettable world where the next score could be the big one, but your next mistake could also be your last. There’s nothing else like them.

Parker's got a couple of rules that have helped keep him alive throughout his long career. One of those is never to work on a boat. But with a gambling boat cruising down the Hudson, stuffed to the gunwales with cash, Parker’s got a plan, a team, and a new rule: a shot at a big enough score makes any rule worth breaking. Parker and his crew hit the boat, hard, but as always, there are a lot of complications—and a lot of bodies—before this one's in the bag.

 The biggest, baddest novel in the entire Parker series, Butcher's Moon finds Parker taking on a whole mobbed-up town--and you can guess who comes out on top.

Richard Stark's Parker novels are the hardest of hard-boiled, classic crime novels where the heists are huge, the body counts are high, and the bad guys usually win. 

The Parker novels have been a huge influence on countless writers and filmmakers, including Quentin Tarantino, Stephen King, George Pelecanos, Colson Whitehead, Lucy Sante, John Banville, and many more. Their stripped-down language and hard-as-nails amorality create an unforgettable world where the next score could be the big one, but your next mistake could also be your last. There's nothing else like them.

The sixteenth Parker novel, Butcher’s Moon is more than twice as long as most of the master heister’s adventures, and absolutely jammed with the action, violence, and nerve-jangling tension readers have come to expect. Back in the corrupt town where he lost his money, and nearly his life, in Slayground, Parker assembles a stunning cast of characters from throughout his career for one gigantic, blowout job: starting—and finishing—a gang war. It feels like the Parker novel to end all Parker novels, and for nearly twenty-five years that’s what it was. After its publication in 1974, Donald Westlake said, “Richard Stark proved to me that he had a life of his own by simply disappearing. He was gone.”
 
Featuring a new introduction by Westlake’s close friend and writing partner, Lawrence Block, this classic Parker adventure deserves a place of honor on any crime fan’s bookshelf. More than thirty-five years later, Butcher’s Moon still packs a punch: keep your calendar clear when you pick it up, because once you open it you won’t want to do anything but read until the last shot is fired.

WINNER OF THE 1996 FC2 NATIONAL FICTION COMPETITION

New York. 1 BC. A mythic metropolis. Dangerous, seductive, and strange.

A Queens schoolchild rises to become a powerful superhero. A scavenger fashions love from the city’s castoffs. A weary detective keeps vigil as the city shifts. A serial prankster spells secrets across the skyline.

Through seven transformative tales, fate-struck characters undertake urgent journeys for belonging and survival in the city that tests, nurtures, and remakes them. Alex Shakar’s debut collection metamorphoses the familiar into the marvelous—sharp, luminous, and wondrously alive.

Parker returned to action after 23 years away, and he did so with a bang in this classic entry in the long-running hard-boiled crime series

Richard Stark's Parker novels are the hardest of hard-boiled, classic crime novels where the heists are huge, the body counts are high, and the bad guys usually win. 

The Parker novels have been a huge influence on countless writers and filmmakers, including Quentin Tarantino, Stephen King, George Pelecanos, Colson Whitehead, Lucy Sante, John Banville, and many more. Their stripped-down language and hard-as-nails amorality create an unforgettable world where the next score could be the big one, but your next mistake could also be your last. There's nothing else like them.

After the bloodbath of Butcher’s Moon, the action-filled blowout Parker adventure, Donald Westlake said, "Richard Stark proved to me that he had a life of his own by simply disappearing. He was gone." And for nearly twenty-five years, he stayed away, while readers waited.
 
But nothing bad is truly gone forever, and Parker’s as bad as they come. According to Westlake, one day in 1997, “suddenly, he came back from the dead, with a chalky prison pallor”—and the resulting novel, Comeback, showed that neither Stark nor Parker had lost a single step. Knocking over a highly lucrative religious revival show, Parker reminds us that not all criminals don ski masks—some prefer to hide behind the wings of fallen angels.

A fragmented manuscript left unfinished, a voice inherited by time, a ghost lingering in the margins—Daydreamers is what remains when fiction forgets its fiction and when the story you’re translating becomes your own.

Upon the discovery of an unfinished manuscript left behind by his late father, a son’s act of literary translation quickly descends into a ghost story of family rumors, art, and the history we inherit, whether we want them or not. As the son translates the mysterious text, what emerges is a narrative haunted by betrayal, artistic rivalry, and a murder in California’s Chinese literary underground—one that was never solved but perhaps was fictionalized.

Cycling between San Francisco, Los Angeles, China, and Taiwan, the novel unfolds across generations of Chinese immigrants and diaspora artists, linked by tenuous friendships, publishing feuds, and the obscure threads of an act of violence. At the center: a spectral woman named Lena Wu, the object of literary fixation, political allegory, and real-life scandal.

Was the manuscript meant as a novel or a confession? Was the story’s central figure—Lena Wu—a real person or an idea and persona passed between generations of writers, each shaping her into their own myth? And what is the narrator’s responsibility when his father’s version of events begins to implicate those still living? 

Told through letters, interviews, travelogues, and unclaimed fragments, Daydreamers moves through foggy cities, cluttered studios, desert highways, and vanished publishing circles—where stories are currency and silence is survival. Lu constructs a novel that is both noir and anti-noir, both memoir and anti-memoir—a mystery that resists solving, and a translation that becomes its own original work.

This 1854 novel traces a mulatto son's quest for vengeance against his white father, a sugar planter who abandoned him and his mother. Intent on redeeming his mother's honor and outraged by the cruelty and greed that slavery has engendered Appadocca sails the seas with a band of ruthless pirates on a ship named the Black Schooner. The novel, written by the important activist and intellectual Michel Maxwell Philip (1829–1888) deals with themes, symbols, and literary techniques that are reminiscent of other major authors such as Melville, Douglass, and Stowe. This new edition with scholarly commentaries and annotations will reorient our understanding of the development of Caribbean literature in relation to English and American literary production.

What the popularity of the Fast and Furious film franchise says about Hollywood blockbusters and media production

Fast and Furious Franchising charts the transformation of Hollywood through the story of one of its most successful cinematic universes. Released in 2001, The Fast and the Furious became an unexpected hit, developing into a seven-billion-dollar media franchise with nine direct sequels (so far), one “sidequel,” copious spin-offs, and licensing deals from board games to theme park rides.

Dan Hassler-Forest shows how Fast and Furious paved the way for a new form of serialized storytelling that balanced new distribution practices and expansion into international markets with a savvy awareness of representational politics. By following the series’s development over the past twenty-five years, Fast and Furious Franchising reveals distinct phases that reflect larger media-industrial trends: the postclassical blockbuster era of the early 2000s; the emergence of the megafranchise between 2008 and 2014; the franchise’s “imperial” era, from 2015 through 2019; and the postpandemic crisis era of media saturation and franchise fatigue.

While examining this rapidly changing media landscape, Hassler-Forest offers lively, insightful analyses of the films as they have embraced ever-more-ludicrous plots and unlikely character turns while always maintaining their signature faith in the power of family. As he illuminates the role of the Fast and Furious movies in the global entertainment industry, Hassler-Forest shows how the films’ improbable success proves Dominic Toretto’s adage that, whether “you win by an inch or a mile . . . winning’s winning.”

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Parker becomes a lover of art (to heist, that is) in this slam-bang entry in the classic hard-boiled crime series

Richard Stark's Parker novels are the hardest of hard-boiled, classic crime novels where the heists are huge, the body counts are high, and the bad guys usually win. 

The Parker novels have been a huge influence on countless writers and filmmakers, including Quentin Tarantino, Stephen King, George Pelecanos, Colson Whitehead, Lucy Sante, John Banville, and many more. Their stripped-down language and hard-as-nails amorality create an unforgettable world where the next score could be the big one, but your next mistake could also be your last. There's nothing else like them.

Between Parker’s 1961 debut and his return in the late 1990s, the whole world of crime changed. Now fake IDs and credit cards had to be purchased from specialists; increasingly sophisticated policing made escape and evasion tougher; and, worst of all, money had gone digital—the days of cash-stuffed payroll trucks were long gone.
 
But cash isn’t everything: Firebreak takes Parker to a palatial Montana “hunting lodge” where a dot-com millionaire hides a gallery of stolen old masters—which will fetch Parker a pretty penny if his team can just get it past the mansion’s tight security. The forests of Montana are an inhospitable place for a heister when well-laid plans fall apart, but no matter how untamed the wilderness, Parker’s guaranteed to be the most dangerous predator around.

A provocative peek into this complicated film as a space for subversion, activism, and imaginative power

While both fans and foes point to Mad Max: Fury Road’s feminist credentials, Furious Feminisms asks: is there really anything feminist or radical happening on the screen? The four authors—from backgrounds in art history, American literature, disability studies, and sociology—ask what is possible, desirable, or damaging in theorizing feminism in the contested landscape of the twenty-first century. Can we find beauty in the Anthropocene? Can power be wrested from a violent system without employing and perpetuating violence? 

This experiment in collaborative criticism weaves multiple threads of dialogue together to offer a fresh perspective on our current cultural moment. 

Forerunners: Ideas First
Short books of thought-in-process scholarship, where intense analysis, questioning, and speculation take the lead

The first English translation of Josef Capek’s classic novella explores what happens when a single violent act changes everything.

Two young poachers are caught by a gamekeeper and, in a moment of panic, shoot him. What began as a reckless adventure in pursuit of a deer becomes a desperate and increasingly hopeless flight through the forest. 

Shadow of the Holly-Fern stands among the finest literary achievements of Josef Capek, the Czech painter and illustrator who died in a Nazi concentration camp in 1945 for his democratic convictions. The balladic novella is distinguished by its powerful portrayal of the fugitives’ inner lives; initially intoxicated by the beauty of the forest and a sense of freedom, they gradually succumb to mounting despair. Its intense focus on guilt and conscience recalls Crime and Punishment by Fyodor Dostoevsky, while its language remains intensely lyrical and evocative. First published in 1930, the book remains one of the enduring masterpieces of Czech literature and is presented here in English for the first time in a lucid translation by Geoffrey Chew.

What would you do if you were trapped in an abandoned amusement park full of gunmen trying to kill you? If you were Parker, you'd simply set to work . . . 

Richard Stark's Parker novels are the hardest of hard-boiled, classic crime novels where the heists are huge, the body counts are high, and the bad guys usually win. 

The Parker novels have been a huge influence on countless writers and filmmakers, including Quentin Tarantino, Stephen King, George Pelecanos, Colson Whitehead, Lucy Sante, John Banville, and many more. Their stripped-down language and hard-as-nails amorality create an unforgettable world where the next score could be the big one, but your next mistake could also be your last. There's nothing else like them.

The hunter becomes prey, as a heist goes sour and Parker finds himself trapped in a shuttered amusement park, besieged by a bevy of local mobsters, in Slayground. There are no exits from Fun Island. Outnumbered and outgunned, Parker can’t afford a single miscalculation. He’s low on bullets and making it out alive is a long shot—but, as anyone who’s crossed his path knows, no one is better at playing higher stakes with shorter odds.

The wildest of all Parker novels, Slayground offers nonstop action, shuddering suspense, and jaw-dropping surprises. 

An action-packed, classic crime novel by a master starring Parker's associate Alan Grofield

Donald E. Westlake is one of the greats of crime fiction. Under the pseudonym Richard Stark, he wrote twenty-four fast-paced, hardboiled novels featuring Parker, a shrewd career criminal with a talent for heists. Using the same nom de plume, Westlake also completed a separate series in the Parker universe, starring Alan Grofield, an occasional colleague of Parker. While he shares events and characters with several Parker novels, Grofield is less calculating and more hot-blooded than Parker; think fewer guns, more dames.

Not that there isn’t violence and adventure aplenty. The Dame finds Grofield in Puerto Rico protecting a rich, demanding woman in her isolated jungle villa, and reluctantly assuming the role of detective. A rare Westlake take on a whodunit, The Dame features a cast of colorful characters and a suspenseful—and memorable—climax.

With a new foreword by Sarah Weinman that situates the Grofield series within Westlake’s work as a whole, this novel is an exciting addition to any crime fiction fan’s library.

Donald E. Westlake is one of the greats of crime fiction. Under the pseudonym Richard Stark, he wrote twenty-four fast-paced, hardboiled novels featuring Parker, a shrewd career criminal with a talent for heists. Using the same nom de plume, Westlake also completed a separate series in the Parker universe, starring Alan Grofield, an occasional colleague of Parker. While he shares events and characters with several Parker novels, Grofield is less calculating and more hot-blooded than Parker; think fewer guns, more dames. 

Not that there isn’t violence and adventure aplenty. The Damsel begins directly after the Parker novel The Handle. Following a wounded Grofield and his damsel on a scenic, action-packed road trip from Mexico City to Acapulco, The Damsel is full of wit, adrenaline, and political intrigue. 

With a new foreword by Sarah Weinman that situates the Grofield series within Westlake’s work as a whole, these novels are an exciting addition to any crime fiction fan’s library.

E.D.E.N. Southworth was one of the most popular and prolific writers of the nineteenth century and her Capitola Black, or Black Cap - a cross-dressing, adventure-seeking girl-woman - was so well-loved that the book was serialized three times between 1859 and 1888 and was dramatized in forty different versions.

When we first meet sharp and witty Capitola she is living among beggars and street urchins, and dressed as a boy because a boy can get work and be safe, whereas a girl is left to starve for want of "proper" employment. Unknown to her, Capitola has a very rich elderly guardian who finds her at a providential moment and takes her back to his palatial mansion where she finds herself "decomposing above ground for want of having my blood stirred." But not to fear. There are bandits, true-loves, evil men, long-lost mothers, and sweet women friends in Capitola's future - not to mention thunder storms, kidnap attempts, and duels.

The pace is fast, the action wonderfully unbelievable. This is escape literature at its nineteenth-century best, with a woman at its center who makes you feel strong, daring, and reckless.

 

The original story that hatched Mothra, one of the most beloved monsters in the “kaijuverse”—available in English for the first time

Mystical and benevolent, the colossal lepidopteran Mothra has been one of the most beloved kaiju since 1961, when The Luminous Fairies and Mothra was originally published in Japanese. Commissioned by Tōhō Studios from three of Japan’s most prominent postwar literary writers (Shin’ichirō Nakamura, Takehiko Fukunaga, and Yoshie Hotta), the novella formed the basis for the now-classic monster film Mothra, with a protagonist second only to Godzilla in number of film appearances by a kaiju. Finally available in its first official English translation, The Luminous Fairies and Mothra will captivate ardent, longtime fans of the films as well as newcomers.

Written just months after the largest political demonstrations Japan had ever seen, The Luminous Fairies and Mothra reflects the rebellious spirit of the time. In this original story, explorers visit a South Pacific island and capture a group of fairies, inciting the fury of the goddess Mothra, who sets out for Japan on a mission of rescue and revenge. Expressing a powerful social stance about Japan’s need to chart its own foreign policy during the Cold War, the novella’s political message was ultimately toned down in the Tōhō Studios film. Through this translation, Anglophone audiences will discover Mothra as a figure of protest fiction intricately reflecting the complex geopolitical situation in early 1960s Japan.

The Luminous Fairies and Mothra is translated into lively prose by Jeffrey Angles, who also wrote an extensive afterword about the novella’s cultural context, the unusual story of its composition, and the development of the 1961 film. Following Angles’s best-selling translation of the original Godzilla novellas, this new work will once again delight kaiju fans everywhere.

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Hard-boiled crime fiction doesn't get any better than this, an unforgettable entry in the classic series starring Parker, the deadliest heister around

Richard Stark's Parker novels are the hardest of hard-boiled, classic crime novels where the heists are huge, the body counts are high, and the bad guys usually win. 

The Parker novels have been a huge influence on countless writers and filmmakers, including Quentin Tarantino, Stephen King, George Pelecanos, Colson Whitehead, Lucy Sante, John Banville, and many more. Their stripped-down language and hard-as-nails amorality create an unforgettable world where the next score could be the big one, but your next mistake could also be your last. There's nothing else like them.

The Mourner is a story of convergence—of cultures and of guys with guns. Hot on the trail of a statue stolen from a fifteenth-century French tomb, Parker enters a world of eccentric art collectors, greedy foreign officials, and shady KGB agents. Hired by a shifty dame who has something he needs, Parker will find out just who intends to bury whom—and who he needs to kill to finish the job.

A queer, rollicking retelling of The Odyssey

Zane Viaggio’s life has been fraught since leaving New York City for Cleveland. Uprooted and missing his life in the city, he escapes into parties and pills. When he wakes up vomiting several days in a row, he’s convinced by his three drag queen roommates and his best trans-femme friend to get a pregnancy test, learning that not only is he pregnant, but pregnant in an Ohio that has just outlawed abortion. Zane must then embark on an epic journey around Lake Erie and its surrounding towns on a stolen jet ski to find the man who impregnated him, get the money to go back to New York City for an abortion, and get his life back to normal. In this queer and trans retelling of The Odyssey, Zane encounters all sorts of strange and challenging characters—including one-eyed cats, force-femmed prophets, and his own chosen family—who help him discover that, perhaps, finding home is the greatest journey of all.