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100 Masters of Mystery and Detective Fiction

100 Masters of Mystery and Detective Fiction

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  • Margery Allingham
  • Eric Ambler
  • Honoré de Balzac
  • E. C. Bentley
  • Anthony Berkeley
  • Earl Derr Biggers
  • Robert Bloch
  • Lawrence Block
  • Anthony Boucher
  • Christianna Brand
  • John Buchan
  • W. R. Burnett
  • James M. Cain
  • John Dickson Carr
  • Nick Carter
  • Vera Caspary
  • Raymond Chandler
  • Leslie Charteris
  • James Hadley Chase
  • G. K. Chesterton
  • Erskine Childers
  • Agatha Christie
  • Wilkie Collins
  • John Creasey
  • Amanda Cross
  • Len Deighton
  • Fyodor Dostoevski
  • Arthur Conan Doyle
  • Daphne du Maurier
  • Mignon G. Eberhart
  • Stanley Ellin
  • Robert L. Fish
  • Ian Fleming
  • Frederick Forsyth
  • Dick Francis
  • Nicolas Freeling
  • R. Austin Freeman
  • Erle Stanley Gardner
  • Michael Gilbert
  • Graham Greene
  • Martha Grimes
  • Dashiell Hammett
  • O. Henry
  • Patricia Highsmith
  • Tony Hillerman
  • Chester Himes
  • Edward D. Hoch
  • E. W. Hornung
  • E. W.Hornung
  • Michael Innes
  • P. D. James
  • Harry Kemelman
  • Baynard H. Kendrick
  • John le Carré
  • Elmore Leonard
  • Gaston Leroux
  • Richard Lockridge and Frances Lockridge
  • Richard Lockridge and Frances Lockridge
  • Marie Belloc Lowndes
  • Robert Ludlum
  • Ed McBain
  • James McClure
  • John D. MacDonald
  • Ross Macdonald
  • William P. McGivern
  • Helen MacInnes
  • Ngaio Marsh
  • Margaret Millar
  • E. Phillips Oppenheim
  • Baroness Orczy
  • Sara Paretsky
  • Robert B. Parker
  • Elizabeth Peters
  • Ellis Peters
  • Edgar Allan Poe
  • Bill Pronzini
  • Ellery Queen
  • Ruth Rendell
  • Mary Roberts Rinehart
  • Lawrence Sanders
  • Dorothy L. Sayers
  • Georges Simenon
  • Maj Sjöwall and Per Wahlöö
  • Martin Cruz Smith
  • Mickey Spillane
  • Robert Louis Stevenson
  • Mary Stewart
  • Rex Stout
  • Julian Symons
  • Josephine Tey
  • Ross Thomas
  • Jim Thompson
  • Lawrence Treat
  • S. S. Van Dine
  • Robert H. Van Gulik
  • Edgar Wallace
  • Joseph Wambaugh
  • Hillary Waugh
  • Patricia Wentworth
  • Donald E. Westlake
  • Cornell Woolrich
  • Israel Zangwill
  • Time Line of Authors
  • Index of Series Characters
  • List of Authors by Plot Type

Bill Pronzini

Born: Petaluma, California; April 13, 1943

Also wrote as • Russell Dancer • Robert Hart Davis (with Jeffrey M.
Wallman) • Jack Foxx • Romer Zane Grey (with Wallman) • William Jeffrey
(with Wallman) • Rick Renault (with Wallman) • Alex Saxon

Type of plot • Private investigator

Principal series •TheNamelessDetective,1969- •Carmody,1970-1992
• Quincannon and Carpenter, 1985-1998.

Principal series characters • The Nameless Detective, a private eye, for-
merly a fifteen-year veteran of the San Francisco Police Department. About
forty-seven years old at the start of the series, Nameless has aged through the
years, and, by 1988, is actively considering retirement. He is sloppy, moder-
ately overweight, unmarried, and concerned both with his health and with be-
trying to make the world a better place.
• Lieutenant “Eb” Eberhardt, a detective for the San Francisco Police
Department at the outset of the series, is Nameless’s closest friend and has ap-
peared in all the series’ novels and most of the stories. The two met as trainees
at the police academy. Nameless turns to Eb for help, whether working on a
case or working through a personal problem. Eb eventually joins Nameless as
a partner in his agency after retiring from the police department.
• Carmody, an international dealer in “legal and extralegal services and
material” who occasionally does detective work. An American, he lives in iso-
lation on the Spanish island of Majorca. He is the flinty, silent type, with a
good tan and green eyes; he smokes thin black cigars and drives a 911-T
Porsche Targa.

• John Frederick Quincannon, a former Secret Service agent and re-
formed alcoholic, would like to form a sexual relationship with his partner,
Sabina Carpenter, but she dodges his advances. He works as a detective in
San Francisco of the 1890’s.
• Sabina Carpenter is a widow and a former Pinkerton Agency detective.
Quincannon’s equal at witty banter, she teams up with him to solve a variety
of “impossible” crimes.

Contribution • Bill Pronzini’s Nameless novels move the hard-boiled detec-
tive genre toward a new kind of authenticity. To the unsentimental realism of
Dashiell Hammett, the descriptive power of Raymond Chandler, and the psy-


chological depth of Ross Macdonald, all meant to transcend the artificial at-
human problems—emotional as well as physical. Nameless struggles with
health concerns of varying seriousness and also spends a modest but signifi-
cant portion of his narrative seeking stable female companionship. He ages
and on occasion gets depressed. In short, Nameless is revealed in a way that
dler’s Philip Marlowe.
Pronzini also seeks heightened authenticity, largely shedding the tough-
guy image associated with the hard-boiled genre. To be sure, Nameless is
tough. He doggedly seeks the truth and unhesitatingly puts himself into risky
situations. Nameless eschews violence and sarcasm, however, and he is will-
ing, at least occasionally, to wear his heart on his sleeve. Indeed, Nameless
does nothing to hide the fact that he cares about people and is generally sym-
pathetic. He cultivates a good working relationship with the police and with
few exceptions stays on the right side of the law. Pronzini also occasionally
works in some of the banality and drudgery involved with real-life private in-

All this is mixed in with some of the more classic hard-boiled elements:
twisting plots, sparsely furnished offices, feverish pace, compelling descrip-
tions of California settings (though Nameless does occasionally leave the
state, pursuing one case in Europe), and a hero so dedicated to his vocation
that he will often go without sleep and will sometimes work without fee. In ad-
dition, the very namelessness of Pronzini’s detective harks back to Hammett’s
Continental Op. It is, in fact, the blend of old with new that makes Pronzini’s
series unique.

Yet Pronzini does not merely build on the work of the three authors men-
tioned above. Through Nameless’s love of the pulps, the reader is reminded
that many fine writers have helped to shape and promote the hard-boiled
genre—a significant bibliographic contribution on Pronzini’s part.

Biography • Bill Pronzini was born on April 13, 1943, in Petaluma, a small
town north of San Francisco in California, to Joseph and Helen Gruder
Pronzini. Joseph Pronzini was a farm worker. The younger of two children,
Bill was reared in Petaluma, where he attended the local schools. He wrote his
first novel at the age of twelve. In high school, he began collecting pulp maga-
zines. It was at this point that Pronzini did his first professional writing, work-
ing as a reporter for the Petaluma Argus Courier from 1957 to 1960. After
attending Santa Rosa Junior College for two years, Bill refused a journalism
scholarship to Stanford University, choosing instead to become a free-lance
fiction writer. During the early years of his writing career, Bill supplemented
his income by working at various times as a newsstand clerk, warehouseman,
typist, salesman, and civilian guard with the marshal’s office.
Pronzini married Laura Patricia Adolphson in May, 1965. The following
year, he sold his first story, “You Don’t Know What It’s Like,” to the Shell Scott


100 Masters of Mystery and Detective Fiction

Mystery Magazine. Pronzini was divorced in 1967. His writing career flourished,
however, and he had short stories published in a variety of pulp magazines.
One product of this period was his unnamed detective: The Snatch, published
in 1971, was Pronzini’s first novel featuring Nameless. Pronzini moved to
Majorca in 1971. There he met Brunhilde Schier, whom he married in 1972.
They lived in West Germany before moving back to San Francisco in 1974.
Pronzini has gone on to become one of the most prolific authors of his time,
producing more than thirty novels and hundreds of stories in a variety of gen-
res: detective, Western, and science fiction. In addition to those works pub-
lished under his own name, Pronzini has written novels and short stories using
the pseudonyms Jack Foxx, Alex Saxon, and Russell Dancer. He has also
been a prolific collaborator, working with such authors as Barry N. Malzberg,
Jeffrey M. Wallman, Michael Kurland, Collin Wilcox, and Marcia Muller. In
addition to his writing, Pronzini has edited a number of books in the mystery,
Western, and science-fiction fields.
Pronzini’s quantitative achievements have been augmented by qualita-
tive ones. While he has yet to achieve the high literary acclaim accorded
Hammett, Chandler, and Macdonald, he is greatly respected by his fellow
writers of mysteries and has won a number of awards, including the Mystery
Writers Association Scroll Award for the best first novel (1971) and the Private
Eye Writers of America Shamus Award for the Best Private Eye Novel of 1981
(Hoodwink, 1981, Boobytrap, 1998). Snowbound (1974) earned the Grand Prix de
la Literature Policière as the best crime novel published in France in 1988,
and A Wasteland of Strangers was nominated for the best crime novel of 1997 by
both the Mystery Writers of America and the International Crime Writers As-
sociation. He received “The Eye,” the Lifetime Achievement Award (pre-
sented in 1987) from the Private Eye Writers of America.

Analysis • While Bill Pronzini has produced stories and novels at a truly envi-
able pace, both he and his critics have accorded the Nameless series a special
status. First, it is clear that Pronzini himself identifies strongly with the Name-
less detective. Indeed, this is one reason his hero has remained without a
name. In addition, the Nameless series has been recognized as marking the lit-
erary high point of Pronzini’s career. It is this body of work for which Pronzini
will probably be remembered, for the Nameless series has staying power de-
rived both from its faithfulness to the well-hallowed tradition of the hard-
boiled detective story and from its innovations and freshness within that tradi-

ing advantage of the flourishing trade in pulp magazines and the stylistic trends
of the times, almost single-handedly established a new subgenre of popular fic-
tion. Drawing on his experience as a Pinkerton’s detective, Hammett brought a
new realism and depth to crime fiction while holding to the constraints of the
pulp market. These constraints dictated plenty of action and consummate di-
rectness of expression. The result was a hybrid literary form with elements of

Bill Pronzini


both high and low art—something roughly akin, both conceptually and chrono-
logically, to the Marx brothers’ A Night at the Opera (1935). The hard-boiled
genre expanded quickly and profusely. As Pronzini and others have remarked,
numerous authors, some well-known, others relatively obscure, though often
talented, went on to produce notable works within it. In addition, the genre was
a natural for films and later for television. The action-oriented, economic prose
the small screen, resulting in classic films such as The Maltese Falcon (1941) and
popular television programs such as Peter Gunn, The Rockford Files, and Spenser:
For Hire. In short, the hard-boiled detective became a significant mythic figure
in American culture, one that, for all its very considerable international appeal,
remains as distinctly American as jazz.
Why has the hard-boiled detective had so broad and lasting an appeal? He
or she (the female of the species having emerged during the 1970’s and 1980’s)
has been likened to a modern-day knight, defending the weak, seeking truth,
and striving for justice in ways that legal authorities cannot or will not dupli-
cate. Put another way, the hard-boiled detective is an independent agent who
acts as he does because it is right, not for material gain or out of blind alle-
giance to a cause, and who is willing to face stiff opposition in the name of
principle. In contrast to stereotypical bureaucratic torpor, the hard-boiled de-
tective is also a person of action, a doer, living up to the dictates of a demand-
ing personal code. Thus, the hard-boiled detective must not only pass up
wealth and other modern measures of “success” but also risk grave personal
danger. It is this precarious existence which dictates that the detective be a
loner; privation and danger are his or her crosses to bear and are not readily
transferable to loved ones and other intimates.
Pronzini’s Nameless series consciously carries on this tradition both stylis-
tically and substantively. Using the genre’s classic, first-person narrative, lean
prose, and crisp dialogue, Pronzini portrays Nameless as being nearly every-
thing the detective as modern-day knight is supposed to be. Nameless helps
the weak, at times working without pay to do so. For example, in the early sto-
ries “It’s a Lousy World” and “Death of a Nobody,” Nameless takes up the
causes of an ex-con and a derelict, both of whom have been killed. There are
no wealthy relatives footing the bill, thus no hope for a paycheck. Yet Name-
less follows through, simply because he cares about the sanctity of every hu-
man life, not merely those for whom a fee can be collected. He also cares
about the quality of each life, a characteristic which leads his friend Eb to call
him a “social worker.” Beyond this universal compassion lies a hunger for
truth in all of its complexity (as opposed to mere appearances) and for thor-
oughgoing justice (rather than the rough equivalent provided by law). In or-
der to pursue these goals, Nameless must devote himself single-mindedly to
his investigations, wading through a sea of lies, warding off threats, and ignor-
ing weariness to the point of exhaustion. Nameless does all this and more in
the name of a higher code, a modern form of chivalry aimed at making the
world a better place in which to live.


100 Masters of Mystery and Detective Fiction

Nevertheless, the Nameless series does more than simply pay homage to
the hard-boiled genre; it adds a new twist or two to the tradition. Drawing on
the model of Thomas B. Dewey’s detective, “Mac,” Pronzini has aimed for a
new kind of “authenticity,” eschewing the more superficial and fantastic ele-
ments of the genre. Nameless starts off his literary existence middle aged and
paunchy, anything but the romanticized figure often presented, particularly
in screen variations of the hard-boiled tradition. Nor is Nameless always
sometimes used.

less private about the details of his life and his needs than are most of the clas-
sic hard-boiled characters. Nameless has a long-running, close friendship with
a San Francisco cop named Eberhardt (Eb). He also has had two enduring re-
lationships with women—first with Erica Coates, who turns down Nameless’s
proposal because of his line of work, and later with Kerry Wade, although a
bad first marriage keeps Kerry from marrying Nameless. In addition, the
reader is given details of Nameless’s state of physical well-being that the Con-
tinental Op or Sam Spade would never have dreamed of sharing. These run
the gamut from Nameless’s bouts with heart-burn to a tumor and the possibil-
ity of lung cancer. (It is the later which induces Nameless to quit smoking.)
In addition to these very human insights, Pronzini’s hero is much less
prone to play the tough guy. Nameless rarely breaks the law or engages in
violence. Indeed, he almost always refuses to carry a gun, especially later in
the series, and he throws the only gun he owns into the ocean in Dragonfire

Pronzini’s quest for heightened authenticity (or what one pair of critics has
called “unromanticized realism”) has been additionally enhanced in three
specific ways that deserve to be noted. First, by making Nameless a collector
of pulp magazines and an expert on the hard-boiled genre in particular,
Pronzini has not merely been autobiographical. He has also moved his hero
one step away from the fictional world toward the world of the reader. The
pulps are real. Though the stories in the pulps are fictional, these fictions are
read and collected by real people. Nameless reads and collects these works.
Therefore, Nameless is (or, at least, seems) more real.
Second, Pronzini has preserved continuity between the stories and novels
of the series, leaving situations hanging and having Nameless and Eb age
somewhat realistically from work to work. Both characters have changing re-
lationships with the opposite sex and both experience career shifts. Like ev-
eryone, Nameless and his friend must deal with the trials, tribulations, and oc-
casional comforts of the human life cycle.
Finally, Pronzini twice has collaborated with other authors of detective fic-
tion to produce works which provide mutual validation for the main charac-
ters involved. Nameless does not merely exist in the minds of Pronzini and his
readers. He also cohabits San Francisco with Collin Wilcox’s Lieutenant
Frank Hastings and Marcia Muller’s Sharon McCone. In something akin to

Bill Pronzini


the way governments extend or deny one another diplomatic recognition,
these authors have brought their fictional characters closer to life through
these collaborations, making them more authentic in the process. The result
has been the creation of a unique character and series in the hard-boiled tradi-
tion as well as the emergence of a significant audience for Pronzini’s Nameless
stories and novels.

A final comment or two should be added regarding the anonymity of
Pronzini’s best-known character, particularly since it may seem difficult to
find a connection between this aspect of Pronzini’s series and his quest for au-
thenticity. It could be argued that the reality of Pronzini’s character is best pre-
served by not tying him down to a name which can easily be proved fictional.
Yet Nameless apparently owes his condition to two factors largely separate
from the quest for authenticity: serendipity and the close indentification of
Pronzini with his character. Pronzini claims no profound goal in leaving his
hero nameless—merely that no name suited the man: “Big, sort of sloppy Ital-
ian guy who guzzles beer, smokes too much and collects pulp magazines.
What name fits a character like that? Sam Spadini, Philip Marlozzi?” Addi-
tionally, Pronzini admits that his character is autobiographical, reflecting his
own perceptions and reactions:

Nameless and I are the same person; or, rather, he is an extrapolation of me. His
view of life, his hang-ups and weaknesses, his pulp collecting hobby—all are essen-
tially mine. . . . So, even though I can’t use it, his name is Bill Pronzini.

Indeed, when Pronzini’s hero is referred to in one of the sections of Twospot
(1978), a collaborative effort with Collin Wilcox, he is called “Bill.” Thus,
while the situation does not handicap the series—some readers are even in-
trigued by it—the precise meaning of the hero’s anonymity is unclear and pos-
sibly not very important. Indeed, it seems ironic to be told the details of
Nameless’s life, where he lives (the upstairs apartment of a Victorian house in
Pacific Heights), whom he sees, how he amuses himself, and yet never learn
his name. Whether this irony is intended is left unclear.
In the mid-1980’s, Pronzini allowed his love of the Western genre—he has
edited dozens of Western anthologies and collections—to spill over into his
mystery writing with the invention of two new series characters. John Quin-
cannon and his partner (and unrequited love interest), Sarah Carpenter, are
detectives working in San Francisco of the 1890’s. Chiefly they solve locked-
room mysteries and other “impossible” crimes, although they do encounter
the occasional six-gun or thrown punch.
Though the team appears in only two novels and one short-story collection
as of 2001, they have achieved critical acclaim. One critic wrote that the his-
torical setting contains “some of the most elaborate landscapes since those of
Arthur Morrison in the 1890’s,” adding of the Delta region of the Sacramento
River east of San Francisco that “this watery region is marked as being pecu-
liarly Pronzini’s own.


100 Masters of Mystery and Detective Fiction

J. G. Ballard has suggested that delta regions represent the Unconscious, a
sort of living map of the interior landscape of part of the human mind." The
story “Burgade’s Crossing,” for example, involves a search of the landscape
for the possible site of a premeditated murder, so that the setting itself almost
acts as a character.

Whether they will be developed to the extent of the Nameless Detective re-
mains to be seen. With or without a name, Pronzini’s detective does achieve a
significant level of authenticity and freshness. Joining the ranks of today’s lib-
erated man, Nameless is unafraid to cry or communicate his emotional needs,
fears, and concerns. He is willing to confess his desire to be loved and to have
at least a few close friends. Nameless provides an alternative to the tough-guy
private eyes of old.

Principal mystery and detective fiction

series: The Nameless Detective: The Snatch, 1971; The Vanished, 1973; Un-
dercurrent, 1973; Blowback, 1977; Twospot, 1978 (with Collin Wilcox); Labyrinth,
1979; Hoodwink, 1982; Scattershot, 1982; Dragonfire, 1982; Bindlestiff, 1983;
Casefile, 1983; Quicksilver, 1984; Nightshades, 1984; Double, 1984 (with Marcia
Muller); Bones, 1985; Deadfall, 1986; Shackles, 1988; Jackpot, 1990; Breakdown,
1991; Quarry, 1992; Epitaphs, 1992; Demons, 1993; Criminal Intent 1: All New
Stories, 1993 (with Muller and Ed Gorman); Hardcase, 1995; Sentinels, 1996;
Spadework: A Collection of “Nameless Detective” Stories, 1996; Illusions, 1997;
Boobytrap, 1998; Crazybone, 2000. Quincannon and Carpenter: Quincannon,
1985; Beyond the Grave, 1986 (with Muller); Carpenter and Quincannon, Profes-
sional Detective Services, 1998. Carmody: A Run in Diamonds, 1973; Carmody’s
Run, 1992.

othernovels:The Stalker,1971;Panic!,1972;The Jade Figurine,1972;A Run
in Diamonds, 1973; Snowbound, 1974; Dead Run, 1975; Games, 1976; The Running
of Beasts, 1976 (with Barry N. Malzberg); Freebooty, 1976; Acts of Mercy, 1977
(with Malzberg); Wildfire, 1978; Night Screams, 1979 (with Malzberg); Masques,
1981; Day of the Moon, 1983; The Eye, 1984 (with John Lutz); The Lighthouse,
1987 (with Muller); The Hangings, 1989; Firewind, 1989; Stacked Deck, 1991;
With an Extreme Burning, 1994; The Tormentor, 1994; Blue Lonesome, 1995; A
Wasteland of Strangers,1997;Nothing But the Night,1999;In an Evil Time,2001.

Other major works

novels: Prose Bowl, 1980 (with Malzberg); The Cambodia File, 1980 (with
Jack Anderson); The Gallows Land, 1983; Starvation Camp, 1984; The Horse Sol-
diers, 1987 (with Greenberg); The Last Days of Horse-Shy Halloran, 1987; The
Gunfighters, 1988 (with Greenberg).
short fiction: A Killing in Xanadu, 1980; Graveyard Plots: The Best Short
Stories of Bill Pronzini, 1985; Small Felonies: Fifty Mystery Short Shorts, 1988; The
Best Western Stories of Bill Pronzini, 1990; Duo, 1998 (with Muller); Sleuths,
1999; Night Freight, 2000; Oddments: A Short Story Collection, 2000; All the Long
Years: Western Stories, 2001.

Bill Pronzini


nonfiction: Gun in Cheek: A Study of “Alternative” Crime Fiction, 1982;
San Francisco, 1985 (with Larry Lee, Mark Stephenson and West Light);
1001 Midnights: The Aficionado’s Guide to Mystery and Detective Fiction, 1986
(with Muller); Son of Gun in Cheek, 1987; Six-Gun in Cheek: An Affectionate
Guide to the “Worst” in Western Fiction, 1997.
edited texts: Tricks and Treats, 1976 (with Joe Gores; also as Mystery Writers
Choice); Midnight Specials, 1977; Dark Sins, Dark Dreams, 1977 (with Malzberg);
Werewolf, 1979; Shared Tomorrows: Collaboration in SF, 1979 (with Malzberg);
Bug-Eyed Monsters, 1980 (with Malzberg); TheEdgarWinners:33rdAnnualAnthology
of the Mystery Writers of America, 1980; Voodoo!, 1980; Mummy!, 1980; Creature!, 1981;
The Arbor House Treasury of Mystery and Suspense, 1981 (with John D. MacDonald,
Malzberg, and Greenberg; also abridged as Great Tales of Mystery and Suspense,
1985);The Arbor House Necropolis: Voodoo!, Mummy!, Ghoul!, 1981 (also as Tales of
the Dead);TheArborHouseTreasuryofHorrorandtheSupernatural,1981(withMalzberg
and Greenberg; also abridged as Classic Tales of Horror and the Supernatural); Specter!,
1982; The Arbor House Treasury of Great Western Stories, 1982 (with Greenberg; also
abridgedasGreat Tales of the West);Great Tales of the West,1982(withGreenberg);The
Arbor House Treasury of Detective and Mystery Stories from the Great Pulps, 1983
(also as Tales of Mystery); The Web She Weaves: An Anthology of Mystery and Suspense
Stories by Women, 1983 (with Muller); The Mystery Hall of Fame, 1984 (with
Charles G. Waugh and Greenberg); Baker’s Dozen: 13 Short Mystery Novels, 1984
(with Greenberg; also as The Mammoth Book of Short Crime Novels); Baker’s
Dozen: Thirteen Short Spy Novels, 1984 (with Greenberg; also as The Mammoth
Book of Short Spy Novels); The Western Hall of Fame, 1984 (with Greenberg); The
Reel West, 1984 (with Greenberg); Child’s Ploy: An Anthology of Mystery and Sus-
pense Stories, 1984 (with Muller); Witches’ Brew: Horror and Supernatural Stories
by Women, 1984 (with Muller); The Best Western Stories of Steve Frazee, 1984 (with
Greenberg); The Western Hall of Fame: An Anthology of Classic Western Stories Se-
lected by the Western Writers of America, 1984 (with Greenberg); The Best Western
Stories of Wayne D. Overholser, 1984 (with Greenberg); The Lawmen, 1984 (with
Greenberg); The Mystery Hall of Fame: An Anthology of Classic Mystery and Sus-
pense Stories Selected by the Mystery Writers of America, 1984 (with Greenberg and
Charles G. Waugh); The Outlaws, 1984 (with Greenberg); She Won the West: An
Anthology of Western and Frontier Stories by Women, 1985 (with Muller); Baker’s
Dozen: 13 Short Espionage Novels, 1985 (with Greenberg); Chapter and Hearse:
Suspense Stories about the World of Books, 1985 (with Muller); The Cowboys, 1985
(with Greenberg); Dark Lessons: Crime and Detection on Campus, 1985 (with
Muller); The Deadly Arts, 1985 (with Muller); The Ethnic Detectives: Masterpieces
of Mystery Fiction, 1985 (with Greenberg); Kill or Cure: Suspense Stories about the
World of Medicine, 1985 (with Muller); Murder in the First Reel, 1985 (with
The Second Reel West, 1985 (with Greenberg); A Treasury of Civil War Stories, 1985
(with Greenberg); A Treasury of World War II Stories, 1985 (with Greenberg); The
Warriors, 1985 (with Greenberg); The Wickedest Show on Earth: A Carnival of Cir-
cus Suspense, 1985 (with Muller); Women Sleuths, 1985 (with Greenberg); Best of


100 Masters of Mystery and Detective Fiction

the West: Stories That Inspired Classic Western Films, 1986-1988, 3 vols.
(with Greenberg); Great Modern Police Stories, 1986 (with Greenberg); Locked
Room Puzzles, 1986 (with Greenberg); Mystery in the Mainstream: An Anthology of
Literary Crimes, 1986 (with Greenberg and Malzberg; also as Crime and Crime
Again: Mystery Stories by the World’s Great Writers); The Railroaders, 1986 (with
Greenberg); The Steamboaters, 1986 (with Greenberg); The Third Reel West, 1986
(with Greenberg); Wild Westerns: Stories from the Grand Old Pulps, 1986; 101 Mys-
tery Stories, 1986 (with Greenberg); Baker’s Dozen: 13 Short Detective Novels, 1987
(with Greenberg); The Best Western Stories of Lewis B. Patten, 1987 (with
Greenberg); The Cattlemen, 1987 (with Greenberg); The Gunfighters, 1987 (with
Greenberg); The Horse Soldiers, 1987 (with Greenberg); Manhattan Mysteries,
1987 (with Carol-Lynn Rössel Waugh and Greenberg); Prime Suspects, 1987
(with Greenberg); Suspicious Characters, 1987 (with Greenberg); Uncollected
Crimes,1987(withGreenberg);Cloak and Dagger: A Treasury of 35 Great Espionage
Stories, 1988 (with Greenberg); Criminal Elements, 1988 (with Greenberg); Ho-
micidal Acts, 1988 (with Greenberg); Lady on the Case, 1988 (with Muller and
Greenberg); The Mammoth Book of Private Eye Stories, 1988 (with Greenberg;
also as The Giant Book of Private Eye Stories); Cloak and Dagger, 1988 (with
Greenberg); The Texans, 1998 (with Greenberg); Homicidal Acts, 1988 (with
Greenberg); The Arizonans, 1989 (with Greenberg); The Best Western Stories of
Frank Bonham, 1989 (with Greenberg); The Best Western Stories of Loren D.
Estleman, 1989 (with Greenberg); The Californians, 1989 (with Greenberg); Fe-
lonious Assaults, 1989 (with Greenberg); The Mammoth Book of World War II
Stories, 1989; More Wild Westerns, 1989; The Best Western Stories of Ryerson John-
son, 1990 (with Greenberg); The Californians: The Best of the West, 1990 (with
Greenberg); Christmas Out West, 1990 (with Greenberg); New Frontiers, 1990
(with Greenberg); The Northerners, 1990 (with Greenberg); The Best Western
Stories of Les Savage, Jr., 1991; The Montanans, 1991 (with Greenberg); The Best
Western Stories of Ed Gorman, 1992 (with Greenberg); Combat!: Great Tales of
World War II, 1992 (with Greenberg); In the Big Country: The Best Western Stories
of John Jakes, 1993 (with Greenberg); The Mammoth Book of Short Crime Novels,
1996 (with Greenberg; also as The Giant Book of Short Crime Stories); American
Pulp, 1997 (with Gorman and Greenberg); Hard-Boiled: An Anthology of Ameri-
can Crime Stories, 1997 (with Jack Adrian); Detective Duos, 1997 (with Muller);
Under the Burning Sun: Western Stories by H. A. DeRosso, 1997; The Best of the
American West: Outstanding Frontier Fiction, 1998 (with Greenberg); Renegade
River: Western Stories by Giff Cheshire, 1998; Heading West: Western Stories by Noel
M. Loomis, 1999); Pure Pulp, 1999 (with Gorman and Greenberg); Riders of the
Shadowlands: Western Stories by H. A. de Rosso, 1999; War Stories, 1999 (with
Greenberg); Tracks in the Sand: Western Stories by H. A. DeRosso, 2001.


Baker, Robert A., and Michael T. Nietzel. Private Eyes: One Hundred and One
Knights, A Survey of American Detective Fiction, 1922-1984. Bowling Green,
Ohio: Bowling Green State University Popular Press, 1985.

Bill Pronzini


Isaac, Frederick. “Nameless and Friend: An Afternoon with Bill Pronzini.”
Clues 4, no. 1 (Spring-Summer, 1983): 35-52.
Lee, Wendi. “Partners in Crime, Part II: Marcia Muller and Bill Pronzini.”
Mystery Scene 42 (1994): 18.
Nevins, Francis M., Jr., and Bill Pronzini. “Bill Pronzini: A Checklist.” The
Armchair Detective
13 (Fall, 1980): 345-350.
Perry, Anne. “What’s Your Motive.” Publisher’s Weekly 247, no. 43 (October
23, 2000): 43.
Randisi, Robert J. “An Interview with Bill Pronzini.” The Armchair Detective
January, 1978, p. 46-48.

Ira Smolensky
Marjorie Smolensky
Updated by Fiona Kelleghan


100 Masters of Mystery and Detective Fiction

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