The Burnt Orange Heresy

A driven art critic’s plan to steal a painting leads to murder in this classic neo-noir novel by the author of the Hoke Moseley series. Fast-talking, backstabbing, womanizing, and fiercely ambitious art critic James Figueras will do anything—blackmail, burglary, and beyond—to make a name for himself. When an unscrupulous collector offers Figueras a career-making chance to interview Jacques Debierue, the greatest living—and most reclusive—artist, the critic must decide how far he will go to become the art-world celebrity he hungers to be. Will Figueras stop at the opportunity to skim some cream for himself or push beyond morality’s limits to a bigger payoff? Crossing the art world with the underworld, Willeford creates a novel of dark hue and high aesthetic polish. The Burnt Orange Heresy—the 1970s crime classic now back in print—has lost none of its savage delights as it re-creates the making of a murderer, calmly and with exquisite tension, while satirizing the workings of the art world as the ultimate con. Now a major motion picture starring Donald Sutherland and Mick Jagger Praise for The Burnt Orange Heresy “Stunning . . . A novel full of genuine fun that also manages to make a level statement about the art world and its hermetic credulities.” —New Yorker

In the criminal underbelly of the 1960s rural South, a silent, iron-willed man is ready to sacrifice anything to rise to the top. A former professional boxer, actor, horse trainer and radio announcer, Charles Willeford (1919-1988) is best known for his Miami-based crime novels featuring hard-boiled detective Hoke Moseley, including Miami Blues and Sideswipe. His career as a writer began in the late 1940s, but it was his 1972 novel Cockfighter that announced his name to a wider audience. Frank Mansfield is the titular cockfighter: a silent and fiercely contrary man whose obsession with winning will cost him almost everything. Mansfield haunts the cockpits, bars and roads of the rural South in the early 1960s, adrift but always capable of nearly anything... First published in complete form in 1972, and adapted by Willeford for a Monte Hellman film in 1974 (which became infamous for its use of real animals in the fight scenes), the novel Cockfighter has been out of print for nearly 20 years. Praise for Charles Willeford and Cockfighter “One of our most skilled, interesting, accomplished and productive writers.” —Jonathan Yardley, Washington Post “Charles Willeford renders the sport [of cockfighting] with such knowledge and attention to detail that . . . I had the almost inexpressible impression of being on my knees again beside the great fighting pits of the southern circuit.” —Harry Crews “No one writes a better crime novel than Charles Willeford.” —Elmore Leonard “Entertaining every step of the way... Willeford opens up for most of us a whole undiscovered world, and conveys it wonderfully.” —Publishers Weekly

This underground classic of hard-boiled noir fiction follows two addiction-addled drifters as they struggle to make ends meet in the streets of 1950s California First published as an unheralded paperback original, Pick-Up is an authentic underground classic, an explosive bulletin from the urban underbelly of mid-1950s America. It was Charles Willeford’s second novel, after a rough and wandering earlier life that had taken him from Depression-era hobo camps and soup kitchens to wartime battlefields. The unblinking story of two lost and self-destructive drifters—a failed painter working as a counterman in a cheap diner and a woman in flight from domestic violence—trying to find a place for themselves in the back streets of San Francisco, Pick-Up is hardboiled writing at its nihilistic best: Willeford’s preferred title for the book was Until I Am Dead. Its bleak vision of life beyond the edge is haunted by rape, racism, alcoholism, suicide, and inescapable poverty, yet shot through with a tenderness and compassion sustained against all odds in a society offering few breaks to its outcasts and misfits. Pick-Up’s many twists and violent turns culminate in an ending that continues to surprise, confirming it as what critic Woody Haut has called “a razor-sharp narrative that rips open the genre.”

Jake Blake is a private detective short on cash when he meets a rich and beautiful young woman looking to escape her father’s smothering influence. Unfortunately for Jake, the smothering influence includes two thugs hired to protect her—and the woman is in fact not the daughter of the man she wants to escape, but his wife. Now Jake has two angry thugs and one jealous husband on his case. As Jake becomes more deeply involved with this glamorous and possibly crazy woman, he becomes entangled in a web of deceit, intrigue—and multiple murders. Brilliant, sardonic, and full of surprises, Wild Wives is one wild ride.

A driven art critic’s plan to steal a painting leads to murder in this classic neo-noir novel by the author of the Hoke Moseley series. Fast-talking, backstabbing, womanizing, and fiercely ambitious art critic James Figueras will do anything—blackmail, burglary, and beyond—to make a name for himself. When an unscrupulous collector offers Figueras a career-making chance to interview Jacques Debierue, the greatest living—and most reclusive—artist, the critic must decide how far he will go to become the art-world celebrity he hungers to be. Will Figueras stop at the opportunity to skim some cream for himself or push beyond morality’s limits to a bigger payoff? Crossing the art world with the underworld, Willeford creates a novel of dark hue and high aesthetic polish. The Burnt Orange Heresy—the 1970s crime classic now back in print—has lost none of its savage delights as it re-creates the making of a murderer, calmly and with exquisite tension, while satirizing the workings of the art world as the ultimate con. Now a major motion picture starring Donald Sutherland and Mick Jagger Praise for The Burnt Orange Heresy “Stunning . . . A novel full of genuine fun that also manages to make a level statement about the art world and its hermetic credulities.” —New Yorker

It's a story that made Dutch painter Han van Meegeren famous worldwide when it broke at the end of World War II: A lifetime of disappointment drove him to forge Vermeers, one of which he sold to Hermann Goering in mockery of the Nazis. And it's a story that's been believed ever since. Too bad it isn't true. Jonathan Lopez has drawn on never-before-seen documents from dozens of archives to write a revelatory new biography of the world's most famous forger. Neither unappreciated artist nor antifascist hero, Van Meegeren emerges as an ingenious, dyed-in-the-wool crook--a talented Mr. Ripley armed with a paintbrush. Lopez explores a network of illicit commerce that operated across Europe: Not only was Van Meegeren a key player in that high-stakes game in the 1920s and '30s, landing fakes with famous collectors such as Andrew Mellon, but he and his associates later cashed in on the Nazi occupation. The Man Who Made Vermeers is a long-overdue unvarnishing of Van Meegeren's legend and a deliciously detailed story of deceit in the art world.

From the master of Miami noir comes this tale of four regular guys living in a singles apartment building who experience firsthand that there's more than one type of heat in Miami. Larry Dolman is a rather literal minded ex-cop who now works private security. Eddie Miller is an airline pilot who's studying to get his real estate license. Don Luchessi is a silver salesman who's separated from his wife but too Catholic to get a divorce. Hank Norton is a drug company rep who gets four times as many dames as any of the other guys. They are all regular guys who like to drink, play cards, meet broads, and shoot a little pool. But when a friendly bet goes horribly awry, they find themselves with two dead bodies on their hands and a homicidal husband in the wings—and acting more like hardened criminals than upstanding citizens.

High Priest of California, first published in 1953, is a gritty noir thriller by Charles Willeford. The book, Willeford’s first novel, centers on San Francisco used-car salesman Russell Haxby, a highly unpleasant character, who, motivated perhaps by sheer boredom, engages in small time cons and seduces a married woman. Willeford (1919-1988) is best known for his books featuring hardboiled detective Hoke Moseley. A roaring saga of the male animal on the prowl—The world was his oyster—and women his pearls!

Art student Ralph Tone is working in Miami as a bellboy. He meets Hollywood hopeful Maria Duigan and falls head over heels for the ambitious beauty. As Ralph fuels his obsession by booze, pills, and lack of sleep, they both quickly become entangled with sleazy pornographer Donald McKay. Charles Willeford's MADE IN MIAMI was originally released to the unsuspecting masses in 1958 under the title LUST IS A WOMAN by a publisher incapable of spelling the author's name correctly on the cover. Written in white heat by "the unlikely father of Miami crime fiction" (Atlantic Monthly) to match the requirements of the market, the book remains a textbook example of lurid 1950s pulp fiction. It was also a springboard to the author's later masterpieces MIAMI BLUES and SIDESWIPE.

Anthony Lane on Con Air— “Advance word on Con Air said that it was all about an airplane with an unusually dangerous and potentially lethal load. Big deal. You should try the lunches they serve out of Newark. Compared with the chicken napalm I ate on my last flight, the men in Con Air are about as dangerous as balloons.” Anthony Lane on The Bridges of Madison County— “I got my copy at the airport, behind a guy who was buying Playboy’s Book of Lingerie, and I think he had the better deal. He certainly looked happy with his purchase, whereas I had to ask for a paper bag.” Anthony Lane on Martha Stewart— “Super-skilled, free of fear, the last word in human efficiency, Martha Stewart is the woman who convinced a million Americans that they have the time, the means, the right, and—damn it—the duty to pipe a little squirt of soft cheese into the middle of a snow pea, and to continue piping until there are ‘fifty to sixty’ stuffed peas raring to go.” For ten years, Anthony Lane has delighted New Yorker readers with his film reviews, book reviews, and profiles that range from Buster Keaton to Vladimir Nabokov to Ernest Shackleton. Nobody’s Perfect is an unforgettable collection of Lane’s trademark wit, satire, and insight that will satisfy both the long addicted and the not so familiar.