Patricia Highsmith

Three classic crime novels by a master of the macabre appear here together inhardcover for the first time. Suave, agreeable, and completely amoral, Patricia Highsmith's hero, theinimitable Tom Ripley, stops at nothing--not even murder-- to accomplish hisgoals. In achieving for himself the opulent life that he was denied as a child,Ripley shows himself to be a master of illusion and manipulation and adisturbingly sympathetic combination of genius and psychopath. As Highsmithnavigates the mesmerizing tangle of Ripley's deadly and sinister games, she turnsthe mystery genre inside out and takes us into the mind of a man utterlyindifferent to evil. The Talented Mr. RipleyIn a chilling literary hall of mirrors, Patricia Highsmith introduces Tom Ripley. Like a hero in a latter-day Henry James novel, is sent to Italy with a commission to coax a prodigal young American back to his wealthy father. But Ripley finds himself very fond of Dickie Greenleaf. He wants to be like him--exactly like him. Suave, agreeable, and utterly amoral, Ripley stops at nothing--certainly not only one murder--to accomplish his goal. Turning the mystery form inside out, Highsmith shows the terrifying abilities afforded to a man unhindered by the concept of evil. Ripley Under GroundIn this harrowing illumination of the psychotic mind, the enviable Tom Ripley has a lovely house in the French countryside, a beautiful and very rich wife, and an art collection worthy of a connoisseur. But such a gracious life has not come easily. One inopportune inquiry, one inconvenient friend, and Ripley's world will come tumbling down--unless he takes decisive steps. In a mesmerizing novel that coolly subverts all traditional notions of literary justice, Ripley enthralls us even as we watch him perform acts of pure and unspeakable evil. Ripley's GameConnoisseur of art, harpsichord aficionado, gardener extraordinaire, and genius of improvisational murder, the inimitable Tom Ripley finds his complacency shaken when he is scorned at a posh gala. While an ordinary psychopath might repay the insult with some mild act of retribution, what Ripley has in mind is far more subtle, and infinitely more sinister. A social slight doesn't warrant murder of course-- just a chain of events that may lead to it. "Patricia Highsmith is often called a mystery or crime writer, which is a bitlike calling Picasso a draftsman." --Cleveland Plain Dealer"One of our greatest modernist writers." --Gore Vidal

The psychologists would call it folie a deux... 'Bruno slammed his palms together. We meet on a train, see, and nobody knows we know each other! Catch?'' From this moment, almost against his conscious will, Guy Haines is trapped in a nightmare of shared guilt and an insidious merging of personalities.

Tom Ripley is struggling to stay one step ahead of his creditors and the law, when an unexpected acquaintance offers him a free trip to Europe and a chance to start over. Ripley wants money, success and the good life and he's willing to kill for it. When his new-found happiness is threatened, his response is as swift as it is shocking.

The Buckmaster Gallery is staging another Derwatt exhibition, but now an American collector claims that the expensive masterpiece he bought three years ago is a fake. It is, of course, and he wants to talk to Derwatt, but Derwatt, inconveniently, is dead.

Tom Ripley detested murder. Unless it was absolutely necessary. Wherever possible, he preferred someone else to do the dirty work. In this case someone with no criminal record, who would commit 'two simple murders' for a very generous fee.

The first stage adaptation of Patricia Highsmith's famous crime novelTom Ripley is a criminal with an ambiguous past. He is sent to Italy by a wealthy financier to try and coax home the rich man's son. In the process Ripley becomes both attracted and seduced, finding the murder the only way to deal with the situation. From that point Ripley tries to cover up his crime. Patricia Highsmith's beguiling tale of morality and amorality is given a dramatic rendering by contemporary dramatist Phyllis Nagy, who knew Highsmith in her later years in Paris." Each play I see by Phyllis Nagy confirms me in the belief that she is the finest playwright to have emerged in the 1990s" (Financial Times)