About Collected Millar: The Dawn of Domestic Suspense: Fire Will Freeze; Experiment In Springtime; The Cannibal Heart; Do Evil In Return; Rose’s Last Summer
Collected for the first time: Five novels that defined the domestic crime story and announced Margaret Millar as a writer for whom no subject was taboo.
A grim locked room mystery doubles as brilliantly funny comedy; a nuanced portrait of a marriage rocked by paranoia and loneliness; an examination of a deeply flawed mother’s psychology–and its deadly consequences; a chilling noir tale about the value—or lack thereof—of a human life; and the quintessential Hollywood tale about an aging actress and the chaos that follows her unlikely demise. Humor, politics, chilling psychological insight and the outright macabre are all on display in these novels, which were formative both for the author and the generations of writers who followed her.
Fire Will Freeze (1944) A locked-room mystery in which a bus filled with ski enthusiasts breaks down in the middle a blizzard, sending a mismatched group of strangers out into the night to find shelter from the storm.
Experiment In Springtime (1947) A poignantly observed story of an unfortunately entered marriage, a novel that scrapes away the veneer of domestic bliss to reveal the heartbreaks, neuroses, and dissatisfactions of the mythical post-WWII nuclear family.
The Cannibal Heart (1949) A deeply unsettling depiction of a mother who both resents her special needs child and covets the neighbor’s young daughter.
Do Evil In Return (1950) Perhaps Margaret Millar’s most controversial book, a perfectly plotted noir that tackles abortion and the hypocrisy of the laws governing a woman’s body.
Rose’s Last Summer (1952) In this quintessential Hollywood story—clever, humorous, and thoroughly Hitchcockian—a faded actress’s death sows chaos among a quirky set of characters.
Mystery Writers of America Grand Master Winner of the Edgar Award for Best Novel Los Angeles Times Woman of the Year
“One of the most original and vital voices in all of American crime fiction.” —Laura Lippman
“I long ago changed my writing name to Ross Macdonald for obvious reasons.” —Kenneth Millar (Ross Macdonald), in a letter to the Toronto Saturday Night newspaper
“Very Original.” —Agatha Christie
“Stunningly original.” —Val McDermid
“She has few peers, and no superior in the art of bamboozlement.” —Julian Symons
“Written with such complete realization of every character that the most bitter antagonist of mystery fiction may be forced to acknowledge it as a work of art.” —Anthony Boucher reviewing Beast in View for the New York Times
“More so than Patricia Highsmith, Millar was the most accomplished pioneer of the psychological thriller… She was meticulously attentive to class, race and sexual manners.” —Declan Hughes, The Irish Times
“Ferocious.” —NPR’s Fresh Air
“Razor sharp.” —Adam Woog, The Seattle Times
“A writer whose own work is every bit as psychologically bruising and critically acclaimed as that of her husband [Ross Macdonald], if not as well known. But [Syndicate Books] hopes to rectify that with Collected Millar.” —Mystery Scene Magazine
“Margaret Millar can build up the sensation of fear so strongly that at the end it literally hits you like a battering ram.” —BBC
“Wonderfully ingenious.” —The New Yorker
“Brilliantly superlative… One of the most impressive additions to mystery literature—and the word “literature” is used in its fullest sense.” —San Francisco Chronicle
“In the whole of crime fiction’s distinguished sisterhood, there is no one quite like Margaret Millar.” —The Guardian
“A superb writer.” —H.R.F. Keating
“She writes minor classics.” —Washington Post
“Mrs. Millar doesn’t attract fans she creates addicts.” —Dilys Winn, namesake of the Dilys Award