Ellery Queen is asked by a lawyer friend to help protect the interests of a pretty young heiress. They meet her, along with an unpleasant physician who is a friend of her family, as she disembarks in New York from an ocean liner arriving from England. She learns that her father, from whom she has been separated since her toddler years, has died just as she is to be reunited with her eccentric family and inherit her father’s fabled hoard of gold. The group drives for hours to reach an ugly and sinister Victorian house called the Black House at nightfall.The Black House, where her father died, is uninhabitable — the group meets the family and beds down in a small stone house next door. When they awake, the Black House has vanished as though it never existed. Ellery must shake off the Gothic trappings and the suggestions of black magic in order to figure out what has happened to the Black House and the gold.

Ellery Queen’s arrival in Hollywood did not pass unnoticed. It Brought a pretty, nineteen-year-old girl to his apartment with a tale of murder so strange as to be irresistible to that connoisseur of bizarre crime. the story of a man who scared to death... murdered by a dead dog!..This Ellery Queen’s 25th Detective Mystery, unfolds with a mounting tension as a dead fish, strangled frogs and the skin of an alligator become fantastic components in a grand design for murder.

Hillerman, author of the Joe Leaphorn mysteries, and Herbert, editor of The Oxford Companion to Crime and Mystery Writing, trace this short-story genre from its beginnings in the hands of Edgar Allen Poe through its development by the likes of Erle Stanley Gardner, Mary Roberts Rinehart and Anthony Boucher to its current practice by such masters as Marcia Muller. Poe's "The Murders in the Rue Morgue," which established a great many of the whodunit conventions, is indispensable to such an overview. Raymond Chandler's "I'll be Waiting" emits a doom-laden atmosphere right from the first line; William Faulkner shows unexpected economy of language?and a transparent plot?in "An Error in Chemistry." Ed McBain scores high marks in "Small Homicide," in which the tiny details of a baby's untimely death resonate uncomfortably. As represented in this competent, unstartling collection, Linda Barnes ("Lucky Penny") easily outsasses Sue Grafton ("The Parker Shotgun"). Hillerman makes a solid appearance with "Chee's Witch," and in "Benny's Space" Muller captures the full subtle force of her novel-length vision.

Before the last echo of the shot had trailed down Riverside Drive, Ellery Queen realized that he had just witnessed a murder. Robert Potts lay shot through the heart. Not only had Ellery Queen been a witness but also Inspector Queen and Sergeant Velie. Yet not one of them knew who committed the murder.This is the story of the Old Woman (Cornelia Potts), who lived with all her children (six) in the incredible Potts “palace” on Riverside Drive — on its front lawn a great, bronze Oxford complete with trailing bronze shoelaces. Over the household hovers a ruthless killer who fits his cold-blooded crimes into the pattern of a Mother Goose rhyme.There are amusing and queer characters galore Thurlow, who spent his life bringing fruitless lawsuits; Louella, the would-be inventor; Horatio, the Philosopher of Escapism. And in addition there is the lovely, red-haired Sheila, revolted by the actions of her family.Here is murder as weird and baffling as Ellery Queen has yet encountered — a stiff dose of murder in the best Queen fashion.

A collection of suspense stories, puzzle stories, whodunits and tricky whydunits involving police detectives, private eyes, talented and sometimes lucky amateurs, armchair detectives, and ethnic detectives.