Spenser

A bad-boy movie star named Jumbo pushes the limits of his reputation when he's accused of rape and murder. When the Boston PD calls on Spencer, he meets Jumbo's young bodyguard, Zebulon Sixkill, and the two form an unlikely alliance. It's a high profile case for Spenser, but the Hollywood secrets he uncovers are sordidly unsavory- and not just those of the accused...

Ellis Alves is a bad kid from the 'hood with a long record, but did he really murder Melissa Henderson, a white student from ritzy Pemberton College? Alves's former lawyers think he was framed, and they hire Spenser to uncover the truth. From Boston's back streets to Manhattan's elite, Spenser and Hawk search for suspects, including Melissa's rich kid tennis-star boyfriend. But when a man with a .22 puts Spenser in a coma, the hope for justice might just die along with the detective...

New York Times bestselling author of the Spenser series of crime thrillers—Book 1 in the series “The toughest, funniest, wisest, private eye in the field these days.”—Houston Chronicle Spenser earned his degree in the school of hard knocks, so he is ready when a Boston university hires him to recover a rare, stolen manuscript. He is hardly surpised that his only clue is a radical student with four bullets in his chest. The cops are ready to throw the book at the pretty blond coed whose prints are all over the murder weapon but Spenser knows there are no easy answers. He tackles some very heavy homework and knows that if he doesn't finish his assignment soon, he could end up marked “D”—for dead.

The first comprehensive study of the eighteenth-century response to the Elizabethan poet Edmund Spenser, from editions to influence.

Susan's letter came from California: Hand was in jail, and she was on the run. Twenty-four hours later, Hawk is free, because Spenser has sprung him loose—for a brutal cross-country journey back to the East Coast. Now the two men are on a violent ride to find the woman Spenser loves, the man who took her, and the shocking reason so many people had to die. . . . Praise for A Catskill Eagle “Entertaining.”—The San Diego Union-Tribune “His best mystery novel.”—Time

In Spenser's Forms of History, Bart Van Es presents an engaging study of the ways in which Edmund Spenser utilized a number of "forms of history"--chronicle, antiquarian discourse, secular typology, political prophecy, and others--in both his poetry and his prose, and assesses their collective impact on Elizabethan poetry.

In the latest thriller featuring the legendary Boston PI, Spenser and his young protégé Mattie Sullivan take on billionaire money manager running a network of underaged girls for his rich and powerful clients. Ten years ago, Spenser helped a teenage girl named Mattie Sullivan find her mother's killer and take down an infamous Southie crime boss. Now Mattie--a college student with a side job working for the tough but tender private eye--dreams of being an investigator herself. Her first big case involves a fifteen-year-old girl assaulted by a much older man at one of Boston's most prestigious private clubs. The girl, Chloe Turner, only wants the safe return of her laptop and backpack. But like her mentor and boss, Mattie has a knack for asking the right questions of the wrong people. Soon Spenser and Mattie find ties between the exploitation of dozens of other girls from working class families to an eccentric billionaire and his sadistic henchwoman with a mansion on Commonwealth Avenue. The mystery man's wealth, power and connections extend well beyond Massachusetts - maybe even beyond the United States. Spenser and trusted ally Hawk must again watch out for Mattie as she unravels a massive sex-trafficking ring that will take them from Boston to Boca Raton to the Bahamas, crossing paths with local toughs, a highly-trained security company, and an old enemy of Spenser's--the Gray Man--for a final epic showdown.

Edmund Spenser's censored attacks on Lord Burghley (Elizabeth I's powerful first minister) serve as the basis for a reassessment of the poet's mid-career, challenging the dates of canonical texts, the social and personal contexts for scandalous topical allegories, and the new historicist portrait of Spenser's 'worship' of power and state ideology.