Bøker i Trevor English-serien

Skint, on the skids, reduced to life in skid-row shelters, Trevor English, petty thief and habitual blackmailer, is apprehended shoplifting by store-detective-cum-freelance-investigator Leonard Bellow. Turning a blind eye to his theft, Bellow offers Trevor a job doing shutterbug reconnaissance work-an opportunity Trevor jumps at (if already with his own ends in mind). But in the world he has cornered himself in nothing remains what it seems on the surface...except, he comes to realize, for Trevor English: deadbeat, desperate, easy mark, lamb to the slaughter. this gun from Norman Court is the final installment in Pablo D'Stair's five-novella Trevor English cycle. Praise for Pablo D'Stair: "D'Stair is clearly a master. Likely Jean Patrick Manchette reincarnated..." -Matt Phillips, author of Countdown and The Bad Kind of Lucky "Somehow again and again you're drawn in...you get used to the book's rhythm and follow it because the work is obsessive. We find ourselves in a languid kind of suspense, bracing ourselves..." -Bret Easton Ellis, author of American Psycho "Pablo D'Stair doesn't just write like a house afire, he writes like the whole city's burning, and these words he's putting on the page are the thing that can save us all." -Stephen Graham Jones, Bram Stoker Award-winner "Pablo D'Stair is defining the new writer [and the new film maker]. D'Stair's late realism needs to be included in any examination of the condition of the novel." -Tony Burgess, award-winning author/screenwriter "Like Kerouac before him, I felt there was one roll of paper on which the story was typed. And there's a rhythm behind it. Not the speedy bop of jazz this time, more an urban dubstep. Shadows and edges becoming audible." -Nigel Bird, author of Smoke

Laying low in a cold water flat, petty crook Trevor English inadvertently discovers the truth behind a violent crime. Taking no action against the perpetrator, he is nevertheless accused of holding the information over their head.And despite his claims of non-involvement, Trevor soon finds he must either play fall-guy to the crime or else pay out someone else''s blackmail to keep his own past from being raked up.Praise for the Books by Pablo D''Stair"D''Stair is clearly a master. Likely Jean Patrick Manchette reincarnated..." -Matt Phillips, author of Countdown and The Bad Kind of Lucky"Somehow again and again you''re drawn in...you get used to the book''s rhythm and follow it because the work is obsessive. We find ourselves in a languid kind of suspense, bracing ourselves..." -Bret Easton Ellis, author of American Psycho"Pablo D''Stair doesn''t just write like a house afire, he writes like the whole city''s burning, and these words he''s putting on the page are the thing that can save us all." -Stephen Graham Jones, Bram Stoker Award-winner"Pablo D''Stair is defining the new writer [and the new film maker]. D''Stair''s late realism needs to be included in any examination of the condition of the novel." -Tony Burgess, award-winning author/screenwriter"Like Kerouac before him, I felt there was one roll of paper on which the story was typed. And there''s a rhythm behind it. Not the speedy bop of jazz this time, more an urban dubstep. Shadows and edges becoming audible." -Nigel Bird, author of Smoke

HELEN TOPAZ, HENRY DOLLAR is the third installment in Pablo D'Stair's five-novella Trevor English cycle.

Wynol Trot—a family man and high school teacher with a pornography habit he takes pains to keep hidden.To Trevor English, the idea is simple—threaten Wynol with exposure unless a modest sum is paid.But when the blackmail doesn’t go through, Trevor realizes his own past makes him more vulnerable than his would-be victim—and that Wynol Trot is more amoral than he could have imagined.Praise for the Books by Pablo D’Stair“D’Stair is clearly a master. Likely Jean Patrick Manchette reincarnated…” —Matt Phillips, author of Countdown and The Bad Kind of Lucky“Somehow again and again you’re drawn in…you get used to the book’s rhythm and follow it because the work is obsessive. We find ourselves in a languid kind of suspense, bracing ourselves…” —Bret Easton Ellis, author of American Psycho“Pablo D’Stair doesn’t just write like a house afire, he writes like the whole city’s burning, and these words he’s putting on the page are the thing that can save us all.” —Stephen Graham Jones, Bram Stoker Award-winner“Pablo D’Stair is defining the new writer [and the new film maker]. D’Stair’s late realism needs to be included in any examination of the condition of the novel.” —Tony Burgess, award-winning author/screenwriter“Like Kerouac before him, I felt there was one roll of paper on which the story was typed. And there’s a rhythm behind it. Not the speedy bop of jazz this time, more an urban dubstep. Shadows and edges becoming audible.” —Nigel Bird, author of Smoke

When petty crook Trevor English is offered two thousand dollars to deliver a letter across the country, the choice seems fairly simple—money up front, no way he can go wrong.And when he finds himself in possession of correspondence several parties would pay to get their hands on, the choice seems even simpler—take what he can, while he can, from who he can…and disappear.this letter to Norman Court is the first installment in Pablo D’Stair’s five-novella Trevor English cycle.Praise for the books by Pablo D’Stair:“D’Stair is clearly a master. Likely Jean Patrick Manchette reincarnated…” —Matt Phillips, author of Countdown and The Bad Kind of Lucky“Somehow again and again you’re drawn in…you get used to the book’s rhythm and follow it because the work is obsessive. We find ourselves in a languid kind of suspense, bracing ourselves…” —Bret Easton Ellis, author of American Psycho“Pablo D’Stair doesn’t just write like a house afire, he writes like the whole city’s burning, and these words he’s putting on the page are the thing that can save us all.” —Stephen Graham Jones, Bram Stoker Award-winner“Pablo D’Stair is defining the new writer [and the new film maker]. D’Stair’s late realism needs to be included in any examination of the condition of the novel.” —Tony Burgess, award-winning author/screenwriter“Like Kerouac before him, I felt there was one roll of paper on which the story was typed. And there’s a rhythm behind it. Not the speedy bop of jazz this time, more an urban dubstep. Shadows and edges becoming audible.” —Nigel Bird, author of Smoke