The Spinster's Secret

· Hachette UK
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Forget The Girl on the Train - meet the woman who watches from her window, and finds herself caught up in murder...
Classic crime from one of the greats of the Detection Club


'Watching, fascinated and horrified, he saw thin fingers creep around the edge of the black curtain. Someone from inside was tugging to loosen it . . .'

Miss Janet Martin, a 74-year-old spinster, enjoys her daily habit of watching passers-by from her window. When she strikes up a friendship with one of them - the golden-haired Pamela - she has no inkling that the innocence of her fading years is about to be turned upside down.

The little old lady becomes inextricably involved in the child's fate, and when she calls in private eye Arthur Crook to help, a plot of abduction, fraud and murder unfolds . . .

Par autoru

Anthony Gilbert was the pen name of Lucy Beatrice Malleson. Born in London, she spent all her life there, and her affection for the city is clear from the strong sense of character and place in evidence in her work. She published 69 crime novels, 51 of which featured her best known character, Arthur Crook, a vulgar London lawyer totally (and deliberately) unlike the aristocratic detectives, such as Lord Peter Wimsey, who dominated the mystery field at the time. She also wrote more than 25 radio plays, which were broadcast in Great Britain and overseas. Her thriller The Woman in Red (1941) was broadcast in the United States by CBS and made into a film in 1945 under the title My Name is Julia Ross. She was an early member of the British Detection Club, which, along with Dorothy L. Sayers, she prevented from disintegrating during World War II. Malleson published her autobiography, Three-a-Penny, in 1940, and wrote numerous short stories, which were published in several anthologies and in such periodicals as Ellery Queen's Mystery Magazine and The Saint. The short story 'You Can't Hang Twice' received a Queens award in 1946. She never married, and evidence of her feminism is elegantly expressed in much of her work.

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