<p/><br></br><p><b> Book Synopsis </b></p></br></br><p>"From its first issue, <em>Manhunt </em>declared itself different. For one thing, all the stories were</p><p>claimed to be new and remained that way until near the end. And many of the early</p><p>contributors were familiar names from hardcover publishing, including William Irish</p><p>(a.k.a. Cornell Woolrich), Kenneth Millar (as himself and as John Ross Macdonald), </p><p>Eleazar Lipsky, Bruno Fischer, Craig Rice, Harold Q. Masur, Leslie Charteris, William</p><p>Lindsay Gresham, Henry Kane, and David Goodis...</p><p><br></p><p>"The essence of <em>Manhunt</em> was not the private eye story, though it published plenty of</p><p>them. What set it apart was what is now called noir fiction, a term often thrown around</p><p>very loosely but in its purest form concerning a flawed but not necessarily unsympathetic</p><p>protagonist who will not have a happy outcome." </p>-from the Introduction by Jon L. Breen</p><br></p><p><br></p>
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