“As usual, Melville International Crime presents us with gleaming gems …” — Crimespree Magazine

“With this new imprint, Melville is capitalizing on their strengths in ways which stand to benefit both their current and potential audiences. Crime fiction fans are generally completists who want to read all of a favorite detective’s cases—even the rocky ones. And Melville has a knack for series—they’ve resurrected the novella as a viable (and marketable) form with their brilliant ’Art of the Novella’ line, establishing their press as a quality arbiter of taste while also engendering something like brand loyalty. By expanding into international crime fiction, Melville stands to create a similar loyalty among new readers.” — The Afterword

”Melville House’s International Crime series translates bestselling crime novels from Europe and beyond and presents them in sharply designed paperback format here in the States. And Brenner and God is a humdinger … Melville House fucking rocks.” —Wayne Alan Brenner, The Austin Chronicle

”To a large degree, Jakob Arjouni [in his Kayankaya series] employs ethnic prejudice much as Chandler did class snobbery, as a means of drawing caustically funny portraits of characters filled with oblivious self-regard. Kayankaya’s Marlovian impertinence addresses Germany’s xenophobic intolerance without the unlovely air of grievance, and even as the battered detective picks himself off another squalid floor and downs a 100-proof bracer to ease the throbbing handiwork of some gangster’s hired muscle, he is indomitable. Though he feels pain and uncertainty, he suffers no dark nights of the soul. Kayankaya’s adventures include none of the existential conundrums or nihilistic high jinks that make some European crime novels so tiresome. They are just marvelously entertaining.” —Katherine A. Powers, The B&N Review

”Death and the Penguin comes across as an almost perfect little novel … fast-paced and witty and on the side of the angels.” —John Powers, NPR’s Fresh Air

”No one claiming interest in literature truly written from the edge of human experience, no one wondering at the limits of the crime novel and of literature itself, can overlook Derek Raymond’s extraordinary books.” —James Sallis, author of Drive