“Blackwater” by Mark Cowling

Her message said eight and so I was there eight sharp like a good little lapdog. Marla had a way of reaching inside of me and ripping out my backbone . . .

“The Graveyard Shift” by Tom Leins

The grave is waist-deep when the cramps start . . .

“West End Boy” by Robin Hall

After the meal we headed back to the Groucho Club. We were a few drinks in now. We went upstairs and had some cocaine in the restroom . . .

“No Prescription Required for Murder” by ID Smith

University College, London. Johnson marched me through the clipped campus, down echoing corridors, past alabaster busts and locked doors. At the end of a long corridor, he stopped at a door marked Private.

“It’s never too late for university, Cartier,” he said, knocking.

“Revenant” by Gerri Brightwell

The stink of Thames mud woke me and I knew he was back . . .

“Clubbing” by Jennifer Schaefer

It took the bulky female bouncer all of five seconds to find the stash in Sallie’s bra: “Now, what’s this, love? Next time keep it in your knickers.”

Damn it—now she’d have to try to score inside . . .

“Paignton Rust” by Tom Leins

It’s happy hour at the Dirty Lemon, but I recognize the same lipstick smear on my glass from when I was in here this morning. It’s 9 pm, but the room is still hot and my half-drunk beer is already warm . . .

Delhi Noir Editor Hirsh Sawhney Interviews Anthony C. Winkler on The Family Mansion

To celebrate the release of The Family Mansion, Hirsh Sawhney asks Anthony C. Winkler about his writing process; what he thinks should be required reading for people interested in the Caribbean; and why writing screenplays is so different than writing a novel.