OTTO PENZLER

To this day, I've never figured out a single locked-room mystery.

Mysteries include so many things: the noir novel, espionage novel, private eye novels, thrillers, police procedurals. But the pure detective story is where there's a detective and a criminal who's committed a murder and leaves clues for the detective and the careful reader to find.

I didn’t think any biography could do justice to one of the few honest-to-goodness geniuses of our time, a walking paradox who wore a cloak of complexity and elusiveness, but Lisa Rogak has done an exemplary job of it.

Big cities do evoke a sense of menace.

A lot of locked-room mysteries take time for you to pay attention and see the setup. They aren't thrillers, and they don't move along. The modern mystery story is really faster-paced, and I think modern readers tend to prefer seeing something happening on every other page.

A pulp story without a detective and, obviously, somebody for him to do battle with is unthinkable, and I can't remember reading a pulp story that didn't have a dame - either a good girl or a bad girl.

Like art, love, and pornography, noir is hard to define, but you know it when you see it. For the purposes of the book and my longtime working understanding and definition of it, noir stories are bleak, existential, alienated, pessimistic tales about losers--people who are so morally challenged that they cannot help but bring about their own ruin.

I don't believe in ghosts and have never seen one. I wish I could see one, and I would like to have seen one because then I could believe in God. If I can see it, feel it and taste it, then I believe in it.

It was really in the Golden Age, between the two world wars, when the pure detective story - of which the locked room mystery is really the ultimate form - became popular.

I have always been a pretty big fan of ghost stories.

Big cities do evoke a sense of menace.

I have always been a pretty big fan of ghost stories.

To this day, I've never figured out a single locked-room mystery.

A lot of locked-room mysteries take time for you to pay attention and see the setup. They aren't thrillers, and they don't move along. The modern mystery story is really faster-paced, and I think modern readers tend to prefer seeing something happening on every other page.

A pulp story without a detective and, obviously, somebody for him to do battle with is unthinkable, and I can't remember reading a pulp story that didn't have a dame - either a good girl or a bad girl.

All cultures have had a belief in ghosts and a fear of ghosts. People have always told stories, and everybody likes being frightened, especially when you feel safe. Personally, I find them scarier than vampires or zombies.

I don't believe in ghosts and have never seen one. I wish I could see one, and I would like to have seen one because then I could believe in God. If I can see it, feel it and taste it, then I believe in it.

It was really in the Golden Age, between the two world wars, when the pure detective story - of which the locked room mystery is really the ultimate form - became popular.

Mysteries include so many things: the noir novel, espionage novel, private eye novels, thrillers, police procedurals. But the pure detective story is where there's a detective and a criminal who's committed a murder and leaves clues for the detective and the careful reader to find.

One of the hopes we have when we hear or read an interview with a mystery writer is to get inside the writer's head, to learn something we didn't know before.

Today's ghost stories tend to be much more physically or psychologically violent. The Victorians were much more leisurely about what might or could happen, building suspense layer by layer rather than punching you in the face.

Ridley Pearson also plays bass guitar and sings with the Rock Bottom Remainders, a band made up of such successful authors as Amy Tan, Stephen King, and Dave Barry-a band that, according to Barry, "plays music as well as Metallica writes novels".

Like art, love, and pornography, noir is hard to define, but you know it when you see it. For the purposes of the book and my longtime working understanding and definition of it, noir stories are bleak, existential, alienated, pessimistic tales about losers--people who are so morally challenged that they cannot help but bring about their own ruin.

I didn’t think any biography could do justice to one of the few honest-to-goodness geniuses of our time, a walking paradox who wore a cloak of complexity and elusiveness, but Lisa Rogak has done an exemplary job of it.