>>> Part 3 of 6...
pole. Unfortunately there's another woman involved whose life is
quickly turning into a disaster, and Travis McGee has never been
the kind of man to sit back and watch...; 449-45613-7
Paperback, 280 pp.
--Ivy--
DANGEROUS ATTACHMENTS by Sarah Lovett
In her debut mystery, forensic psychiatrist Sylvia Strange, who
serves as a consultant to the New Mexico prison system in Santa
Fe, recommends that Lucas Watson not be released on parole. 
Soon, Lucas escapes and forces Sylvia to use all of her skill as
a psychiatrist to keep one step ahead of him; 8041-1297-5
Paperback, 300 pp.
LAST BUS TO WOODSTOCK by Colin Dexter
In a reprint of the first Inspector Morse novel, Morse must solve
the confusing case of an Oxford co-ed whose bludgeoned body is
found outside a pub in Woodstock shortly after she is seen
hitching a ride; 8041-1490-0
Paperback, 288 pp. 
-----------------------------------------------------------------
September books
--Ballantine--
IN THE DEAD OF SUMMER by Gillian Roberts
This sequel to HOW I SPENT MY SUMMER VACATION joins Philadelphia
schoolteacher Amanda Pepper on a tenacious search for a missing
student -- a quest that leads to malice domestic and malevolence
public; 345-40650-8
Paperback, 288 pp.
A CLEAR CONSCIENCE by Frances Fyfield
Helen West, Prosecutor for the Crown, returns in this noirish
suspense novel about the private and legal life of a battered
woman.  A CLEAR CONSCIENCE represents the latest U.S. paperback
appearance of the acclaimed British novelist Frances Fyfield;
345-38508-X
Paperback, 272 pp.
THE SHADOW MAN by John Katzenbach
The first paperback appearance of the acclaimed (and Edgar Award-
nominated) novel by the author of JUST CAUSE.  This thriller
focuses on an elusive, anonymous killer who resurfaces after five
decades of dormancy; 345-38630-2
Paperback, 448 pp.
--Fawcett--
CHESTNUT MARE, BEWARE by Jody Jaffe
_Charlotte Commercial Appeal_ reporter Nattie Gold finds herself
in the thick of things once again when her show-horse circuit
acquaintances receive death threats; 449-90998-0
Hardcover, 288 pp.
L IS FOR LAWLESS by Sue Grafton
Kinsey Milhone joins up with a modern-day Bonnie and Clyde in a
romp that takes her halfway across the country and lands her in
some serious trouble before she can solve a mystery that's
decades old; 449-22149-0
Paperback, 336 pp.
THE ROARING BOY by Edward Marston
In the seventh installment of the Elizabethan theater series
starring Nicholas Bracewell, playwright Edmund Hood receives an
anonymous manuscript based on a true mystery; 449-22431-7
Paperback, 304 pp.
MOURNING GLORIA by Joyce Christmas
Lady Margaret Priam makes her eighth appearance in MOURNING
GLORIA, when she is called upon to figure out which of her
society acquaintances is a murderer; 449-14704-5
Paperback, 240 pp.
--Ivy--
HORSE OF A DIFFERENT KILLER by Jody Jaffe
The first mystery featuring Natalie Gold -- a woman who spans the
high-society world of show horses and the high-powered newspaper
world; 8041-1472-2
Paperback, 288 pp.
IN OTHERS' WORDS-------------------------------------------------
Julie Smith's NEW ORLEANS MOURNING won the 1991 Edgar Award given
by the Mystery Writers of America for Best Novel, making Julie
Smith the first American woman to win the award in that category
since 1956.  Detective Skip Langdon, introduced in NEW ORLEANS
MOURNING, returned in THE AXEMAN'S JAZZ, JAZZ FUNERAL, NEW
ORLEANS BEAT, and HOUSE OF BLUES, and is featured in the upcoming
novel, THE KINDNESS OF STRANGERS.  Aside from being first-rate
mysteries, all of these books evoke the wild, sultry, authentic
atmosphere of New Orleans.  We caught up with Julie Smith
recently, and asked how her setting informs her books.  Here is
what she had to say:
MOI: Why did you choose New Orleans as a setting for your novels?
JS: New Orleans is the city I know best.  I never even _began_ to
get the hang of the town where I grew up -- Savannah, Georgia --
and I was writing about San Francisco when I decided to start a
second series.  I'd lived in New Orleans years ago and so I
decided to work with it as a setting.  As it turned out, the city
was in my blood in a way I didn't even understand until I began
writing about it.  After living in San Francisco most of my adult
life, I began spending a few months a year in New Orleans and
eventually ended up moving back permanently.
     It turns out to be a perfect place to set a mystery series
because it's so rich in so many ways -- rich in secrets, for one
thing.  Skeletons are forever emerging from closets and providing
inspiration.  Rich in crime, for another.  We've become famous
for having the world's only police department with two officers
on Death Row, but aside from that, this is a city of outlaws. 
Ordinary tourists who come here for a weekend end up breaking
more laws in the first hour they're here than they've probably
done in the entire rest of their lives -- and this is before they
even get drunk.
 
MOI: How do you use the culture of New Orleans -- the music, the
art, and so on -- in your books?
JS: New Orleans at the moment isn't Paris in the  20s, but there
may be similarities -- the arts are bursting out all over in
exciting, ground roots kinds of ways.  I try to incorporate that
in the books -- especially the music, because the passion, the
longing, the desire associated with music is so easily accessible
to most people.  When writers write about writing, it's self-conscious
and a little tacky -- yet in all of us, I think, is a
desire to explore that elusive phenomenon known as "the creative
process" without actually getting so pretentious as to call it
that.  I use music as a metaphor for all art, and especially for
writing.  If I mention music, you can just about always read
"writing."  People ask me if I based the character of Skip
Langdon on myself, but the truth is that there's really a lot
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