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Porsche - Origin of the Species is the latest Porsche heritage book by renowned automotive historian Karl Ludvigsen.

Within Jerry Seinfeld s renowned Porsche collection resides an unassuming yet extraordinary piece of Porsche history: Porsche Gmund coupe 356/2-040. Captured exclusively for this book in a series of evocative portraits by acclaimed automotive photographer Michael Furman, 040's unsullied originality conveys with startling immediacy the combination of artistry, innovation and determination that went into its improbable creation. This cornerstone of the Seinfeld collection serves as the inspiration for Porsche - Origin of the Species, an in-depth exploration by the eminent automotive historian Karl Ludvigsen into the specific influences and circumstances that brought forth the first Porsche-badged sports cars.

How and when did the people of the Porsche firm find themselves in a sawmill in Gmund? What was the influence on the 356 of the cars and engines built by Porsche before and during the war? How and why was the first 356 shaped as it was? What was the real relationship between the tube-framed Type 356 roadster and the first 356/2 coupes? Questions like these deserve answers because the resulting DNA is so powerful, so robust, that it still influences the shape and style of Porsches well into the twenty-first century.

Karl Ludvigsen, author of the award-winning Porsche: Excellence Was Expected and Ferdinand Porsche Genesis of Genius, tackles these questions and more in Porsche - Origin of the Species. The saga that emerges encompasses mechanical revelations, human drama and the turmoil of world war. Porsche - Origin of the Species will appeal to all car enthusiasts who are eager to know what events really ignited the spark from which all other Porsches evolved.

• Sales Rank: #218913 in Books
• Published on: 2012-09-03
• Original language: English
• Number of items: 1
• Dimensions: 10.80" h x 1.60" w x 10.80" l, 5.45 pounds
• Binding: Hardcover
• 356 pages

Review
BOOK OF THE MONTH ... Ludvigsen's writing style is a captivating joy to read, plus the main text is accompanied by fascinating panels including Robert Cumberford on styling, Miles Collier on preservation and Alex Finigan on ownership. --Classic & Sports Car

It is a fascinating read and one that we would put in the Top 10 of Porsche books. At 356 pages, with a great deal of unseen archive material, and some genuine revelations, its asking price seems a genuine bargain. --911 & Porsche World

THE BOOK OF THE YEAR!...This book is quite possibly the best book published this year and we are certain it will appeal to all enthusiasts who are eager to know what events really ignited the spark from which all other Porsches evolved. --Classic Porsche Magazine

Already respected for his many automotive books, Karl Ludvigsen reaches higher yet with his new work, "Porsche - Origin of the Species." While one of his previous Porsche epics, "Excellence Was Expected," was considered the definitive history of the marque, his latest volume is crammed with new material, including first-time accounts of missing links in Porsche's evolution...much more than just a coffee-table decoration...definitely a keeper for Porschephiles and all car enthusiasts. --The New York Times

Such an immense and varied body of research is presented in as clear and concise a body of writing as I have lately encountered. Factor in the truly fine reproduction of photos, quality of paper and binding, great choice of type faces - and what we have is ample proof that books are in fact not a dying media. A splendid read by any calculation! --Porsche 356 Registry Magazine

From the Author
Porsche has many claims to uniqueness as a car maker. Here are a few of them:
* Throughout its life its auto manufacturing has been sister to a powerful product-engineering business with customers in all parts of the world.
* It has been a dedicated independent producer, in significant volume, of high-performance sports cars. In the 21st Century this image has been debased by its four-door adventures, but these too have sporting profiles.
* Until it hit the business buffers in 2009, Porsche was owned and controlled by powerful families that traced their origins to one iconic pioneer. No other car maker of substance could make that claim.
* Thanks to its steady production over the years of customer-friendly competition cars, Porsche can claim more victories and more championships than any other major marque.
For this author, however, one of Porsche's most fascinating characteristics is its powerful genetic makeup. It has been my privilege and pleasure to follow--in real time--the evolution of Porsche cars from the beginnings of 1948 to the present day. Over these years the pure Porsche, in the person of the 356 as it morphed into the 911, has staunchly represented the most robust bloodline in the motor industry.
Famously the 911 shrugged off all attempts to make it obsolete. In the late 1970s its sales refused to fall below the rate of 25 cars per day that then-chief Ernst Fuhrmann set as the minimum for production viability. When in 1981 new Porsche boss Peter Schutz asked, "What is the product we are making our money with?" he was told it wasn't the 928, whose volumes were too small. Neither was it the 924, which was made dealers happy but left little profit margin for Porsche. It was the long-neglected 911, which Schutz gave the kiss of life.
Another crisis was surmounted in the early 1990s with the launch of the Type 993. With its predecessor the 964, said new chief engineer Ulrich Bez, the management board "had come to the conclusion that the 911 was at its end." But instead of obliging them with something completely new, Bez created a new 911 in the shape of the 993, the last of the air-cooled Porsches.
"This was a car to decide whether or not Porsche had a future," said later chief Wendelin Wiedeking. "That was a very decisive car for Porsche," added engineer Volker Berkefeld. "It had to be good. Thank God it was good!" In model year 1996, with the cancellation of the 968 and 928 and the Boxster not yet launched, the 993 was the only car that Porsche could offer its network and its customers. Produced on Monday, July 15th, 1996, Porsche's millionth car was a 911 Carrera from the 993 range.
 Many forecast disaster for the 911 Carrera's transition to water-cooled power with the new Type 996 of the 1998 model year. Surely this would be more effete, less charismatic. But Porsche's engineers confounded the critics, creating a new 9l1 that was a fabulous basis for the development that still continues.
 One man had been the talisman for the 911's development, indeed for the continuity of the Porsche bloodline from the very beginning. He of course was Ferry Porsche. Ferry was in rude good health at the launch of the Boxster, the car that harked back to his original roadster of 1948. He was more fragile when he turned 88 years of age in September of 1997, when the new 996-based 911 Carrera was displayed for the first time at the Frankfurt Show.
 On March 27, 1998 Ferry Porsche died. The man who had served for so many decades as Porsche's "ideal customer" was no more. He was no longer available to motivate his team, to provide the touchstone that would determine whether a new-car proposal lived or died. Though he later had regrets about moving upstairs from the management board when all family members withdrew from Porsche management in 1972, Ferry had done his job well. Subtly, his views reinforced by the deep respect he commanded throughout the company and the Porsche world, Ferry guided the evolution of the model that was at the heart of Porsche's powerful appeal.
 The contribution of Ferry Porsche notwithstanding, the durability of the 356/911 concept has been unique in an industry that prides itself on being forward-looking. No other car maker can claim anything comparable. Chevrolet's Corvette is still with us after more than a half-century, however with sharp changes in styling and engineering that have vitiated any genetic continuity. Ferrari has remained true to its high-performance principles but with widely disparate designs. Both Jaguar and Aston Martin have struggled in the 21st century to reanimate DNA from their successful pasts.
 Only Morgan can point to a consistency of design that's comparable to that of the 356/911, dating from the introduction of its first four-wheeled model at the end of 1935. Using engines made by major auto companies, Morgan survives as a niche producer at three-figure annual volumes. Exemplary though its continuity has been, Morgan can't be seen as a challenger to the potency of the Porsche DNA.
 What has been the secret of the species Porsche? What has given it such strong survivability? Indeed it has been adaptable as well, elements of its strain being incorporated in such sharply differing models as the Cayenne and Panamera, making them visibly and identifiably members of the extended Porsche family. In part we can credit the continuity of Porsche's styling chiefs, from Erwin Komenda and Butzi Porsche through Tony Lapine and Harm Lagaay, not to mention such key interpreters as Dick Soderberg, Wolfgang Möbius, Pinky Lai and Grant Larson.
 Yet these men and others had to have something to work with, some starting point that could be identified as the origin of the species Porsche. Divining that origin is the purpose of this book. We know what the first Porsches looked like, the 356 variants of 1948 that established the lineage. But why did they look the way they did? What underpinned their design? What are the roots of the DNA that caused the 356 to be born with a configuration that departed so radically from the sports-car status quo?
 I invite you to join me as we turn back the clock to the late 1930s and the 1940s when the Porsche sports-car DNA was created. That's how far back we need to go to grasp the influences, the ideas, the men and the machinery that made up the Type 356. Some of the saga will be familiar but much will be new even to the most seriously shriven Porsche fanatic. It begins before World War 2 when the Porsche men created the car the world knew as the Volkswagen. Crude and humble though it was, it gave them plenty of ideas.

From the Inside Flap
We know what the first Porsche looks like, the Type 356 of 1948 that established the lineage. But why did it look the way it did? What underpinned its design? What are the roots of the DNA that caused the 356 to be born with a shape and style that departed so radically from the sports-car status quo? A DNA that still guides the design of the Porsches of the 21st century?
"It has been my privilege and pleasure to follow--in real time--the evolution of Porsche cars from the beginnings of 1948 to the present day," says author Karl Ludvigsen. "One of Porsche's most fascinating characteristics is its powerful genetic makeup. Over these years the pure Porsche, in the person of the 356 as it morphed into the 911, has staunchly represented the most robust bloodline in the motor industry.
"I invite you to join me," Ludvigsen continues, "as we turn back the clock to the late 1930s and the 1940s when the Porsche sports-car DNA was created. That's how far our time machine needs to go to show the influences, ideas, men and machinery that make up the genus Porsche. Some of the saga will be familiar but much will be new even to the most devoutly shriven Porsche fanatic."
If anything the author understates the revelations in his definitive story of the birth of the Porsche car. Reminding us of the magnificent Auto Union racers designed by Ferdinand Porsche, he shows the astonishing road-car versions that were designed and part-built--including a five-passenger model. Clearly sorted for the first time are the VW-based cars that Porsche designed during the 1930s and the radical ten-cylinder coupe planned to be the first "Porsche".
 Wartime advances not only aided the Third Reich's campaigns but also produced powerful versions of the VW engine that inspired work on the 356. Ludvigsen explains how and why Porsche's engineers were forced to move to Austria, including Ferdinand Porsche's successful negotiations with Albert Speer, who tried to block their emigration.
 The reader looks over the shoulders of the men and women who forged the productive relationship with Italy's Cisitalia after the war, in parallel with the vital Swiss contacts that led to car production in Austria. Revealed for the first time is the Type 352 that the Swiss hoped to build in that neutral nation. And the Cisitalia relationship gives birth to the Type 370, a sensational racing coupe that's one of the missing links in the creation of the 356.
 Each page of this surprising book reveals intimate details of the 356 creators. Ferry Porsche, Karl Rabe and Erwin Komenda have starring roles as do Louise and Anton Piëch. Fabled adventurer Laszlo Asmasy, immortalized as the "English Patient", has more than a walk-on role. Leading stylists, designers and executives give their perspectives on the Type 356 and its significance.
 At the heart of Porsche Species are superb images of one of the most treasured survivors of the era, 356/2-040 owned by actor-comedian Jerry Seinfeld, Porsche enthusiast par excellence. His enthusiasm shines through in the pages of this book, which was inspired by Seinfeld's passion for Porsches. Printed in lavish full-color and richly illustrated, it will appeal to all car enthusiasts who are eager to know what really happened at the turning points of history.

Most helpful customer reviews

16 of 17 people found the following review helpful.
Porsche - Origin of the Species
By bill block
Carl Ludvigsen certainly has the lock on spectacular and spectacularly informative Porsche history book: first, in 1978, Excellence Was Expected, now out as a three volume edition 2.1 - unquestionably the best marquee history ever written, followed by Genesis of Genius, which took us from Professor Ferdinand Porsche's early years up to more or less the beginning of World War 2. Still awaited is a middle volume to filling this gap. Instead, we have Porsche Origin of the Species; which rather than be a standard chronological series draws together a series of sequential and parallel events, without any one of which there would be no Porsche.

Porsche father and son had always raced and been willing to spend un-booked company time designing cars. Sometimes this worked out, as with the design for Typ 22 Grand Prix car, which was purchased by Auto Union. Sometimes the designs appeared to be still born, as with the Typ 64 and Typ 114. Typ 64? I had taken it as an article of faith that the Typ 64 was the Porsche-side design number corresponding to the VW 60 10K - remember Typ 60 was Porsche's design number for the initial VW. Carl argues that the Typ 64 was not, even for the time, a particularly advanced design. Apparently Porsche developed the 60 10K as a purely VW effort - remembering of course that Porsche supplied the entire design and engineering staff to VW. The Typ 114 was the influential body design, on top of a VW-like pan. From there is not difficult to see the evolution; via the tube frame 356/1 and then the 356/2 bent sheet metal with attached aluminum body to the final monocoque.

On two levels the Cisitalia contract, which included several designs in addition to the nascent
Grand Prix car is just as important. First, is the well-known use of the Cisitalia payments to ransom/bail the Professor from his French prison. Not know to me at least is that the French government refunded the bail several years later. According to Piech, by the time the bail was returned, inflation was such that the funds were sufficient to buy several pair of shoes. Yet another necessary strand was the observation of the Cisitalia 202 - an expensive small sports car built from FIAT parts. This combined with the 60 10K was a necessary epiphany. Porsche would use VW parts to make a small but expensive sports car. Porsche also had a large, somewhat under employed, staff of around 150 in Gmünd; and Porsche was not loath to use them on an un-booked project. Perhaps most important: currency reform had come about and VW was paying royalties. Porsche had a money problem -- not too little but too much with its attendant tax liabilities. What better way to create a tax write-off than to build cars? There are perhaps half a dozen other threads woven into the story I haven't mentioned. It's not just the history, which is superb and has an amazing number of new facts, but the understanding of how they all interrelated and how they all had to happen and happen at the right time.

Finally we have the Mathé/Seinfeld Gmünd T 2222 ; Porsche 356/2-040, an Austrian Werkes engineering car until December of 1953, was purchased by Otto Mathé, who had previously purchased the Typ 60 10k in 1950. This is important since effectively Mathé was the car's only owner until his death fifty years later. Not clear is whether the car's rough condition is the way Porsche built it or patina acquired during Mathé's ownership. On one hand Carl relates the first Gmünd 356/2s shown in Switzerland had to be tarted-up to make them presentable and I was told while in Sweden Scania Vabis had to do the same with the last of Gmünd models. On the other hand, Otto Mathé was not one to baby his cars - while apparently never raced Porsche 356/2-040 was used as a tow car for his open wheel race car, and to this day wears a Werkes built roof rack for carrying tires. Unlike other high profie car T 2222 was not subjected to a restoration, but sympathetically gone through to make it safe to drive and close to original - for instance the reconversion to left had drive had been improperly executed. Now we get to the beauty of the book. The hstorical photographs come from the factory - one can't help wondering how many "previously unpublished" photographs still lurk in the Arkivs. The fly leaf and chapter heading photographs are beautifully shot by Michael Furman whle Klaus Schnitzler, Professor of Photography at Monclair State University, shot most of the contemporary photographs. Adding perspective and relating valued antidotes are Paul Russel on the restoration and Chuck Stoddard on the historical background and his own Gmünd coupe. And up front following Jerry Seinfeld's introduction is 356 Registry member, enthusiast and top flight automotive designer Freeman Thomas with "The Legacy of Erwin Komenda." I always learn something from Freeman- in this case the distinction between "floating" and connected shut lines.

As should be expected for $110.00, the reproduction and paper quality are superb. The book is large format - about a foot square, 343 pages. The only down side of a book this thick, is the tendency for its binding to separate - much like the original Excellence Was Expected - NEVER fold the covers flat, ALWAYS read on your lap or a Vee book stand.

8 of 8 people found the following review helpful.
Highest Recommendation
By ZellamSee
Whoa!! I just received this book and it is one of the best Porsche related books to be released in a while. The book covers Seinfeld's Gmuend coupe (on the cover), but the book is so much more than that. As the title suggests, the book provides the history and origin of the Porsche automobile and Ludvigsen does this beautifully, with lovely detail and exquisite photos of people, documents, cars, etc. Wow! The book is done to a very high standard, printed on high quality paper. There are wonderful sidebar pieces in the book by many who have been involved with the design of Porsches (e.g., Freeman Thomas and Tony Hatter, among others) as well as those involved in the restoration of Seinfeld's car. Highest recommendation!!

4 of 4 people found the following review helpful.
Love it.
By SAS
Beautifully printed and designed.
Great research that I didn't see anyplace else especially about 1st Porches.
Must for 356 lovers.

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Historians and literary scholars tend to agree that British intellectual culture underwent a fundamental transformation between 1770 and 1845. Yet they are unusually divided about the nature of that transformation and whether it is best understood as an epistemic rupture from, or a continuous dialogue with, the long eighteenth century. Rethinking British Romantic History, 1770-1845 rethinks the ways in which we understand the historical writing and the historical consciousness of late eighteenth- and early nineteenth-century Britain by arguing that British historicism developed largely in quasi and para-historical genres such as memoir, biography, verse, fiction, and painting, rather than in works of 'real' history. In a number of inter-related essays on changing generic forms, styles, methods, and standards, the collection demonstrates that the aesthetic developments associated with British literary 'Romanticism' not only intersected in mutually dependent ways with concurrent experiments and innovations in historical writing, but that these intersections forced an epistemological crisis-a deeply felt tension about the role of feeling and imagination in historical writing-that is still resonating in historiographical debates today. In exploring this theme, the volume also seeks to consider wider questions about the philosophy of history and literature, including questions of truth, evidence, professionalization, disciplinary strategies, and methodology. At its heart is the idea that literary texts and other artistic representations of history can have historical value, and should therefore be taken seriously by practitioners of history in all its forms.

• Sales Rank: #3528660 in Books
• Published on: 2015-01-27
• Original language: English
• Number of items: 1
• Dimensions: 5.70" h x 1.10" w x 8.60" l, 1.39 pounds
• Binding: Hardcover
• 352 pages

About the Author

Dr Porscha Fermanis is a Lecturer in Eighteenth-Century and Romantic Literature at University College Dublin. Her research interests include the relationship between Enlightenment and Romanticism; Romantic-era historiography and historical fiction; and Romantic poetry and poetics. She has published John Keats and the Ideas of the Enlightenment (Edinburgh University Press, 2009), and is currently working on A Concise History of Romanticism (with Carmen Casaliggi, forthcoming 2015) and a monograph entitled Romantic Pasts: Narrative History in Britain and Ireland, 1770-1850.

Dr John Regan is a Research Fellow at Clare Hall, University of Cambridge. His current research interests centre on the inter-relatedness of poetry, aesthetics, and historiography in the long eighteenth-century. Dr Regan has published on Scott's prosody, philosophical history and late Enlightenment antiquarianism, and the relations between versification and historiography in Byron.

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The Federal Security Service of the Russian Federation is pleased to release one of its most prized holdings, the heretofore "lost" journal of Dr. Henry "Indiana" Jones, Jr., which was obscured within the KGB's collection for years before passing into the Russian Federation's possession. From Jones's notes on his youthful encounters with the likes of Lawrence of Arabia and Teddy Roosevelt, through his adulthood adventures with the Thuggee Cult, the Nazis, and the Kingdom of the Crystal Skull, this journal covers nearly fifty years in his life, spanning from 1908 to 1957. Dr. Jones's snapshots, sketches, press clippings, and entries recording his personal thoughts are all revealed in this volume, giving new insight into one of the most enigmatic adventurers of the twentieth century.

• Sales Rank: #320332 in Books
• Published on: 2008-05-06
• Released on: 2008-05-06
• Original language: English
• Number of items: 1
• Dimensions: 9.50" h x .80" w x 6.50" l, 1.19 pounds
• Binding: Imitation Leather
• 160 pages

About the Author
Dr Henry 'Indiana' Jones, Jr is an archaeologist who speaks twenty-seven languages and obtained his advanced degree in archaeology from the University of Chicago. He divides his time between classroom instruction at an Ivy League University and fieldwork involving the collection of rare antiquities.

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1 of 1 people found the following review helpful.
Great Addition to Indiana Lore
By F. Nava
What an inventive product - a "journal" exploring the many adventures of Indiana Jones ranging from childhood ("Young Indiana Jones Chronicles") through the movies (ending with the recent "Kingdom of the Crystal Skull").

The journal was written by Indiana himself, containing many pictures, drawings, and notes on his exploits. (It is reminiscent of Henry Sr.'s Grail Diary in "The Last Crusade.) It goes chronologically through the series and was apparently "found" by the Russians. They provide many annotations, linking and explaining the details of certain entries, pictures, characters, and notes.

This is a GREAT companion piece to the films. It is a little pricey for its contents, so I recommend looking around for cheaper price tags before purchasing it. If you can't find it cheaper, GET IT ANYWAY!

I actually found my copy on Amazon. It came at the sales price of $5 because it contained a publisher's mark - which was only a black marker line above the pages on the top of the book. A minor detail, because the book was still new and was $20 off the original price of $25.

If you want to collect essential Indiana Jones memorabilia, then this is a must. If you are a passing fan, then it is still recommended because it has countless details for the average fan.

0 of 0 people found the following review helpful.
Great for the Indiana Jones fan
By MoserGray
If you are a fan of Indiana Jones, you need to own this book, it's as simple as that. Chock full of neat little nods to the films, it is written as if it is actually a journal that Indiana Jones kept on his adventures.

1 of 1 people found the following review helpful.
Awesome
By MommaK
My 7 year old LOVES Indiana Jones. We got him this for his birthday. He uses it on his "adventures". This book really helps to encourage reading in a fun way. It's set up just like a scrapbook/journal with drawings & pictures and little bits of information. He's even drawn his own treasure maps. Nice for any fan young or old.

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Paperback Unit and Benchmark Assessment Macmillal McGraw-Hill Treasures Teacher's Resource Book. Contains directions for assessment, Assessment for units 1-6, Benchmark Assessments A and B, Answer Sheets, and Scoring information.

• Sales Rank: #2537872 in Books
• Published on: 2006
• Number of items: 1
• Binding: Paperback
• 224 pages

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A Nor’easter blows into Paradise and churns up the past—in the stunning new addition to Robert B. Parker’s New York Times–bestselling series featuring Police Chief Jesse Stone.
 
In the wake of a huge storm, three bodies are discovered in the rubble of an abandoned factory building in an industrial part of Paradise known as The Swap. One body, a man’s, wrapped in a blue tarp, is only hours old. But found within feet of that body are the skeletal remains of two teenage girls who had gone missing during a Fourth of July celebration twenty-five years earlier. Not only does that crime predate Jesse Stone’s arrival in Paradise, but the dead girls were close friends of Jesse’s right hand, Officer Molly Crane. And things become even more complicated when one of the dead girls’ mothers returns to Paradise to bury her daughter and is promptly murdered. It’s up to Police Chief Jesse Stone to pull away the veil of the past to see how all the murders are connected.

• Sales Rank: #59364 in Books
• Published on: 2015-09-08
• Released on: 2015-09-08
• Original language: English
• Number of items: 1
• Dimensions: 9.27" h x 1.20" w x 6.25" l, 1.00 pounds
• Binding: Hardcover
• 342 pages

Review

“Coleman takes the story of the mystery behind the murders and runs with it. The Devil Wins is such a winner of a novel that Parker's loyal fans and Coleman's new ones will be equally delighted by his skills. This series can run forever in these new capable hands and readers will eagerly await each new book about Jesse Stone. I know I will.”—Huffington Post
 
“Small town, big secret, and a community’s shame. In the blink of an eye, Jesse goes from worrying about potential storm damage to investigating three homicides…suspenseful, melancholy examination of loss and how sometimes, despite our best efforts, the past refuses to stay buried, and it will certainly please fans still craving more of Parker’s characters.”—Booklist
 
“Coleman’s solid second Jesse Stone novel finds Parker’s flawed hero, now the police chief of Paradise, Mass., still having trouble separating from his ex, connecting with people emotionally, and dealing with guilt over a subordinate’s near-fatal shooting…Coleman succeeds in adding some needed depth to Jesse’s character.”—Publishers Weekly

"Coleman does a remarkable job of developing the character, deepening our understanding of his struggle with the ghosts that haunt him…both a fine mystery story and a satisfying portrait of an emerging character that readers will look forward to hearing more from soon.”—Associated Press

About the Author

Robert B. Parker was the author of seventy books, including the legendary Spenser detective series, the novels featuring Chief Jesse Stone, and the acclaimed Virgil Cole/Everett Hitch Westerns, as well as the Sunny Randall novels. Winner of the Mystery Writers of America Grand Master Award and long considered the undisputed dean of American crime fiction, he died in January 2010.

Reed Farrel Coleman, author of the New York Times–bestselling Robert B. Parker’s Blind Spot, has been called a “hard-boiled poet” by NPR’s Maureen Corrigan and the “noir poet laureate” in The Huffington Post. He has published twenty-one novels, including nine books in the critically acclaimed Moe Prager series. He is a three-time recipient of the Shamus Award for Best Detective Novel of the Year, a winner of the Barry and Anthony Awards, and is a three-time Edgar Award nominee. An adjunct instructor at Hofstra University and an instructor for MWA U, he lives with his family on Long Island.

Excerpt. © Reprinted by permission. All rights reserved.
1

Jesse  Stone no longer ftlt adrift. No longer a man caught between two coasts, he had finally left his days as an L.A. homicide detective behind him. If not his private shame at how his life there had gone to hell. He was chief of police in Paradise, Mass.This was his town now. Yet there were still some things about the East Coast and the Atlantic he had never gotten used to and wasn't sure he ever would. Nor'easters, for one. He found their brooding, slate-gray clouds and roiling tides a little unnerving. These late-fall or winter storms seemed to blow up out of spite, raking across whole swaths of New England or the Mid­ Atlantic, leaving nothing but pain in their wake.

As was his habit, he drove through the darkened streets of Paradise in his old Ford Explorer before heading horne. He wanted to get a few hours' sleep before going back to work. Maybe a drink, too. The storm wasn't supposed to make landfall until about midnight, but the winds were bending trees back against their will, sleet already pelting his windshield. Jesse shook his head thinking  about that. About how storms in the east warned you they were coming. About how they told you when they were coming and then kicked your ass.

It was different out west. He remembered how, when he was a kid in Tucson, a few inches of unexpected rain would morph into the cascading wall of a flash flood, washing away everything before it. One minute people would be horseback riding or hiking through bone-dry arroyos and the next they'd  be swallowed up by waters squeezed between canyon walls and ground sun baked so mercilessly hard it could not soak up a drop of rain. Jesse remembered that he had once gone out with his dad, searching for some missing hikers after one of the floods. How they had come upon the body of a drowned horse. It had been many years since he had thought of that horse, its carcass rotting in the Arizona sun.

Then in L.A. there were the choking Santa Ana winds that would blow across the mountains, swoop down into the valleys and through the canyons from the Mojave. The Santa Anas brought destruction with them, too, sucking the moisture out of the vegetation, wildfires following in their path. Fires that would consume whole hillsides, one after the other. Sometimes the winds blew so strongly through the  canyons that  they howled. His ex-partner used to say it was Satan whistling while he worked. At the moment, Jesse felt about as far away from those Santa An as as a man could get, but he thought he could still hear Satan's whistling in  the  winds that  buffeted his SUV.

There weren't many cars on the road, but a  few brave or stupid souls dared the weather. Jesse knew most of the vehicles. Robbie Wil­ son, the fire chief, was out in his red Jeep, looking for trouble. Jesse didn't have much patience for men like Wilson, guys who liked being big fish in tiny ponds. Little men with big chips on both shoulders. Men with something to prove, always on the prowl for a chance to prove it. Jesse could never figure out what it was Robbie Wilson had to prove. He also hated that Wilson refused to call him by his first name, always calling him Chief or Chief Stone.

Alexia Dragoa, one of the few commercial fishermen who still sailed out of Paradise, was coming from the docks in his ancient F-150.That damned pickup was nearly all rust.The thing was like an old married couple who stayed together more out of habit than any­ thing else. No doubt Alexia had been securing his boat, the Dragoa Rainha, in anticipation of the storm. Jesse gave the fisherman a wave in passing. Dragoa, a gruff Portuguese SOB, couldn't be bothered to return the gesture. Par for the course) Jesse thought. Par for the course.

Bill Marchand was out in front of his insurance brokerage on Nan­ tucket Street, wrestling the wind for control of a storm shutter. Jesse pulled over to lend him a hand. Bill and Jesse were friendly, if not exactly friends. Jesse didn't have friends, not the way other people had friends. But Marchand  sponsored the police softball team and was generous with local charities. In all the years Jesse had served as chief, there hadn't been many town selectmen who'd earned his respect. Most selectmen had proven themselves craven and spineless, rarely backing Jesse or the department in tough situations. Bill Marchand was the exception. He was a thoughtful  man who had usually based his support not on the direction of the political currents but on the facts before him.

"Let me get that for you," Jesse said, pinning the shutter to the wall.
 
"Thanks, Jesse. It's  gonna be a bad one, this nor'easter. You been through enough of these, you can smell it on the wind."

"One is  enough of these." Jesse used his free hand to lift up the fleece-lined collar of his jacket against the sleet. The wind was gust­ ing more intensely. "Ready for the shutter?" Jesse asked.

"I've got the latch ready."
 
Jesse forced the shutter closed, Marchand helping the last foot or two. When the shutter was in place, the insurance broker latched it closed.

"I hope the damned thing holds. I've had to replace these shutters twice," Marchand said, raising his voice above the wind.
 
'Trn sure your insurance will cover it."
 
"You're a funny man, Jesse Stone. Thanks again," Marchand said, offeringJesse his gloved right hand. "It's gonna be a bad one, all right. I'll be busy for weeks after this. We'll have to call adjusters in from all over the States. You watch yourself out there."

But it was Jesse's job  to watch out for everyone else. He waited for Marchand  to get into his massive Infiniti SUV and drive offbefore pulling away himself. As Jesse was about to turn for horne, he caught sight of another vehicle he recognized. It was John Millner's beat-up Chevy van. Millner was a career criminal, a petty thief who'd been in and out of commonwealth correctional facilities during Jesse's tenure as chie£ Millner was from the Swap-Southwest Area of Paradise­ the only rough part of town. But even the Swap was changing. It was turning into a hipper, more ethnically diverse part of Paradise. Mill­ ner's family was old-school Swap and John was more a lowlife than a tough guy. A parasite, an opportunist, not a mastermind.

Jesse followed the white van at a distance up into the bluffs that overlooked the ocean and the rest of town to the south. The Bluffs were where the rich founders of Paradise had built their big fussy houses more than a  century and a half ago. Most of those families were gone, their manses knocked down, properties long since sold off. A few, like the Salter place, remained  as summer homes. Many had fallen into disrepair.

Millner's van pulled off the road by a  darkened behemoth  of a house: the old Rutherford place. It had been vacant for Jesse's entire tenure in Paradise. For years there had been efforts by the town's his­ torical society to get it named to the commonwealth's register of historical places, but those avenues had finally been exhausted, and come spring the Rutherford place would be demolished. Jesse had a pretty good idea of what Millner meant to get up to. Giant old houses were lined with miles of copper wiring and other metals that could be sold off to scrap dealers at good prices. The problem for crooked scav­ engers like Millner  was opportunity.  You needed time to  break through plaster walls and lath to get to the wiring. And a big storm had opportunity written all over it. Emergency situations stretched the cops thin, especially small-town forces like the Paradise PD.

Normally, Jesse would  have given Millner enough rope to hang himself. He would have let him break into the condemned house before arresting him, but Jesse didn't have time for that now, not with the storm blowing in. When Millner, all six-foot-six of him, got out of his vehicle and went to swing open the van's side door,Jesse shined his Maglite in the thief's face.

"Who the hell is that?" asked Millner, holding his hand before his eyes to block the light.

"It's Chief Stone, John. What are you doing here?"
 
Millner hemmed and hawed, thinking of any reasonable lie. "Don't bother," Jesse said. 'Tm  not in the mood for your crap.

Consider yourself lucky I don't want to deal with youtonight. Now get out of here and don't let any of my people catch your ass  up here again."

Millner didn't say a word, just got back into his van and drove away down toward town. Jesse watched the van's taillights until they disappeared. Then  he stepped to the edge of the bluff on which the Rutherford house stood. He looked out at the vast blackness of the Atlantic. He listened to the bones of the old house creak in the wind, listened to the wind whistling through the broken windows. He thought he heard the devil at work. He decided he really needed that drink.

 
2

He supposed they were all thinking the same thing: This can't be hap­ pening. Not again. Not after all these years. But it was happening, only this time they weren't a bunch of kids with too much Southern Comfort and Thai stick in them. That first time, it was some inno­ cent fun gone sideways. Severely sideways, plunging them into a para­ lyzing hell with slick, jagged walls from which there would be no escape. None. Not ever. That they were here to kill their old friend proved as much.

They had been given a temporary reprieve, a cruel reprieve, lasting just long enough to fool them into believing they had put real dis­ tance between that old evil and the fragile lives they had built in the meantime. Lives that  included wives and lovers, children, careers, small successes, and grander failures, but haunted  lives just the same. Haunted because distance from evil is  a myth of time, because they were never more than one restless night or, worse still, a tainted moment of joy away from it. 
 
The wind rattled the windows and the loading bay door. The plinking of sleet was less urgent now that the snow was falling in sheets and collecting on the corrugated  metal roo£ Raw, cold air seeped into the maintenance shed like an accusation and made heav­ ing clouds of their breath. Small plumes of breath carne from the mouth of the nude man on the floor at their feet. His wrists and ankles were trussed behind him and his sun-streaked brown hair was caked with the drying blood that had leaked from the welt at  the base of his skull. His broken lower jaw was unhinged, his mouth a wreck of splintered teeth and bone. After the pipe had been laid into him, the spray ofblood had given the air a coppery tang that the two other men could almost taste. But the blood had settled out of the air like silt out of water. Now the place smelled only ofburnt black motor oil, gasoline fumes, and antifreeze.
 
"What'd you do with his clothes?"
 
"The furnace in the church." "His duffel bag?"
 
"It's a  big furnace. Burnt that up, too. Nothing but old smelly clothes and a Bible, anyways."
 
"Okay, drag that canvas over here and wrap it around his head."
 
"You really gonna do this?"
 
"We are."
 
"But that's Zevon, man. He was our friend once."
 
"Friends don't come back to town to fuck up everyone else's lives. If he wanted to stay my friend, he should have stayed lost. You may not have anything to lose, but I do."
 
"But-"
 
"But nothing. We talked this through. We all agreed. It's  too late now, anyway. He's already more than  half dead. Now get the canvas and do what I told you.The storm's blowing in faster than we thought and he's going to be here soon to get rid of the body. C'mon."
 
The unconscious man moaned a little as the coarse, mildewed fab­ric was wrapped around his head. "What's the canvas for, anyways?" "Think about it."
 
"Oh."
 
"Exactly. You got the tarp ready for him? The rope?" "Yeah."

Outside there was already six inches on the ground and the roads were slick from the layer of sleet that had come before the snow. As he swung around to back up to the bay door, he checked his rearview mirror and saw two quick flashes of lightning and heard two muted claps of thunder. It was done. Zevon was dead. Now the time had come to play his part in keeping the past buried. Yet he understood that this particular episode of thunder and lightning, like their prior sins, was of their own doing and pushed them even further away from heaven than they already were. That  the past was unrelenting and that no grave was deep enough to keep it buried forever.

 
3
 
Jesse  hadn't slept a wink after getting horne. He hadn't tried. He did manage to polish off two Black Labels. That's why he'd headed horne in the first place. Sleep hadn't ever been a part of the plan, not really. It was always about the drinks. Drinkers are great rationalizers, spin­ ning tales that only they will hear. Tales only they would believe.Jesse kept a bottle of something in his desk drawer at the station, but he didn't generally prefer drink at work or when the sun was up. Corning horne, having a drink before dinner, then one or two afterward, was sometimes how he got through the day. He knew his bottle of John­ nie Walker was horne waiting for him like a faithful wife. He'd had a wife once, just not a faithful one.
 
His ritual entailed pouring the drink-sometimes on the rocks, sometimes in a tall glass with soda-stirring it with his finger, licking the scotch off his finger, raising a toast to his poster of Ozzie Smith, and taking that first sip. Sometimes he savored it. Sometimes, like that night, it was open wide and down the hatch. Any confirmed drinker knows that ritual is  as integral to the addiction as the drink­ ing itself. Dix was fond of saying that ritual was a secondary reinforce­ ment. Jesse laughed at the notion of secondary reinforcement. He liked the drinking well enough all  by itself. He enjoyed the ritual on its own merits. He'd gotten some food in him, taken a shower, and watched a half hour of weather reports before heading back to work.
 
Whatever sleep Jesse had managed carne on the cot in his office. He was still on the cot, staring up at the ceiling, when the first dull rays of light filtered in through his window. He noticed the window was no longer being pelted and the howl of the wind had been reduced to a whisper. Morning had brought with it a soft hush. Then there was a knock at  his office door.
 
"Corne," he said.
 
Luther "Suitcase" Simpson carne into the office, a lack of sleep evi­ dent on his puffy, still-boyish face and in his bloodshot eyes. He was moving more slowly these days, and not from lack of sleep. It was painful for Jesse to watch. A big man, Suit had been quite the high school football player in his day. But he'd been gut-shot last spring and was only now getting back to work.
 
"Any coffee out there?" Jesse asked, swinging his legs off the cot.
 
"Sure, but I wouldn't drink it. Better to save what's left and use it to strip paint."
 
Jesse stood, stretched the tension out of his muscles. His right shoulder aching from the damp air.
 
"Making a fresh pot of coffee against your religion?"
 
Suit reddened.''I'm not Molly, Jesse. You know I'm no good at this stuff. You got to get me back on the street."

Simpson had been on light duty since his return  and chafed at working the front desk. Worse, Molly Crane had taken Suit's place in the patrol rotation.
 
"I know this is tough for you, Suit. I already stuck my neck out by bringing you back this soon."
"I'm sorry."
 
"No need. I'd be mad at you if you didn't want to get back out there."
 
Suit smiled that broad, goofy smile of his. Jesse's opinion meant everything to him. He'd always dreamed ofliving up to Jesse Stone's standards, of being a cop good enough to work in a big city like L.A. Living up to Jesse is what had gotten him shot. He knew it.Jesse knew it, too. That's what worried him.
 
Jesse asked, "You going to the counseling sessions?"
 
The smile vanished from Suit's face. He reddened again. "Yeah, Jesse."
 
"Getting shot is  a serious thing, Suit. It screws with your head. I can't put you back out there if you're going to doubt yourself."
 
''I'm going. I said I was going."
 
"Okay, let's talk real police work. The donut shop open?" Simpson laughed.
 
"I went and got some at five o'clock on the nose. They're last night's leftovers, but they're good."
 
Jesse put up a new pot of coffee, ate a hardened jelly donut, and asked Suit to fill him in on the storm damage.
 
"Storm's almost blown itself out already," Suit said. "We had gusts up to sixty-five, but nothing now. Dumped lots of snow. About a foot, give or take. And it's that real wet, heavy snow. You know."
 
"Uh-huh."
 
"You get a lot of that wet snow back in L.A., Jesse?" "Cute. You want to earn some more time on the desk?"

 For a second, Suit thought Jesse was serious.
 
"Anyway, there were a few trees and power lines down. I  had to dispatch some cars to block roads off and put down some flares while the repair crews did their thing. There were three fender benders. Reports already filed. Only serious thing was a  partial building collapse."
 
"Anybody injured?"
 
"Nah. It was one of those old abandoned factory buildings on Trench Alley. Molly's over there handlingitwith the fire department." Then, as if on cue, Molly's voice crackled through the desk speaker.
 
"Unit Four to dispatch, over."
 
"Dispatch, over," Suit said. "Is Jesse up yet? Over."
 
"Unit Four, Jesse's right here, over."
 
Jesse dispensed with protocol. "What's up, Molly?" "You better get over here, Jesse. Right now."

"What's going on?"
 
"We've got a body."
 
"Someone was killed in the collapse?"
 
"Someone was killed, all right, but not in the collapse. The body's in a tarp."

Trench Alley was a dingy) crooked street in the ass  end of the Swap. Backed up against Sawtooth Creek and dead-ended by Pennacook Inlet, it was as Dickensian as Paradise got. Even scenic New England villages need garages, body shops, cabinetmakers, plumbing supply houses, welders, and self-storage units.
 
Jesse pulled  up behind  a fire truck. Molly Crane's cruiser was parked across the street, half on the sidewalk. The fire chief's red Jeep Cherokee was parked behind Molly's unit. When Jesse walked around the fire truck he was surprised to see Molly, Robbie Wilson, and the entire crew of firemen standing in the middle of the street, boot-deep in snow. But when he looked at the building in question, Jesse's sur­ prise faded away. The building was a squat red-brick affair with ply­ wood where windows used to be, the plywood covered in generations of frayed handbills  and posters about forgotten  bands and closed musicals at  the Village Playhouse. The building's front right corner had collapsed into the street. You could look into the building and see that part of the back wall had collapsed inward as well.
 
"Robbie," Jesse said.
 
"Chief Stone." "Unstable, huh?"
 
"Badly. If I didn't get your girl out of there when I did, you might've had two bodies on your hands."
 
Molly bristled at being called a girl. She was only two or three years younger than Wilson and disliked him even more than Jesse did. Jesse could see  Molly was about to let Wilson have it. He shook his head no at her.
 
"Robbie, excuse us. I need to talk to Officer Crane for a minute." "Take your time. I'm not letting anyone in there, stiff or no stiff." As they walked toward Molly's cruiser, she kept turning back to
stare at  Robbie Wilson. Wilson was pretty lucky that looks couldn't actually kill.
 
"That obnoxious little bastard," Molly said. "I should've kicked his ass  in front of his men. Then we'd see who he'd be calling a girl." They  sat  in  the  front  of Jesse's Explorer, the  heater blowing full blast.
 
"Relax, Molly. Two weeks back on the street and you're already cursing like a sailor."
 
She smiled in spite of hersel£ Jesse could do that to her.
 
"And no matter what he called you, he was right to get you out of that building. I can't afford you getting hurt."
 
"So you really do love me," she said.
 
"You know I do, but that's not it. With Suit on desk duty and Gabe Weathers still in rehab for his injuries, the department's two men short."
 
She punched him in his left biceps. Now it was his turn to smile. Then he wiped it away.
 
"The body in the tarp," he said.
 
"A passerby called the building collapse in to the desk. I had the Swap, so Suit sent me over here. It was still pretty dark when I arrived on scene. I had to look inside to see  if anyone was hurt. When I got into the building I saw that another part of the roof, toward the left rear of the building, had collapsed onto some metal plates. One of the plates had been dislodged by the debris so that the plate was forced upward like one end of a seesaw. When I shined my flash in behind the plate, I saw the tarp. At first I didn't think anything of it. Maybe some forgotten equipment or building supplies or something. But when I looked at it under the flash for a minute, I  saw that it was bound up with rope and shaped like a body. When I kneeled down and stuck my head into the hole, it was pretty obviously a body. I couldn't tell much about it from looking. I pushed the tarp and it felt like flesh underneath. And before you say anything, Jesse, my hand was gloved."
 
Jesse put up his palms. "I didn't say  anything." "But you would have. I know you, Jesse."

"Maybe. Back to the body in the tarp."

"Funny thing," Molly said.
 
"What?"
 
"The tarp was pretty clean and the flesh gave when  I pushed, but pushed back. It didn't seem frozen or in rigor."

"That's a lot to tell from one push with your hand. No insult, Molly, but-"
 
"Did I  say  it was one push? I pushed a  few times. Then ..." She hesitated.
 
"Do I even want to hear this?"
 
"Probably not." She said it anyway. "I climbed down into the hole."

"You what? It's a crime scene, Molly. You know better than-"
 
"I had to check to see if the victim might be alive."
 
"Molly!"
 
"I swear, Jesse. I wasn't trying to be a hero. I thought I was doing the right thing."
 
"And ..."
 
"That's when Napoleon showed up. Suit must have called the FD after he sent me over here. Robbie ordered me out of the building. He had his guys practically drag me out of the hole when I didn't hop to. But for what it's worth, I  don't think the victim was alive. He was physically unresponsive to my touch and to my verbal commands. No movement that I could detect. And when I put my hand on where I thought the chest was, there didn't seem to be any respiration."
 
"Anything else?"
 
"I think the vic's a  male. Would be pretty tall if you stood him upright. Maybe six-three or -four. Broad across the shoulders."
 
"But you don't think he'd been there very long?" Jesse asked.

"That's my gut feeling. Of course, I don't know these things like you would. In L.A. you must have seen bodies in all sorts of places."
 
"Not in a snow-covered factory, Molly. We didn't get much of that sort of thing in L.A. All right, let's get back over there and see if we can't get Chief Robbie to let us retrieve the body."
 
But she didn't  move. There  was something  else besides Robbie Wilson bothering her.Jesse could see it on her face. He put a hand on her shoulder.
 
"It's okay, Molly. You did good. I'm proud of you for-"
 
"It 's not th at, Jesse."
 
"Then what?"
 
"I can't put it in words. It's  just when I was down there with the vic  ... I ... it was just strange. It felt like I had a connection to him."
 
Jesse nodded. It was like that sometimes. On most occasions, a body was just a body to a cop. It wasn't callousness. It was an attitude born  of  repeated  exposure  and  self-protection. But there were moments when you couldn't help but feel a kind of weird connection to the victim.
 
"It happens. I know. Don't beat yourself up over it. Now, let's go," he said.
 
They got out of the SUV.Just then an inhuman groan filled the air. "Watch it!" one of the firemen shouted. "Stand back. She's going!" The ground shook beneath their feet. Jesse and Molly ran around the fire truck and saw that the building was gone. The roof lay half­ way into Trench Alley.

It had taken down the rusted cyclone fence that had surrounded the empty, rubble-filled lot next door. "Everybody okay, Robbie?" Jesse said.
 
"Fine. We're all clear. You both all right, Chief Stone?"

"We're good."

"That stiff of yours is good and buried now."
 
Not for long, Jesse Stone thought. Not for long.

Most helpful customer reviews

19 of 22 people found the following review helpful.
Do Not Miss The Robert B. Parker Jesse Stone Series Now Writen by Reed Farrel Coleman...
By Marjorie Tucker
Wow! I was so impressed with BLIND SPOT, Reed Farrel Coleman's first time writing last year for the Jesse Stone series created by Robert B. Parker. But THE DEVIL WINS is even better, more sure, more sleek. Fast-paced, suspenseful, and true to its source material, but with a warm beating heart at its center, it could only have come from Coleman. The writing is beautiful, but the beauty does not bog down the action, it enhances it. The book is about a small town police chief in Massachusetts, Jesse Stone, and his trying to take care of his town while not always taking good care of himself. In THE DEVIL WINS we spend a lot more time with the Paradise Police Department officers and it's time well spent. We care about these people and we want them to be all right. You'll eagerly read every page to the end to see if they make it.

7 of 7 people found the following review helpful.
Fleshing out Parker's characters
By J. W. Bludis
In "Robert B. Parker's Blind Spot", Reed Coleman put a soul into Jesse Stone. In Coleman's "Robert B. Parker's, the Devil Wins", he puts souls to Molly and Suit. He uncovers and reveals a Paradise, Ma a a real place that until now was barely more than a town with a waterfront until now. The books are no longer Michael Brandman's version that depend on Tom Selleck to characterize, but are rich in good, bad, and ugly characters. My opinion is that Brandman, who seems to do little more than write a screenplay and turn it into narrative form. It's not a bad way to write a book, but Brandman is more spare than Parker was, and I never quite "feel" the Jesse until Tom Selleck puts a face on him.. In this one, by Coleman, Paradise, Ma is a real place.. Jesse is a real hero, and Suit and Molly are true, but nonviolent, sidekicks each with something to bring to the delicious plate of crime fiction. Some want a parody of Robert B. Parker's style. I prefer the full characterization that Reed Farrel Coleman brings to it.

7 of 8 people found the following review helpful.
A series that compels reading and creates anticipation
By Bookreporter
Reed Farrel Coleman has done the truly remarkable in a short amount of time. After just two novels, his revival of Robert B. Parker’s Jesse Stone series has moved this already fine canon to the top of many must-read lists. Coleman hasn’t changed the bedrock personality of the flawed and damaged police chief of Paradise, Massachusetts, but has given him a darker and more complex playground to occupy. Throw in some secondary characters, old and new, who are worthy of Jesse’s company, and you have a series that not only compels reading but creates anticipation.

THE DEVIL WINS begins in the aftermath of a snowstorm that takes down a long-abandoned factory in a downtrodden area of Paradise known as The Swap. The body of a recently murdered, unidentified man is discovered, wrapped in a tarp among the wreckage. Further examination of the crime scene uncovers something nearby that is even more horrific: two long-hidden corpses that solve one of Paradise’s long-unresolved mysteries but quickly create another. Two teenage girls had disappeared from Paradise a quarter-century earlier during a Fourth of July holiday. Rumors had abounded as to the reason for their absence --- everything from running away to an accident --- but the discovery of their skeletal remains so close to that of a more recent murder victim reopens wounds in the town that had never healed since their disappearance.

Jesse is upset that he was never told of the unsolved disappearances, which has hung like a silent pall over the town, and is all the more distressed when he learns that Molly Crane, a Paradise police officer whom he considers to be his best, was a close friend of both girls and may have information about their final hours. A great deal of pressure is applied to Jesse by the town government to solve the three murders and to do so quickly.

The pressure on Jesse is further ratcheted up when the mother of one of the girls, who has returned to Paradise for her daughter’s funeral, is also found dead. Her death appears to be the result of a suicide, yet Jesse is not entirely sure. Evidence soon turns up indicating that this latest incident may be a murder as well. When two suspects with long-ago ties to the murdered girls are themselves found dead, everything seems to be tied up just a little too neatly. Jesse thinks he knows who may be behind all of the deaths that are suddenly taking place in Paradise, but he must prove what he knows. He sets a trap, one that ultimately lures the suspect out, but not without putting himself and his patrolmen in danger as well.

THE DEVIL WINS advances the Jesse Stone canon just a bit and in a very interesting way. His life appears on the verge of becoming slightly more complicated (not that he’ll be complaining, I suspect), even as the plots under Coleman’s steady hand become more complex while the stories maintain a solid and dependable readability. Look for these books to become more popular as Coleman gets deeper into the series.

Reviewed by Joe Hartlaub

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[U704.Ebook] PDF Download Handbook of Dialysis, by John T. Daugirdas MD, Peter G. Blake MB FRCPC FRCPI, Todd S. Ing MB FRCP

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The updated 5th edition of the Handbook of Dialysis is full of evidence-based, practical information on all aspects of dialysis training and therapy. Authored by international nephrology experts, each chapter addresses a different area of the clinical realities of patient management. Topics include screening, diagnosis and management of dialysis patients, including diagnostic work-ups, patient safety, and patient monitoring issues in acute dialysis and hemodialysis cases. This is the essential dialysis manual, filled with up-to-date dialysis information, including preparation, procedures, surgery, problems and side-effects.
 
Features:

• NEW expanded coverage of vascular access placement and management
• NEW discussion of urgent start peritoneal dialysis
• NEW chapter on practical implementation of sorbent dialysis
• NEW updated section on home and intensive hemodialysis therapies
• Coverage of topics including: peritoneal dialysis, acute dialysis, hemodiafiltration, home and intensive dialysis, blood-based therapies, the physiology of peritoneal dialysis, diabetes, hypertension, optimal management of anemia, infections,  nutrition, mineral bone disorder, and much more!
• Quick-reference outline format
• Content illustrated with tables, diagrams and charts

 Your book purchase includes an eBook version created for Android, iPad, iPhone, iPod touch, PC, & Mac. This eBook features:

• Complete content with enhanced navigation
• A powerful search tool that pulls results from content in the book, your notes, and even the web
• Cross-linked pages, references, and more for easy navigation
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• Sales Rank: #116650 in Books
• Published on: 2014-11-14
• Original language: English
• Number of items: 1
• Dimensions: 8.17" h x 1.04" w x 4.37" l, .0 pounds
• Binding: Paperback
• 900 pages

Review
Doody's Review Service Review by Sumit Narula, MD (University of Kentucky College of Medicine)

This is the fifth edition of a concise, yet comprehensive review of all the modalities of dialysis and associated complications and clinical management. The ebook version that accompanies the book is user friendly and covers most of the information in the book. The goal is to provide a review of the commonly used dialysis modalities and management of associated issues. The book begins with a chapter on evaluation of predialysis patients, followed by thorough discussions of dialysis physiology, various dialysis modalities, and dialysis catheter complications. Finally, it addresses common psychosocial and medical conditions afflicting dialysis patients.
 
This will be an excellent tool for residents, renal fellows, general nephrologists, physician assistants, nurse practitioners, and internists. The book provides concise yet thorough information on the management of dialysis patients based on current evidence and practice guidelines. It also covers dialysis management in children and during pregnancy and includes a chapter on the management of bone disease. The 40 chapters are divided into four parts. The first part discusses management of advanced CKD patients and their transition into dialysis, renal transplant, or palliative care. The next 18 chapters discuss the basics of hemodialysis and dialysis access, followed by complications. The next part has extensive discussions of peritoneal dialysis, while the final part addresses the medical conditions and psychosocial issues affecting dialysis patients. Each chapter provides a concise though complete description of dialysis with its associated condition with tables and pathological figures where appropriate. All chapters include references and suggested readings. As the name suggests, the handbook delivers precise information on all aspects of dialysis. Simple tables and figures are used appropriately and increase the ease of reading. Although this book is well known in the nephrology community, it will be a useful tool for nurse practitioners and physician assistants for understanding the core concepts of the various modalities of dialysis. Care of dialysis patients requires a multifaceted approach and the handbook serves its purpose by covering all the important aspects that concern dialysis patients. The attempt to compare delivery of dialysis internationally also broadens the knowledge base and deepens understanding of dialysis patient management. I would recommend this book to anyone who aspires to completely grasp the basic as well as advanced concepts for management of dialysis patients.

Most helpful customer reviews

1 of 1 people found the following review helpful.
Five Stars
By AKHILESH RAO
Great book to get a handle on dialysis, the concept, complications, the online code however is not set yet

1 of 1 people found the following review helpful.
Five Stars
By Richard P.
Excellent book I used in Nephrology fellowship 15 years ago and still relevant to my private practice

1 of 1 people found the following review helpful.
Four Stars
By Lou Ayres Salumbides
Great reference book

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