This superb annual anthology of the year’s most outstanding short crime fiction published in the UK is now well into its second decade. Jakubowski has succeeded, once again, in unearthing the best short crime stories of English, Welsh, Scottish and Irish authors (along with a handful of US writers living in the UK, and some expatriate Brits). With this collection he showcases the impressive breadth of British crime writing, from cosy tales of detection to noir mayhem and psychological suspense and terror. There are puzzles to solve, nagging questions about the nature of British society, but, above all, there are over 40 wonderful, gripping stories to shock, delight and make you think twice, if not three times.

Full list of contributors: Lee Child; Kevin Wignall; Will Carver; Paul Charles; Val McDermid; Paul Johnston; Alison Bruce; Tim Willocks; Maxim Jakubowski; Rhys Hughes; Edward Marston; N. J. Cooper; Michael Z. Lewin; Peter Guttridge; Mary Hoffman; Peter Tremayne; Kate Rhodes; Paul D. Brazill; Ros Asquith; Amy Myers; Alexander McCall Smith; Nina Allan; Peter Turnbull; Jay Stringer; Martin Edwards; Zoë Sharp; Col Bury; David Stuart Davies; Howard Linskey; Susan Everett; Christopher Fowler; Dreda Say Mitchell; Roger Busby; Simon Kernick; Peter Lovesey; David Hewson; Gerard Brennan; Jane Casey; Christopher J. Simmons; Stephen Gallagher; John Lawton.

There are few students in my class. When one considers what the subject is, this isn’t surprising. I teach myself.

In other words, I impart to my students facts and fancies based on my life and ideas. It’s the least popular class in the university and I doubt it will be funded for another term. But none of that is my fault. I wanted to teach a proper discipline such as ecology, but the authorities wouldn’t let me. They insisted that I teach myself; and as a result, I do so.
  The students are given an assignment. They each have to write a short piece about how I spend my free time. But this is information I’ve always kept secret. I can’t imagine how they’re expected to know anything about my private life, certainly not in detail.
  Clearly I’m being spied on. Unless it’s guesswork?
  I read the essays anxiously.
  Yes, only some of them have got it right…

Cover design: Alison Buck

"Rhys Hughes seems almost the sum of our planet's literature... As well as being drunk on language and wild imagery, he is also sober on the essentials of thought. He has something of Mervyn Peake's glorious invention, something of John Cowper Powys's contemplative, almost disdainful existentialism, a sensuality, a relish, an addiction to the delicious." — MICHAEL MOORCOCK

"Quirky and fantastic and sometimes quite twisted, Rhys Hughes is a treat for those in the mood for something utterly different." — ELLEN DATLOW

"Rhys Hughes is an accomplished player with words, plots, effects, relationships, sensibilities; you name it, Hughes tries to stand it on its head. More often than seems attributable to mere chance, he succeeds." — LOCUS

"I wore throughout the undisplaceable, unsequelchable rictus of a grin of both delight and amazement." — MICHAEL BISHOP

"Hughes' world is a magical one, and his language is the most magical thing of all." — T.E.D. KLEIN

"Hughes' similarity to Spike Milligan runs deeper than the occasional shared lurch of phrase, for he writes as though he'd been bloodied in the same wars Milligan fought for eight decades: the same up-yours melancholia about the malice of the absurd – about the absurdness of the world defined not only as an inherent lack of species-friendly grammar in the convulsion of the real, but also a sense that anyone who acts as though he believes what he is told by our Masters will almost necessarily inflict pain on others." — JOHN CLUTE