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Sarah Weinman

New York

Writer and Editor at Freelance

Crime Fiction Columnist at The New York Times

No longer here. Crime Lady. Columnist, @nytimesbooks. Author, SCOUNDREL & THE REAL LOLITA. Editor, EVIDENCE OF THINGS SEEN, etc. Working on new stuff.

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Articles

  • 2 weeks ago | flipboard.com | Sarah Weinman

    Column: AC/DC and the underrated art of doing the same thing foreverAngus Young, the AC/DC guitarist who still dresses in the round cap and short pants of an Australian schoolboy (despite turning 70 in March), once …

  • 1 month ago | infobae.com | Sarah Weinman

    White, Ethel Lina (1876-1944)Biographical InformationWriting and WritersBooks and LiteratureMoviesHitchcock, AlfredThe Lady Vanishes (Movie)Fue una gigante del género que publicó un centenar de relatos cortos y 17 novelas, una de las cuales fue adaptada en la aclamada película "La dama desaparece". Este artículo forma parte de Overlooked, una serie de obituarios sobre personas notables cuyas muertes, a partir de 1851, no se publicaron en The Times.

  • 1 month ago | nytimes.com | Sarah Weinman

    Fue una gigante del género que publicó un centenar de relatos cortos y 17 novelas, una de las cuales fue adaptada en la aclamada película "La dama desaparece". Este artículo forma parte de Overlooked, una serie de obituarios sobre personas notables cuyas muertes, a partir de 1851, no se publicaron en The Times. Antes de que Alfred Hitchcock se diera a conocer en Hollywood, recurrió a la obra de la novelista británica de suspenso Ethel Lina White.

  • 1 month ago | nytimes.com | Sarah Weinman

    A powerhouse of the genre, she published around 100 short stories and 17 novels, one of which was adapted into the acclaimed film "The Lady Vanishes."This article is part of Overlooked, a series of obituaries about remarkable people whose deaths, beginning in 1851, went unreported in The Times. Before Alfred Hitchcock made his name in Hollywood, he turned to the work of the British suspense novelist Ethel Lina White.

  • 1 month ago | crimereads.com | Sarah Weinman

    I wish I could remember when I first read Josephine Tey’s The Daughter of Time—I must have been around twenty—but I certainly remember how much I loved it, which has only grown with every reread. I had already become a serious reader of crime fiction, immersed in the works of contemporary crime writers in addition to the usual Golden Age suspects like Agatha Christie and Dorothy L. Sayers.

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