Featuring North America's foremost thriller authors, Thriller is the first collection of pure thriller stories ever published. Offering up heart-pumping tales of suspense in all its guises are thirty-two of the most critically acclaimed and award-winning names in the business. From the signature characters that made such authors as David Morrell and John Lescroart famous to four of the hottest new voices in the genre, this blockbuster will tantalize and terrify.

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Now chilling new evidence has implicated his father's employer, the United Swiss Bank, in the crime. Nick doesn't know how. Or why. But he has a plan to find out: move to Zurich. Work for the same bank. Follow in his father's footsteps. Look for the same secrets...and uncover something so shocking, so unexpected, justice may not be enough.

For as a circle of treachery tightens around him, as a woman with secrets of her own enters his life, Nick makes another chilling discovery. Not just about his father but about himself. And how far he's willing to go to find out what happened seventeen years before--when a man died and a conspiracy was born.

The Runner lacks the crackling tension of Numbered Account, Christopher Reich's first novel. Even the moments of crucial conflict, or of bloody disaster, seem wan and pallid. The novel is, paradoxically, handicapped by Reich's respect for historical detail: his interest in presenting the grim realities of postwar existence leads him into extensive descriptions of place and time that fail to merge with the story he spins. These "set pieces" stand awkwardly apart, like dour history professors coaxed into supervising the machinations of rambunctious students. Reich's general fidelity to detail also means that the moments in which he temporarily throws accuracy to the wind are painfully apparent: how on earth would Judge, a well-fed and well-dressed American, manage to look as if he belonged in a German work-group detail? And when would any three-star general ever tolerate the gum-cracking insouciance of Judge's driver Darren Honey, a sergeant with no regard for military hierarchy? Oddly enough, the authorial liberties Reich takes with General George Patton, saddling him with a megalomaniac's hatred of the Russians and a schemer's plot to redraw the boundaries of postwar Europe, are largely successful and add a welcome note of barely contained evil.

The Runner works best as a moving meditation on personal and social disjunction: Judge, Seyss, Patton, and the rest are desperately engaged in deciphering the proper place for prewar rules in the postwar chaos--and in confronting the uneasy suspicion that perhaps, after all, there is no place for them or for their beliefs. Judge must move past his easy assumption that the Allied victory was not "just a symbol of superior might but of superior morality": "Overnight, he'd become the hunted, not the hunter.... At some point during the last twenty-four hours, he'd crossed over an interior median into unknown waters. He'd abandoned the rigid structure of his previous life, renounced his worship of authority, and forsworn his devotion to rules and regulation. He'd tossed Hoyle to the wind, and he didn't care." --Kelly Flynn