Simon Brett's Book Recommendations (Updated for 2026)

1

The Talented Mr. Ripley (Ripley, #1)

Patricia Highsmith

4.1

Since his debut in 1955, Tom Ripley has evolved into the ultimate bad boy sociopath, influencing countless novelists and filmmakers. In this first novel, we are introduced to suave, handsome Tom Ripley: a young striver, newly arrived in the heady world of Manhattan in the 1950s. A product of a broken home, branded a "sissy" by his dismissive Aunt Dottie, Ripley becomes enamored of the moneyed worl

Recommended by Lucy Atkins and Simon Brett.

Simon Brett

I think Ripley just set so many characters in motion because he was one of the first entirely amoral central figures, someone who commits appalling crimes and murders but you actually feel a kind of sympathy for. [source]

Lucy Atkins

What I adore about the book is how brilliantly she explores the idea of moral grey areas. [source]

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2

A Dark-Adapted Eye

Ruth Rendell, Barbara Vine

3.8

Vera Hillyard. My aunt, and murderess.

Faith Severn's life has long been overshadowed by the scandal of her aunt's execution for murder. For nearly 25 years she has tried to forget the woman she once spent her holidays with, who seemed such a perfect mother and caring sister. Now the time has come to piece together the mystery. What secret caused two devoted sisters to turn from love to bitter hat

Recommended by Simon Brett.

Simon Brett

Yes. There were two I liked. A Dark-Adapted Eye was the first one, and the second one was called A Fatal Inversion. I like Ruth Rendell very much as a writer, and I just found it amazing when she suddenly started writing under this new persona. And I thought the books had another level: it was as if she’d been holding back this extra skill. They were very different from the Ruth Rendells – and I just thought those first two were amazing… [source]

3

Hangover Square

Patrick Hamilton

4.3

Hamilton captures the edgy, obsessive and eventually murderous mindset of a romantically frustrated British man in this WWII-era novel. London 1939, and in the grimy publands of Earls Court, George Harvey Bone is pursuing a helpless infatuation with Netta who is cool, contemptuous and hopelessly desirable to George. George is adrift in hell, until something goes click in his head and he realizes t

Recommended by Iain Sinclair and Simon Brett.

Simon Brett

Yes. It’s a study of schizophrenia, in a way. The main character, George Harvey Bone, goes into these strange trance states. Like a lot of Patrick Hamilton’s characters, he is devoted to a woman who is not worthy of him, who is one step up from a prostitute. He’s obsessed with her, and eventually ends up murdering her. It’s just an incredibly written, claustrophobic book that would be in my top five almost any day you rang me. Patrick Hamilton goes in and out of fashion – and I’m not sure he’s ever been as popular in the States as he is in the UK – but a lot of crime writers like him because he has this strange claustrophobia. And he can be funny too, about fairly nasty things. [source]

Iain Sinclair

I chose Patrick Hamilton because he hits, in particular, on the derangement of the city. He was a big drinker. His writing is like the hallucination or the delirium of an alcoholic dream, and sees London as a kind of nightmare. [source]

Cover unavailable

4

A Kiss Before Dying

Ira Levin, Otto Penzler

4.2

A Kiss Before Dying not only debuted the talent of best-selling novelist Ira Levin to rave reviews, it also set a new standard in the art of mystery and suspense. Now a modern classic, as gripping in its tautly plotted action as it is penetrating in its exploration of a criminal mind, it tells the shocking tale of a young man who will stop at nothing--not even murder--to get where he wants to go.

Recommended by Simon Brett.

Simon Brett

He wrote A Kiss Before Dying very young: I think it was his first book. If you look at the history of the crime novel, the whodunits, where there was a puzzle and a device, were very popular in the 1920s and 1930s. But since World War II there have been very few books which rely on a trick – like, famously, the Agatha Christie where the narrator turns out to be the murderer. One would have thought that at the end of the so-called golden age, at the end of the 1930s, that all those tricks had been done. But in A Kiss Before Dying, there is such a device. I won’t describe it, because I don’t want to give it away, but it is a kind of verbal trick. And it’s one of those books where you get halfway through and you actually go back through the book and think, I know this, there’s a piece of information that has been kept from me… It’s also a very tense novel, again, about a murderer. But there is this central device that is so clever, that at the end you both hug yourself with glee at how good it is and kick yourself because you didn’t get it. [source]

5

The Big Sleep (Philip Marlowe, #1)

Raymond Chandler

4.2

"Down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid....He is the hero; he is everything. He must be a complete man and a common man and yet an unusual man.

This is the Code of the Private Eye as defined by Raymond Chandler in his 1944 essay 'The Simple Act of Murder.' Such a man was Philip Marlowe, private eye, an educated, heroic, streetwise, rugged

Recommended by Simon Brett.

Simon Brett

I think the writing is just so beautiful. Raymond Chandler’s hopeless at plots, as we know. He said himself, if he couldn’t think of what to do, he brought in a man with a gun. But the language… I remember some years ago an American publisher got the rights to do a book called Raymond Chandler’s Philip Marlowe and got various contemporary crime writers to write a Philip Marlowe story. I was asked to do one – it was great fun. I was very excited, because it meant rereading all the books again. I found I could do the wisecracks, but I couldn’t do them as economically as he could. I think that’s what I admire in Chandler; he’s very economical with his words. And also he can do something that very few writers can do, he can actually use a joke to increase tension rather than release tension. Normally we think of comic relief: you build up the tension and then you break it with a joke. But Chandler could actually make the tension tighter with a joke, which I think is a great achievement. [source]