When Rex Stout met John le Carré.

The Spy Writes blog discusses the interview of John le Carré by Rex Stout for Mademoiselle's July 1964 mystery issue. Stout calls le Carré "unobtrusively handsome" and covers le Carré's revision process; le Carré thinks his own strongest quality is his "critical faculty" (61).

Bonuses for Nancy Drew and Patricia Moyes fans: There's a piece on the girl sleuth plus Moyes's novel Falling Star in the issue. Also, pp. 62–63 features a photo that includes Edgar awardees of that year and other MWA members. Among the luminaries, one can spot Clayton Rawson, Hillary Waugh, and Lawrence Treat in the back; Stout and Dorothy Salisbury Davis in the middle; Howard Haycraft in the front row at left; and Phyllis Whitney in the front row at right.

Boucher picks the best mysteries of 1951.

In the 2 Dec 1951 New York Times, author-critic Anthony Boucher (aka William Anthony Parker White) listed "Boucher's Choices"—his selections for the best mysteries of 1951. They were:

• John Dickson Carr, The Devil in Velvet. "swashbuckling romance . . . strict detection." 
• Agatha Christie, They Came to Baghdad, . "adept . . . spy thriller."
• Dorothy Salisbury Davis, A Gentle Murderer. "distinguished."
• Cyril Hare [Alfred Alexander Gordon Clark], An English Murder . "adroit . . . social satire."
• Geoffrey Household, A Rough Shoot and A Time to Kill. "realistic political melodrama."
• Michael Innes, The Paper Thunderbolt. "funny and chilling."
• Eric Linklater, Mr. Byculla. "Deft."
• John Ross Macdonald [Ross Macdonald, Kenneth Millar], The Way Some People Die. "a worthy successor to Dashiell Hammett."
• William McGivern, Shield for Murder. "Complex and memorable study of a rogue cop."
• Ngaio Marsh, Night at the Vulcan. "Marsh's best to date."
• Elliott Paul, Murder on the Left Bank. "Fun."
• Ellery Queen, The Origin of Evil.  "intricate ingenuity."
• John Sherwood, Mr. Blessington's Imperialist Plot. "Ruritanian spy-melodrama."
• Bart Spicer, Black Sheep, Run and The Golden Door.  "appealing variants on the hardboiled story."
• Julian Symons, The 31st of February. "Striking satire."
• Lawrence Treat, Big Shot. "A notable novel about detectives."

Lawrence Treat's "The Debt" (1952).

In "The Debt," a May 1952 episode of Suspense, a drifter confronts murder. The episode, which features Conrad Janis and Brian Keith, is adapted from "Twenty-Dollar Debt" by Lawrence Treat—MWA cofounder, Edgar winner, and an important figure in the development of the police procedural.

The First Police Procedurals.

Michael over at 2blowhards recently stated,
". . . it was the crime novelist Ed McBain who kicked off the 'police procedural' genre. . . ."

Not precisely. Although Lawrence Treat denied it, he is frequently credited as the "father" of the police procedural, and Lancashire-born Maurice Procter also made important contributions, such as Hell Is a City (1954). In addition, according to Dean James, although McBain (aka Evan Hunter) certainly popularized and gave distinction to the police procedural, recognition should be given to American author Hillary Waugh (for Last Seen Wearing, 1952) and ever-energetic British writer John Creasey (under the J. J. Marric pseudonym, for Gideon's Day, 1955; filmed by John Ford as Gideon's Day, aka Gideon of Scotland Yard, 1958). Waugh's and Creasey's works appeared before McBain's Cop Hater (1956).