Travis McGee - Novels

Novels

  • The Deep Blue Good-by (1964)
  • Nightmare in Pink (1964)
  • A Purple Place for Dying (1964)
  • The Quick Red Fox (1964)
  • A Deadly Shade of Gold (1965)
  • Bright Orange for the Shroud (1965)
  • Darker than Amber (1966)
  • One Fearful Yellow Eye (1966)
  • Pale Gray for Guilt (1968)
  • The Girl in the Plain Brown Wrapper (1968)
  • Dress Her in Indigo (1969)
  • The Long Lavender Look (1970)
  • A Tan and Sandy Silence (1971)
  • The Scarlet Ruse (1972)
  • The Turquoise Lament (1973)
  • The Dreadful Lemon Sky (1974)
  • The Empty Copper Sea (1978)
  • The Green Ripper (1979)
  • Free Fall in Crimson (1981)
  • Cinnamon Skin (1982)
  • The Lonely Silver Rain (1984)

In addition, the 1966 MacDonald novel The Last One Left carries the author's inscription, "I dedicate this novel to TRAVIS McGEE, who lent invaluable support and encouragement." With much of the action occurring in the boat cruising world of southeastern Florida, it is similar to some of the McGee stories. The book also mentions the Muñequita, a small runabout that McGee later buys in Pale Gray for Guilt.

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Famous quotes containing the word novels:

    “Primarily I am a passionately religious man, and my novels must be written from the depth of my religious experience.”
    —D.H. (David Herbert)

    “Compare the history of the novel to that of rock ‘n’ roll. Both started out a minority taste, became a mass taste, and then splintered into several subgenres. Both have been the typical cultural expressions of classes and epochs. Both started out aggressively fighting for their share of attention, novels attacking the drama, the tract, and the poem, rock attacking jazz and pop and rolling over classical music.”
    —W. T. Lhamon, U.S. educator, critic. “Material Differences,” Deliberate Speed: The Origins of a Cultural Style in the American 1950s, Smithsonian (1990)

    “Fathers and Sons is not only the best of Turgenev’s novels, it is one of the most brilliant novels of the nineteenth century. Turgenev managed to do what he intended to do, to create a male character, a young Russian, who would affirm his—that character’s—absence of introspection and at the same time would not be a journalist’s dummy of the socialistic type.”
    —Vladimir Nabokov (1899–1977)