Ira Levin's seven novels include some of the most iconic touchstones of popular culture: Rosemary's Baby... The Stepford Wives... The Boys from Brazil... When asked in 2002 how he understood his books' tendency to become cultural reference points, Levin replied:

Levin's hallmark is an uncanny realism and texture in the worlds and characters he creates – so detailed and empathetically-observed are they. From suburban homemakers to serial killers. From Rosemary in Manhattan, to "Chip" in the future. All presented with his trademark not-a-word-wasted narrative style, unrivaled plot twists, and ever-lurking wit.

Levin treats his characters – and his readers – fairly: no forced logic, no plot holes, no punches pulled.

“There's a point made by Alfred Hitchcock, a man I much admire: You don't create suspense by not letting the audience know. The more they know, and the clearer their idea is, the more suspense you can create.”
    —Levin (Christian Science Monitor, 1978)

Though often tackling consequential themes, Levin's work is never didactic. It functions – by design – as straight entertainment. Peter Straub (Ghost Story) wrote of Levin's collective work: “[It] resembles a bird in flight, a haiku, a Chinese calligrapher’s brushstroke. With no wasted motion, it gets precisely where it wants to go.”

• This rundown of The Levin Seven from British author Andrew Cartmel. (See his site's separate rundowns of each individual title, as well.)