Noir Book Quotes

Life was better than he expected with his new Italian family inheritance, and it felt good to take a deep breath without fear of someone attacking him or his family.

I didn't mind what she called me, what anybody called me. But this was the room I had to live in. It was all I had in the way of a home. In it was everything that was mine, that had any association for me, any past, anything that took the place of a family. Not much: a few books, pictures, radio, chessmen, old letters, stuff like that. Nothing. Such as they were, they had all my memories.

Like art, love, and pornography, noir is hard to define, but you know it when you see it. For the purposes of the book and my longtime working understanding and definition of it, noir stories are bleak, existential, alienated, pessimistic tales about losers--people who are so morally challenged that they cannot help but bring about their own ruin.

The lady in the liquor store sold me a fifth of whiskey and the landlord’s name without taking her eyes off the book she was reading.

Every person writes his own book with the example of his life.

All guys are scared of each other, didn't you know that? I'm not the only one. We're all born afraid. ("New York Blues")

If your life can hang from a chewing gum wrapper it can hang from anything in the book. It can hang from a bullet no bigger than a bean, or from a cigarette smoked in bed, or a bad breakfast that causes the doctor to sew the absorbent cotton inside you. From a slick tire tread or the hiccups or from kissing the wrong woman. Life is a rental proposition with no lease. For everybody, tall and short, muscles and fat, white and yellow, rich and poor. I know that now. And it is good to know at a time like this

I gave chase, and he took a shot at me, so I did the only thing I could in the circumstances…. I stabbed him in the shoulder.

There was fear too. It moved through his body like an anaconda grown fat and slow on discarded rinds and terror.

and in the middle of this lake is a big giant owl. Like five stories tall, which is large, in my book, for an owl.

Poshlust,” or in a better transliteration poshlost, has many nuances, and evidently I have not described them clearly enough in my little book on Gogol, if you think one can ask anybody if he is tempted by poshlost. Corny trash, vulgar clichés, Philistinism in all its phases, imitations of imitations, bogus profundities, crude, moronic, and dishonest pseudo-literature—these are obvious examples. Now, if we want to pin down poshlost in contemporary writing, we must look for it in Freudian symbolism, moth-eaten mythologies, social comment, humanistic messages, political allegories, overconcern with class or race, and the journalistic generalities we all know. Poshlost speaks in such concepts as “America is no better than Russia” or “We all share in Germany’s guilt.” The flowers of poshlost bloom in such phrases and terms as “the moment of truth,” “charisma,” “existential” (used seriously), “dialogue” (as applied to political talks between nations), and “vocabulary” (as applied to a dauber). Listing in one breath Auschwitz, Hiroshima, and Vietnam is seditious poshlost. Belonging to a very select club (which sports one Jewish name—that of the treasurer) is genteel poshlost. Hack reviews are frequently poshlost, but it also lurks in certain highbrow essays. Poshlost calls Mr. Blank a great poet and Mr. Bluff a great novelist. One of poshlost’s favorite breeding places has always been the Art Exhibition; there it is produced by so-called sculptors working with the tools of wreckers, building crankshaft cretins of stainless steel, Zen stereos, polystyrene stinkbirds, objects trouvés in latrines, cannonballs, canned balls. There we admire the gabinetti wall patterns of so-called abstract artists, Freudian surrealism, roric smudges, and Rorschach blots—all of it as corny in its own right as the academic “September Morns” and “Florentine Flowergirls” of half a century ago. The list is long, and, of course, everybody has his bête noire, his black pet, in the series. Mine is that airline ad: the snack served by an obsequious wench to a young couple—she eyeing ecstatically the cucumber canapé, he admiring wistfully the hostess. And, of course, Death in Venice. You see the range.

That crap about doing something with your life are luxury problems. People like us have to play by a different rules.” #ShadowofSadd #Books

Paul Cain is an early, influential figure in this genre, who is now quite hard to find even in used bookstores and libraries. His 1932 Fast One was a noir landmark; it

Faith doesn't move mountains, Detective. It just obscures the view.

the benefit of the doubt. I keep reminding myself over and over not to judge a book by its cover. People are invariably deeper and more complex than they seem at first.

Le soleil noir de la Mélancolie.

Et voilà, mon passé n’est plus qu’un trou énorme. Mon présent: cette bonne au corsage noir qui rêve près du comptoir, ce petit bonhomme. Tout ce que je sais de ma vie, il me semble que je l’ai appris dans des livres.

The viewpoint character in each story is usually someone trapped in a living nightmare, but this doesn't guarantee that we and the protagonist are at one. In fact Woolrich often makes us pull away from the person at the center of the storm, splitting our reaction in two, stripping his protagonist of moral authority, denying us the luxury of unequivocal identification, drawing characters so psychologically warped and sometimes so despicable that a part of us wants to see them suffer. Woolrich also denies us the luxury of total disidentification with all sorts of sociopaths, especially those who wear badges. His Noir Cop tales are crammed with acts of police sadism, casually committed or at least endorsed by the detective protagonist. These monstrosities are explicitly condemned almost never and the moral outrage we feel has no internal support in the stories except the objective horror of what is shown, so that one might almost believe that a part of Woolrich wants us to enjoy the spectacles. If so, it's yet another instance of how his most powerful novels and stories are divided against themselves so as to evoke in us a divided response that mirrors his own self-division. ("Introduction")

Judges was named after one of the books of the Bible, as was Sammy—Samuel—as Sammy’s mother found great comfort in her faith during labor, when she swore to God that if Sammy’s dad ever got that thing near her again she would murder him in his sleep.

But suspense presupposes uncertainty. No matter how nightmarish the situation, real suspense is impossible when we know in advance that the protagonist will prevail (as we would if Woolrich had used series characters) or will be destroyed. This is why, despite his congenital pessimism, Woolrich manages any number of times to squeeze out an upbeat resolution. Precisely because we can never know whether a particular novel or story will be light or dark, allegre or noir, his work remains hauntingly suspenseful. ("Introduction")

The Killer Inside Me is a chilling first-person story of an evil lawman, while Pop. 1280 is a strangely funny version of the same plot. Of all the noir writers, Thompson is the most popular today, in part because several of his novels, including The Grifters, were successfully adapted for film.

Mee and Ow sat in the shade of a mango tree and were doing their make-up. Both of them wore gloves that reached all the way up to their elbows, to keep the tropical sun off their skins. They looked briefly at Maier, with the curiosity usually reserved for a passing dog. It was too early for professional enthusiasm.

The best place to begin is with the Library of America’s two-volume collection, Crime Novels: American Noir of the 1930s & 40s and Crime Novels: American Noir of the 1950s. Together they include all the major writers as well as bring some lesser-known authors to a wider audience. In general chronological order, here are some depths to which you can lower yourself:

The movie style eventually known as ‘Film Noir’ served up hard-bitten crime stories featuring morally bankrupt men and mysterious femme fatales, blending violence and sexual desire into bleak tales of modern life, without clear messages of morality. The comic book industry offered younger readers its own version of the Film Noir mood with a wave of crime comics that began sweeping the newsstands around 1947.

Literature is the extant body of written art. All novels belong to it. The value judgement concealed in distinguishing one novel as literature and another as genre vanishes with the distinction. Every readable novel can give true pleasure. Every novel read by choice is read because it gives true pleasure. Literature consists of many genres, including mystery, science fiction, fantasy, naturalism, realism, magical realism, graphic, erotic, experimental, psychological, social, political, historical, bildungsroman, romance, western, army life, young adult, thriller, etc., etc…. and the proliferating cross-species and subgenres such as erotic Regency, noir police procedural, or historical thriller with zombies. Some of these categories are descriptive, some are maintained largely as marketing devices. Some are old, some new, some ephemeral. Genres exist, forms and types and kinds of fiction exist and need to be understood: but no genre is inherently, categorically superior or inferior. (Hypothesis on Literature vs. Genre)

Inevitably, his vision verged toward the fantastic; he published a scattering of stories - most included in this volume - which appeared to conform to that genre at least to the degree that the fuller part of his vision could be seen as "mysteries." For Woolrich it all was fantastic; the clock in the tower, hand in the glove, out of control vehicle, errant gunshot which destroyed; whether destructive coincidence was masked in the "naturalistic" or the "incredible" was all pretty much the same to him. RENDEZVOUS IN BLACK, THE BRIDE WORE BLACK, NIGHTMARE are all great swollen dreams, turgid constructions of the night, obsession and grotesque outcome; to turn from these to the "fantastic" was not to turn at all. The work, as is usually the case with a major writer was perfectly formed, perfectly consistent, the vision leached into every area and pulled the book together. "Jane Brown's Body" is a suspense story. THE BRIDE WORE BLACK is science fiction. PHANTOM LADY is a gothic. RENDEZVOUS IN BLACK was a bildungsroman. It does not matter.

Les rêves préparent la vie et ils te déterminent sans que tu comprennes leur langage. On aimerait apprendre ce langage, mais qui est capable de l'enseigner et de l'apprendre ? Car l'érudition seule ne suffit pas ; il existe un savoir du cœur qui donne de plus profondes explications. Le savoir du cœur ne se trouve dans aucun livre et dans la bouche d'aucun professeur, mais il grandit en toi comme la graine verte sort de la terre noire. L'érudition fait partie de l'esprit de ce temps, mais cet esprit ne saisit aucunement le rêve, car l'âme est partout où le savoir érudit n'est pas. (p. 155)

Woolrich had a genius for creating types of story perfectly consonant with his world: the noir cop story, the clock race story, the waking nightmare, the oscillation thriller, the headlong through the night story, the annihilation story, the last hours story. These situations, and variations on them, and others like them, are paradigms of our position in the world as Woolrich sees it. His mastery of suspense, his genius (like that of his spiritual brother Alfred Hitchcock) for keeping us on the edge of our seats and gasping with fright, stems not only from the nightmarish situations he conjured up but from his prose, which is compulsively readable, cinematically vivid, high-strung almost to the point of hysteria, forcing us into the skins of the hunted and doomed where we live their agonies and die with them a thousand small deaths.

In Woolrich's crime fiction there is a gradual development from pulp to noir. The earlier a story, the more likely it stresses pulp elements: one-dimensional macho protagonists, preposterous methods of murder, hordes of cardboard gangsters, dialogue full of whiny insults, blistering fast action. But even in some of his earliest crime stories one finds aspects of noir, and over time the stream works itself pure. In mature Woolrich the world is an incomprehensible place where beams happen to fall, and are predestined to fall, and are toppled over by malevolent powers; a world ruled by chance, fate and God the malign thug. But the everyday life he portrays is just as terrifying and treacherous. The dominant economic reality is the Depression, which for Woolrich usually means a frightened little guy in a rundown apartment with a hungry wife and children, no money, no job, and desperation eating him like a cancer. The dominant political reality is a police force made up of a few decent cops and a horde of sociopaths licensed to torture and kill, whose outrages are casually accepted by all concerned, not least by the victims. The prevailing emotional states are loneliness and fear. Events take place in darkness, menace breathes out of every corner of the night, the bleak cityscape comes alive on the page and in our hearts. ("Introduction")

place; it’s a mind-set. A strange coincidence: for my project on roots, I was reading a staggering book from 1980 called Le Corps noir (The Black Body) by a Haitian writer named Jean-Claude Charles. He coined the term enracinerrance, a French neologism that fuses the idea of rootedness and wandering. He spent his life between Haiti, New York, and Paris, very comfortably rooted in his nomadism. The first line of one of his experimental chapters is this: “il était une fois john howard griffin mansfield texas” (“once upon a time there was john howard griffin in mansfield texas”). I was stunned to find the small town that shares a border with my hometown in the pages of this Haitian author’s book published in France. What in the world was Mansfield, Texas, doing in this book I’d found by chance while researching roots for a totally unrelated academic project? The white man named John Howard Griffin referred to by Charles had conducted an experiment back in the late 1950s in which he disguised himself as a black man in order to understand what it must feel like to be black in the South. He darkened his skin with an ultraviolet lamp and skin-darkening medication and then took to the road, confirming the daily abuses in the South toward people with more melanin in their skin. His experiences were compiled in the classic Black Like Me (1962), which was later made into a film. When the book came out, Griffin and his family in Mansfield received death threats. It is astounding that I found out about this experiment, which began one town over from mine, through a gleefully nomadic Haitian who slipped it into his pain-filled essay about the black body. If you don’t return to your roots, they come and find you.

THIS IS A BOOK ABOUT FRENCH CINEMA, specifically the women of today’s French cinema—a subject as vital as life and as irresistible as movies. Yet many Americans, unfamiliar with French film, will hear “women of today’s French cinema” and immediately imagine something forbidding or austere. Other more refined cineastes may know and appreciate the French movies that play at art houses and arrive on DVD in this country, but they can’t know the full story. They are not in a position to know that what they are seeing is just a hint of something vast and extraordinary. The full story is that for the last two decades France has been in the midst of an explosion of female talent. What is happening in France today is a blossoming of female brilliance and originality of a kind that has never happened anywhere or at any period of film history, with but one glorious exception—in the Hollywood of the 1930s. Indeed, today’s Hepburns, Davises, Crawfords, Garbos, and Stanwycks are not American. They’re French. They are working constantly, appearing up to three or four times each year in films geared to their star personalities and moral meaning. These films, often intelligent, personal, and insightful investigations into what it means to be human in the twenty-first century, are the kinds of films that many Americans want to see. And they wonder why no one is making them. But people are making them, just not in the United States. Moreover, women are not only working in front of the camera in France but behind it, too. Important actresses are writing and directing films, and many of the country’s biggest and most acclaimed directors are women. Truly, this is a halcyon period, happening as we speak, and to miss this moment would be like living in 1920 and never seeing a silent comedy, or like living in 1950 and never seeing a film noir. It would be to miss one of the most enriching cinematic movements of your time. Yet most Americans, virtually all Americans, have been missing it.

The store smells of roasted chicken and freshly ground coffee, raw meat and ripening stone fruit, the lemon detergent they use to scrub the old sheet-linoleum floors. I inhale and feel the smile form on my face. It's been so long since I've been inside any market other than Fred Meyer, which smells of plastic and the thousands of people who pass through every day. By instinct, I head for the produce section. There, the close quarters of slim Ichiban eggplant, baby bok choy, brilliant red chard, chartreuse-and-purple asparagus, sends me into paroxysms of delight. I'm glad the store is nearly empty; I'm oohing and aahing with produce lust at the colors, the smooth, shiny textures set against frilly leaves. I fondle the palm-size plums, the soft fuzz of the peaches. And the berries! It's berry season, and seven varieties spill from green cardboard containers: the ubiquitous Oregon marionberry, red raspberry, and blackberry, of course, but next to them are blueberries, loganberries, and gorgeous golden raspberries. I pluck one from a container, fat and slightly past firm, and pop it into my mouth. The sweet explosion of flavor so familiar, but like something too long forgotten. I load two pints into my basket. The asparagus has me intrigued. Maybe I could roast it with olive oil and fresh herbs, like the sprigs of rosemary and oregano poking out of the salad display, and some good sea salt. And salad. Baby greens tossed with lemon-infused olive oil and a sprinkle of vinegar. Why haven't I eaten a salad in so long? I'll choose a soft, mild French cheese from the deli case, have it for an hors d'oeuvre with a beautiful glass of sparkling Prosecco, say, then roast a tiny chunk of spring lamb that I'm sure the nice sister will cut for me, and complement it with a crusty baguette and roasted asparagus, followed by the salad. Followed by more cheese and berries for dessert. And a fruity Willamette Valley Pinot Noir to wash it all down. My idea of eating heaven, a French-influenced feast that reminds me of the way I always thought my life would be.

SCENE 24 “Tiens, Ti Jean, donne ce plat la a Shammy,” my father is saying to me, turning from the open storage room door with a white tin pan. “Here, Ti Jean, give this pan to Shammy.” My father is standing with a peculiar French Canadian bowleggedness half up from a crouch with the pan outheld, waiting for me to take it, anxious till I do so, almost saying with his big frowning amazed face “Well my little son what are we doing in the penigillar, this strange abode, this house of life without roof be-hung on a Friday evening with a tin pan in my hand in the gloom and you in your raincoats—” “II commence a tombez de la neige” someone is shouting in the background, coming in from the door (“Snow’s startin to fall”)—my father and I stand in that immobile instant communicating telepathic thought-paralysis, suspended in the void together, understanding something that’s always already happened, wondering where we were now, joint reveries in a dumb stun in the cellar of men and smoke … as profound as Hell … as red as Hell.—I take the pan; behind him, the clutter and tragedy of old cellars and storage with its dank message of despair–mops, dolorous mops, clattering tear-stricken pails, fancy sprawfs to suck soap suds from a glass, garden drip cans–rakes leaning on meaty rock–and piles of paper and official Club equipments– It now occurs to me my father spent most of his time when I was 13 the winter of 1936, thinking about a hundred details to be done in the Club alone not to mention home and business shop–the energy of our fathers, they raised us to sit on nails– While I sat around all the time with my little diary, my Turf, my hockey games, Sunday afternoon tragic football games on the toy pooltable white chalkmarked … father and son on separate toys, the toys get less friendly when you grow up–my football games occupied me with the same seriousness of the angels–we had little time to talk to each other. In the fall of 1934 we took a grim voyage south in the rain to Rhode Island to see Time Supply win the Narragansett Special–with Old Daslin we was … a grim voyage, through exciting cities of great neons, Providence, the mist at the dim walls of great hotels, no Turkeys in the raw fog, no Roger Williams, just a trolley track gleaming in the gray rain– We drove, auguring solemnly over past performance charts, past deserted shell-like Ice Cream Dutchland Farms stands in the dank of rainy Nov.—bloop, it was the time on the road, black tar glisten-road of thirties, over foggy trees and distances, suddenly a crossroads, or just a side-in road, a house, or bam, a vista gray tearful mists over some half-in cornfield with distances of Rhode Island in the marshy ways across and the secret scent of oysters from the sea–but something dark and rog-like.— J had seen it before … Ah weary flesh, burdened with a light … that gray dark Inn on the Narragansett Road … this is the vision in my brain as I take the pan from my father and take it to Shammy, moving out of the way for LeNoire and Leo Martin to pass on the way to the office to see the book my father had (a health book with syphilitic backs)— SCENE 25 Someone ripped the pooltable cloth that night, tore it with a cue, I ran back and got my mother and she lay on it half-on-floor like a great poolshark about to take a shot under a hundred eyes only she’s got a thread in her mouth and’s sewing with the same sweet grave face you first saw in the window over my shoulder in that rain of a late Lowell afternoon. God bless the children of this picture, this bookmovie. I’m going on into the Shade.

SCENE 24 “Tiens, Ti Jean, donne ce plat la a Shammy,” my father is saying to me, turning from the open storage room door with a white tin pan. “Here, Ti Jean, give this pan to Shammy.” My father is standing with a peculiar French Canadian bowleggedness half up from a crouch with the pan outheld, waiting for me to take it, anxious till I do so, almost saying with his big frowning amazed face “Well my little son what are we doing in the penigillar, this strange abode, this house of life without roof be-hung on a Friday evening with a tin pan in my hand in the gloom and you in your raincoats—” “II commence a tombez de la neige” someone is shouting in the background, coming in from the door (“Snow’s startin to fall”)—my father and I stand in that immobile instant communicating telepathic thought-paralysis, suspended in the void together, understanding something that’s always already happened, wondering where we were now, joint reveries in a dumb stun in the cellar of men and smoke … as profound as Hell … as red as Hell.—I take the pan; behind him, the clutter and tragedy of old cellars and storage with its dank message of despair–mops, dolorous mops, clattering tear-stricken pails, fancy sprawfs to suck soap suds from a glass, garden drip cans–rakes leaning on meaty rock–and piles of paper and official Club equipments– It now occurs to me my father spent most of his time when I was 13 the winter of 1936, thinking about a hundred details to be done in the Club alone not to mention home and business shop–the energy of our fathers, they raised us to sit on nails– While I sat around all the time with my little diary, my Turf, my hockey games, Sunday afternoon tragic football games on the toy pooltable white chalkmarked … father and son on separate toys, the toys get less friendly when you grow up–my football games occupied me with the same seriousness of the angels–we had little time to talk to each other. In the fall of 1934 we took a grim voyage south in the rain to Rhode Island to see Time Supply win the Narragansett Special–with Old Daslin we was … a grim voyage, through exciting cities of great neons, Providence, the mist at the dim walls of great hotels, no Turkeys in the raw fog, no Roger Williams, just a trolley track gleaming in the gray rain– We drove, auguring solemnly over past performance charts, past deserted shell-like Ice Cream Dutchland Farms stands in the dank of rainy Nov.—bloop, it was the time on the road, black tar glisten-road of thirties, over foggy trees and distances, suddenly a crossroads, or just a side-in road, a house, or bam, a vista gray tearful mists over some half-in cornfield with distances of Rhode Island in the marshy ways across and the secret scent of oysters from the sea–but something dark and rog-like.— J had seen it before … Ah weary flesh, burdened with a light … that gray dark Inn on the Narragansett Road … this is the vision in my brain as I take the pan from my father and take it to Shammy, moving out of the way for LeNoire and Leo Martin to pass on the way to the office to see the book my father had (a health book with syphilitic backs)— SCENE 25 Someone ripped the pooltable cloth that night, tore it with a cue, I ran back and got my mother and she lay on it half-on-floor like a great poolshark about to take a shot under a hundred eyes only she’s got a thread in her mouth and’s sewing with the same sweet grave face you first saw in the window over my shoulder in that rain of a late Lowell afternoon. God bless the children of this picture, this bookmovie. I’m going on into the Shade.

Maybe these dreams of ours just floats away. Here we go again...changin' face.

I've always thought hard-boiled detective novels an American art form. At their best, they're more than who-dun-its or thrillers, they're vehicles for a writer's observations about culture, politics, philosophy, music, history and a time or a place. Or life, it’s ownself. When you read James Ellroy, Dashiell Hammett or James Lee Burke, their stories are always about far more than good guys chasing bad guys. That’s the kind of book I wanted to write. Still do.

Nell.” I heard Sasha whisper my name from a long way away. He had no need to speak; I could hear his thoughts. “Nell, nobody will ever hurt you again. Ever. I will always be here for you, no matter what. I love you, dearest.” And then we truly were one, and the moon and the stars and the planets were no greater things than we were.

Talk turned to current affairs. When the Bush-Gore election came up, Michael noted, “We discovered that to the credit of Gore he said his favourite book was Le Rouge et Le Noir.” Stendhal was one of Michael’s all-time favourites. “That settled things for Michael,” I said. “Yes,” he quickly agreed. “How’s Plymouth Argyle doing Michael?” Peter asked. “It’s dreadful. We’ve had the worst beginning of a season for years,” Michael replied, dropping his voice in disgust. “So we don’t need to press that subject.” We all laughed. Michael started to rise with his usual stagger. “Are you all right, Michael?” Emma asked. “Just let people help you,” Celine suggested. “I know,” Michael said. “You must do it,” Celine insisted. “You’ve always been independent, but it’s not in your best interests.” Celine was the only one of Michael’s friends who was quite this direct with him. While in Bermuda, Celine and Peter had provided a wheelchair for Michael, so that he could get around more quickly. Celine pressed her case in a jolly way, nearly always punctuating her remarks with laughter. A former centrefold, she was short and zaftig. She recommended that Michael find a nice girl with long hair to give him a massage. “It might work,” Michael agreed. He kept saying his legs had been getting better in Dubrovnik. I saw no sign of that, but I did marvel at how he negotiated the three sets of stairs from the kitchen to the living room (at street level) and then up another flight to where Jill’s study and his library are and then yet another all the way up to his bedroom. It was a very long haul that he laboriously

When a book, any sort of book, reaches a certain intensity of artistic performance, it becomes literature. That intensity may be a matter of style, situation, character, emotional tone, or idea, or half a dozen other things. It may also be a perfection of control over the movement of a story similar to the control a great pitcher has over the ball. That is to me what you have more than anything else and more than anyone else. . . . The character that lasts is an ordinary guy with some extraordi-nary qualities. Perry Mason is the perfect detective because he has the intellectual approach of the juridical mind and at the same time the restless quality of the adventurer who won’t stay put. I think he is just about perfect. So let’s not have any more of that phooey about “as literature my stuff still stinks.” Who says so—William Dean Howells? Raymond Chandler to Erle Stanley Gardner, 1946

Jaundice and black crap ain't going to scare me off the juice, kid. When you grow up and walk into the shit-storm that's waiting for your out there," Rose waved her cigarette at the window, "you'll be chink-yellow and shittin' black too.

Rose jabbed her cigarette at Enid and said, "I served my time in LaLaLand and if any of those bastards tell you to talk into the mike and they pull out the yogurt cannon - just remember - you're a lady! Pull up your knickers, steal their wallet, and get the hell out of there!

I am Jane, a savage wild child writer, Brit, Mensa member. I don't write fluff or you know the princess saves the damsel. I write hard core lesbian crime/Film/Noir/Erotica books, satiated with sex, rock n roll, guns, love, compassion, violence and above all acute honesty about my generation of plugged in gay girl kids. Seat Belt Required

Coming out of that Easter service, I felt hopeful and very happy. My heart felt at peace. It was inexplicable. What Vanya was felt about faith was the same thing I felt on that day. Whatever he was trying to describe, I could sense that finally. Out of my newfound faith, I had hope for what the future lay ahead. All the negative memories of my life went away, like mud washed down the river. I only felt positive about the future, looking forward to the days to come. It was the bright early morning of a new sunny day. Outside, the sky was beautiful. “Christ is Risen!” I confessed out loud, finally. “Christ is Risen, Indeed,” echoed a silent voice within. Epilogue: I like to think that the few lines above are the epilogue of the book to this days Faith as what makes “my heart go on” no matter the depressive moments that I now can feel, Faith gives me the courage to endure all kind of difficulties. One should always remember this small poem of mine. “God is for everybody” God is for everybody For the Russian For the French For all the others Even if they don’t wanted it. God is for everybody Not, only, for the Muslims Not, only, for the Christians Not, only, for the Buddhists Not — Even — only, for the Jews Not for one particular religion God is for everybody Especially for the one that do not want it.

Now I give this rascal weight from off my head The pride of a streetborn artist from off my chest With my own hands I renounce my earthly claims With my own sins I ink this very book In this vaudevillian theater we’ve all had our plays Of wisdom, folly, love songs and lamentations of twin flames

In his Preface to the first edition of Peau noire, masques blancs Francis Jeanson tells how one day he wrote to Fanon asking for clarification of a particularly obscure passage in the book. An answer was duly furnished and Fanon added: "This passage is inexplicable. When I write such things I seek to touch my reader in his emotions, i.e., irrationally, almost sensually." Further on in his letter Fanon goes on to confess how he is drawn to the magic of words and that for him language is the ultimate refuge, once it is freed from conventions, from its voice of reason and the terror of coming face-to-face with oneself. "Words for me have a powerful effect. I feel it impossible to escape from the sting of a word or the vertigo of a question mark." He went on to say that, like Césaire, he wanted to sink beneath the stupefying lava of words that have the color of quivering flesh.

Growing up I watched a lot of film noir, read a lot of comic books. When a character wanted to brood, they’d sit in the dark, usually in a large leather chair by a table with a single unlit lamp, holding a tumbler of whiskey.

I was admiring the view from my second story window when the screaming started.

I go back to my doorway. There’s really no reason to beat a dog half to death like that. It’s this damned autumn. The cold and the dark get under people’s skin, cause them inner damage.

That was the grand bargain with evil. No wrong ever got righted, any more than a hangman’s rope was ever unknotted and used as a child’s swing.

My goal is to live far outside of history as possible. History is a territory where mostly bad things happen to good people.

It was now hard to believe how difficult it had once been to follow a person in Bangkok in a time before smart phones and social media. The new generation demanded to be followed online. It was in their digital blood. A small investment in a few specialized apps, and not even Sherlock Holmes in his most inspired opium dreams could have imagined the possibilities.

Let me share what I’ve learned about Thai politics. Keep a distance from those doing a victory dance in the end zone unless you understand their game, how it’s scored and how many players each side has. If you can’t figure out the rules of the game, you won’t know when the game has started and when it’s over. Don’t put a bet on a game you don’t understand.

Dès l’instant où la porte s’ouvrit, je me tendis. J’eus l’étrange sensation que l’air se modifiait et le silence éloquent de mon visiteur me fit hausser les sourcils. Allons bon, il me faisait la gueule ? — Si tu ne voulais pas me parler en venant ici, va jouer au muet ailleurs. Le ricanement grave qui emplit l’espace me fit sursauter. Je savais à présent que ce n’était pas Rafayel, mais un homme à qui je n’aurais jamais pensé adresser la parole, qui se tenait à quelques pas de moi. — Yphaëlle, tu es toujours aussi aimable quand tu t’adresses à une personne pour la première fois ? Je haussai les sourcils face à cette voix grave qui s’était enroulée autour de mon prénom. — Toujours, répondis-je en me retournant vers lui. Et tu débarques toujours à moitié vêtu dans la chambre d’une inconnue ? Il me fit un sourire malicieux qui creusa des fossettes dont je ne soupçonnais pas l’existence. — Toujours. À la bonne heure, un comique. Je détaillai l’homme, bien plus grand et mieux bâti que Rafayel et dont la peau était légèrement basanée, qui me faisait face et je croisais les bras. Il ne portait que l’ample pantalon en tissu noir qui montrait son appartenance à ma caste, laissant ainsi son ventre plat et bien sculpté à qui voudrait regarder.

Ô Mort, vieux capitaine, il est temps! levons l’ancre! Ce pays nous ennuie, ô Mort! Appareillons! Si le ciel et la mer sont noirs comme de l’encre, Nos coeurs que tu connais sont remplis de rayons!

Do you want me to see what I can find out? Nose around, tap into the grapevine, keep my ear to the ground?" Nikki grinned and added, "I've been reading a lot of noir detective novels lately. Please say I can.

On copiait démarche, ses gestes, ses coiffures. Elle servit, d'ailleurs, à établir les canons de la beauté, dont toutes les femmes, pendant cent ans, cherchèrent furieusement à se rapprocher: Trois choses blanches: la peau, les dents, les mains. Trois noires: les yeux, les sourcils, les paupières. Trois rouges: les lèvres, les joues, les ongles. Trois longues: le corps, les cheveux, les mains. Trois courtes: les dents, les oreilles, les pieds. Trois étroites: la bouche, la taille, l'entrée du pied. Trois grosses: les bras, les cuisses, le gros de la jambe. Trois petites: le tétin, le nez, la tête

I try to alternate reading something educational with reading something fun, a sort of Nabisco frosted Mini-Wheats reading program.

Some mistakes require a price before freedom..."- The Penance (Book 2 of 'The Catalyst' trilogy)

Lire ressemble à regarder à l'horizon. D'abord on ne voit qu'une ligne noir. Puis on imagine des mondes.

Don’t get to go to many five-star restaurants, I assume?” he asks, smugly sipping his water.

There’s so much going on with that statement that I just stare at him for a moment.

White did try his hand at a few stories outside of actual noir. At the beginning of his career, his first book appeared as a Rainbow Books digest magazine called Seven Hungry Men! in 1952. The cover featured several taboos of the time, including a shirtless black man playing with a knife, a nasty expression on his face, alone in a cabin with a haughty white women wearing a high-slitted skirt and tipping a bottle of booze. The back cover is almost equally scandalous—it shows a black and white photograph of a woman resembling the one from the front cover wearing nothing but a matching set of underwear and a wide open lacy peignoir. Shocking stuff for 1952’s America.

The February morning dawned cold as a brass madonna. I hadn’t worn my fleece coat, despite Dreema telling me to as I dashed out the door and made my getaway. Check the box for stubbornness.

Don't you know? Whatever arrives from the shadows, you must greet as a blessing.

Sometimes I wonder if you’re even fae. Your mindset is so different compared to others. I suspect you are an alien.

Your heart will hurt.

But I am not good for you. I am imperfect in every way possible.” - Willa “Yet, it’s your flaws that make you shine and remind me of the beauty that resides within your soul.” - Rayan

Grady cuts into the onion, right through the middle. The skin is still on, and he’s holding the knife like he’s going to stab someone with it.

I don’t like feeling as if I owe someone something.

There’s

Whenever you want to interfere, imagine that Jane is a brother instead of a sister. If Jane were a man, would it be suffocating or unfair or ridiculous if you acted on that desire to interfere? If so, don’t.

Praise for JAMES LEE BURKE “James Lee Burke is the reigning champ of nostalgia noir.” —The New York Times Book Review “A gorgeous prose stylist.” —Stephen King “James Lee Burke is the heavyweight champ, a great American novelist whose work, taken individually or as a whole, is unsurpassed.” —Michael Connelly “Burke’s evocative prose remains a thing of reliably fierce wonder.

Certaines personnes pourraient considérer “Le canular du roi Hochschild”, comme nous pourrions l’appeler, comme une fable valorisante pour les Africains modernes aux dépens de l’homme blanc. Mais ses effets débilitants sur l’Afrique, et sur le Congo en particulier, en font le contraire. C’est un coup de chicotte (fouet en forme de lanière de cuir) insensible et négligent sur le dos de tous les Africains noirs, un porno narcissique de la culpabilité pour les libéraux blancs au détriment de l’Africain. L’avocat congolais Marcel Yabili l’appelle “la plus grande falsification de l’histoire moderne”, un compliment en quelque sorte, je suppose.

Through his opened bedroom window, he noticed that the night sky had turned a crimson red. The moon, punctured by hues of cerulean blue, hung precariously over the withering willow trees that lined the riverbank, located several hundred yards away. The storm predicted by the forecasters was heading his way.

I should like one day, as some anonymous pedestrian revisiting the scenes of these memories, to follow on the heels of an attentive reader - here are some - and to relish his delight when, with this book in his pocket, he finds himself in the presence of one of the characters described, mentioned or referred to earlier on, who do exist, large as life, and wittingly or not perpetuate their legend. I’d like people to investigate, to verify. You need to be an extremely well-informed reader to identify all the ‘keys’ scattered throughout these pages. Many readers may find among them the key to their own front door. In any case, what you need to know is this: in certain areas of Paris, the supernatural is part of everyday life. Local people accept this and have some involvement with it.

On the subject of pornography, Lord MacCaulay believes that term only suitable for material lacking artistic merit, being designed solely for the purpose of sexual arousal. His own collection of books, sketches and cards (some more dog-eared than others) he deems akin to the Venus de Milo, rising above the common fodder of aids to ‘relief’.

Susan had decided to sit by the pool at the hotel with a copy of a book by Alice Miller called The Drama of the Gifted Child.

Retirement had seemed like the best way not to die, but the adrenaline had gone the day I threw in the towel and it never returned. You have your books and your movies, your daydreams and your moments in the sun, but none of those can save you any more than irony can.

Making her debut in 1947, Black Canary was the archetype of the new Film Noir era heroine. Originally, Black Canary was a mysterious female vigilante, who played the role of criminal in order to infiltrate the underworld and bring its gangsters to justice. A gorgeous blonde in a low cut black swimsuit, bolero jacket and fishnet tights, Black Canary was actually Dinah Drake, a florist who wore her black hair tied in a bun, and sensible, high-necked blouses. When trouble brewed, Dinah slipped into her fishnets and pinned on a blonde wig to become the gutsy, karate chopping Black Canary. But Dinah had another incentive to lead a secret life. A roguishly handsome private detective named Larry Lance became a frequent customer in Dinah’s florist shop. He had a knack for getting into trouble, and Dinah would usually end up switching into her Black Canary guise to rescue him.

This is the best book ever written on its subject. Granted being the only such book takes a lot of the steam out of that accomplishment.

Marilyn Monroe (born Norma Jeane Mortenson; June 1, 1926 – August 5, 1962) was an American actress, model, and singer, who became a major sex symbol, starring in a number of commercially successful motion pictures during the 1950s and early 1960s. After spending much of her childhood in foster homes, Monroe began a career as a model, which led to a film contract in 1946 with Twentieth Century-Fox. Her early film appearances were minor, but her performances in The Asphalt Jungle and All About Eve (both 1950), drew attention. By 1952 she had her first leading role in Don't Bother to Knock and 1953 brought a lead in Niagara, a melodramatic film noir that dwelt on her seductiveness. Her "dumb blonde" persona was used to comic effect in subsequent films such as Gentlemen Prefer Blondes (1953), How to Marry a Millionaire (1953) and The Seven Year Itch (1955). Limited by typecasting, Monroe studied at the Actors Studio to broaden her range. Her dramatic performance in Bus Stop (1956) was hailed by critics and garnered a Golden Globe nomination. Her production company, Marilyn Monroe Productions, released The Prince and the Showgirl (1957), for which she received a BAFTA Award nomination and won a David di Donatello award. She received a Golden Globe Award for her performance in Some Like It Hot (1959). Monroe's last completed film was The Misfits, co-starring Clark Gable with screenplay by her then-husband, Arthur Miller. Marilyn was a passionate reader, owning four hundred books at the time of her death, and was often photographed with a book. The final years of Monroe's life were marked by illness, personal problems, and a reputation for unreliability and being difficult to work with. The circumstances of her death, from an overdose of barbiturates, have been the subject of conjecture. Though officially classified as a "probable suicide", the possibility of an accidental overdose, as well as of homicide, have not been ruled out. In 1999, Monroe was ranked as the sixth greatest female star of all time by the American Film Institute. In the decades following her death, she has often been cited as both a pop and a cultural icon as well as the quintessential American sex symbol. 수면제,액상수면제,낙태약,여성최음제,ghb물뽕,여성흥분제,남성발기부전치유제,비아,시알,88정,드래곤,바오메이,정력제,남성성기확대제,카마그라젤,비닉스,센돔,,꽃물,남성조루제,네노마정,러쉬파퍼,엑스터시,신의눈물,lsd,아이스,캔디,대마초,떨,마리화나,프로포폴,에토미데이트,해피벌륜 등많은제품판매하고있습니다 원하시는제품있으시면 추천상으로 더좋은제품으로 모시겠습니다 qwe114.c33.kr 카톡【ACD5】텔레【KKD55】 I believe that everything happens for a reason. People change so that you can learn to let go, things go wrong so that you appreciate them when they're right, you believe lies so you eventually learn to trust no one but yourself, and sometimes good things fall apart so better things can fall together

The full force of the sun’s rays broke through the tree canopy, and the man squinted up at the sky. “I always assumed Asterions would figure it out when they were ready for the knowledge. When they were ready to take the next step. By my count, you’re a little early.” “We don’t have the luxury of waiting for the next evolutionary leap to mosey through on its own. To put it bluntly, we are dead in two weeks unless we can find a way to stop the Rasu. Dead. As a species. Do you understand me? Am I getting through to you?” “Calm yourself, Mr. Ridani. I hear you fine.” “Good. Then will you come with me?

Eli kisses the top of my head, his arm still around me. “You’re something,” he says.

It’s enough to make me wish this could actually work. I kiss her long and slow. I kiss her like we’re in love. She kisses back the same way, her hand soft against my face, her lips gentle.

Five minutes,” he says, and winks.

Because you had a shitty day and I’m trying to be nice for once?

But I like the way my name sounds when she says it. I like the way she looks at me, the way she practically dares me to do something, the way my heart thunders with every inch she comes closer.