Archives for posts with tag: film noir

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IN WHICH MISS VICTORIANA GOES TO THE PICTURES
AND THEY FILL HER HEAD WITH NOTIONS
by Suzanne Lummis

“I was thinking about that dame upstairs
and how she’d looked at me. And I wanted
to see her again, close, without that silly
staircase between us.”
– Voice of Walter Neff in Double Indemnity

Sir, if I may be frank, even bold,
perhaps rash, I’d like to see you again
without that grand piano between us—
the silly one with its carved curlicues,
enamel inlay, its painted panel legs
displaying their affection
for the 19th Century.

And the piano player also—again, forgive
this lapse of discretion. … No, no,
I don’t mean I wish to see him as well.
I long to see you without him between us,
the grand piano player, whose “ivory hands
on the ivory keys strayed in a fitful fantasy”.
(Thank you dear Mr. Wilde). Well—

perhaps I would like to see him again,
but let’s not think on that now. Now
I desire (did I just confess desire?)
to see you again without even
the music between us. Without—sir, yes,
yes, you read my meaning, my purpose
and, I dare say, my lips—without even
that last
lithe, trembling
note of the concerto
between us.

IMAGE: Still from Double Indemnity starring Barbara Stanwyck and Fred MacMurray (1944)

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ABOUT THE AUTHOR:  In 2013, Suzanne Lummis won the Blue Lynx Poetry Award—her collection Open 24 Hours will be released by Lynx House Press in 2014. Her poems have appeared in noted literary journals across the country and in such anthologies as California Poetry from the Gold Rush to the Present, the Knopf “Everman’s Poetry Library” anthologies, Poems of the American West, Poems of Murder and Mayhem. Her definitive essay on the poem noir appeared in New Mexico’s Malpais Review, for which she is California Correspondent, and in 2011 her organization, The Los Angeles Poetry Festival, produced a 25-event citywide series, Night and the City: L.A. Noir in Poetry, Fiction and Film. She is co-editor of Beyond Baroque’s new imprint, The Pacific Coast Poetry Series, which will publish an important new anthology of Los Angeles area poets in 2014. She performs with the serio-comic performance troupe Nearly Fatal Women and teaches for the UCLA Extension Writers’ Program, and for other colleges and arts organizations. Visit her at suzannelummis.com.

Author photo by Penelope Torribio. Visit the photographer at penelopetorribio.com.

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HOLLYWOOD HILLS NOIR
by Laurel Ann Bogen

Aberration of weather studs
the sloe eyed city where change
gels in ripples after due process
I could go deeper
pry open the locked vault
below, combustible fossils bubble
in tar and petroleum beneath
Wilshire Blvd. — the jacaranda’s roots
divide the house
Los Angeles
erupts in violet blossoms
each spring the profusion
is uncontained by stucco

Nature needs tending, or course
every few years the plates shift
the photogenic councilman is arrested
and somebody takes a fall
That’s how I came here — by a calling
as surely as the devil herself
cloaked in the need to be seen
in filtered light
latticed with faultlines
and an underground whirlpool
as profligate as oil.

“Hollywood Hills Noir” appears in Laurel Ann Bogen‘s collection Washing a Language (Red Hen Press, 2004), available at Amazon.com.

ABOUT THE AUTHOR: Laurel Ann Bogen is the author of 10 books of poetry and short fiction, and from 1996 until 2002 was literary curator at the Los Angeles County Museum of Art. She has been an instructor of poetry and performance for the UCLA Extension Writers’ Program since 1990 and received the Outstanding Instructor of the Year in Creative Writing in 2008. Selected “Best Female Poet/Performer” by the L.A. Weekly in their Best of L.A. issue, she is well-known for her lively readings and is a founding member of the acclaimed poetry performance troupe, Nearly Fatal Women. The recipient of the Curtis Zahn Poetry Prize from the Pacificus Foundtion and two awards from the Academy of American Poets, her work has appeared in over 100 literary magazines and anthologies.

Photo: “The Famed Hollywood Sign from Bronson Canyon” by Corey Miller, ALL RIGHTS RESERVED

ImageThe Silver Birch Press NOIR Erasure Poetry Anthology (December 2013) — a collection of erasure poems based on the writings of a range of noir authors, including James M. Cain, Raymond Chandler, Dashiell Hammett, Patricia Highsmith, Walter Mosley, Robert B. Parker, and Cornell Woolrich — has earned some outstanding reviews at Amazon.com.

Here are some excerpts:

…a wonderful concept.”

…an interesting mix that pays homage to both the works of the noir genre and the poetic form…”

…one of the most fun and just amazing books of erasure poetry that I have ever read.”

… I am intrigued by the many different ways in which these poems were shaped from the original texts of noir writers’ novels. These marked-out passages combined with Budziak’s shadowy woodcut cover art throws the reader into the low-key and mysterious setting of the noir.”

The 122-page anthology features the work of 46 writers from around the world:  Jeffrey C. Alfier / Beth Ayer / Jenni B. Baker / David Barker / Kathy Burkett / Candace Butler / Freda Butler / Kim Cooper / Subhankar Das / Andrea Dickens / Barbara Eknoian / Chris Forhan / Laura Hartenberger / Paul Hawkins / Deborah Herman / Sandra Herman / Mathias Jansson / Jax NTP / Rosemarie Keenan / Wm. Todd King/ Joseph Lisowski / Renee Mallett / Adrian Manning/ Karen Margolis / Catfish McDaris / Marcia Meara / james w. moore / Sarah Nichols / Winston Plowes / David S. Pointer / D.A. Pratt / David Rachels / Jonne Rhodes / Van Roberts / Daniel Romo / Tere Sievers / Gerald So / Sherry Steiner / Caitlin Stern / Scott Stoller / Thomas R. Thomas / Mary Umans / Melanie Villines / Mercedes Webb-Pullman / Richard Wink / Joanie Hieger Fritz Zosike

A special note of appreciation to you the anthology’s contributing editors: Jenni B. Baker, Catfish McDaris, james w. moore, and Gerald So. Major thanks, too, to Guy Budziak for allowing Silver Birch Press to feature his woodcut of William Conrad — as seen in the 1946 film The Killers — on the cover of the collection. For more of Guy Budziak‘s work, please visit filmnoirwoodcuts.com.

For fans of mystery, crime, and hardboiled fiction, as well as film noir, the Silver Birch Press NOIR Erasure Poetry Anthology is an interesting, unique, and inexpensive holiday gift. The book is currently available for $10.58 from Amazon.com.

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HOLLYWOOD HILLS NOIR
by Laurel Ann Bogen

Aberration of weather studs
the sloe eyed city where change
gels in ripples after due process
I could go deeper
pry open the locked vault
below, combustible fossils bubble
in tar and petroleum beneath
Wilshire Blvd. — the jacaranda’s roots
divide the house
Los Angeles
erupts in violet blossoms
each spring the profusion
is uncontained by stucco

Nature needs tending, or course
every few years the plates shift
the photogenic councilman is arrested
and somebody takes a fall
That’s how I came here — by a calling
as surely as the devil herself
cloaked in the need to be seen
in filtered light
latticed with faultlines
and an underground whirlpool
as profligate as oil.

“Hollywood Hills Noir” appears in Laurel Ann Bogen‘s collection Washing a Language (Red Hen Press, 2004), available at Amazon.com.

ABOUT THE AUTHOR: Laurel Ann Bogen is the author of 10 books of poetry and short fiction, and from 1996 until 2002 was literary curator at the Los Angeles County Museum of Art. She has been an instructor of poetry and performance for the UCLA Extension Writers’ Program since 1990 and received the Outstanding Instructor of the Year in Creative Writing in 2008. Selected “Best Female Poet/Performer” by the L.A. Weekly in their Best of L.A. issue, she is well-known for her lively readings and is a founding member of the acclaimed poetry performance troupe, Nearly Fatal Women. The recipient of the Curtis Zahn Poetry Prize from the Pacificus Foundtion and two awards from the Academy of American Poets, her work has appeared in over 100 literary magazines and anthologies.

Photo: “The Famed Hollywood Sign from Bronson Canyon” by Corey Miller, ALL RIGHTS RESERVED

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Silver Birch Press NOIR Erasure Poetry Anthology

Released: December 7, 2013

Size: 122 pages (5.5 x 8.5″)

Available in paperback for $10.60 at Amazon.com

EDITOR’S NOTES

WHY: As a longtime fan of hardboiled detective fiction and film noir, and an aficionado of found poetry, I wondered what would happen if the two were combined. A call for submissions on the Silver Birch Press blog, as well as requests from our contributing editors to their colleagues resulted in a wide range of submissions, including those featured in the Silver Birch Press NOIR Erasure Poetry Anthology. 

WHAT: So just what is an erasure poem? Take a page from any book, cross out or whiteout some of the words and the remaining words constitute the erasure poem. The Silver Birch Press Noir Erasure Poetry Anthology pays homage to noir authors—including genre founders Raymond Chandler and Dashiell Hammett, as well as other authors of crime fiction whose work served as source material.

WHO: My thanks to the 46 poets represented in the collection (find their names in this post), as well as the 16 noir authors whose writing served as inspiration. A special thank you to contributing editors Jenni B. Baker, Catfish McDaris, james w. moore, and Gerald So—accomplished poets and authors who encouraged their writing colleagues to participate in the collection. Thanks, too, to Guy Budziak for his stunning cover art. (View more of the artist’s work at filmnoirwoodcuts.com.)

DEDICATION: Noir and erasure poetry are a perfect match—stark, pared down, elemental, bare bones.  As the author who invented L.A. Noir and elevated prose to poetry, we dedicate the Silver Birch Press NOIR Erasure Poetry Anthology to Raymond Chandler.

WHERE: Find the Silver Birch Press NOIR Erasure Poetry Anthology — an interesting, unique (and inexpensive) holiday gift for lovers of crime fiction (and poetry!) — at Amazon.com.

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Silver Birch Press is excited to announce the December 2013 release of the NOIR Erasure Poetry Anthology — a collection of erasure poems based on the writings of a range of noir authors, including James M. Cain, Raymond Chandler, Dashiell Hammett, Patricia Highsmith, Walter Mosley, Robert B. Parker, and Cornell Woolrich.

The 122-page anthology features the work of 46 writers from around the world:  Jeffrey C. Alfier / Beth Ayer / Jenni B. Baker / David Barker / Kathy Burkett / Candace Butler / Freda Butler / Kim Cooper / Subhankar Das / Andrea Dickens / Barbara Eknoian / Chris Forhan / Laura Hartenberger / Paul Hawkins / Deborah Herman / Sandra Herman / Mathias Jansson / Jax NTP / Rosemarie Keenan / Wm. Todd King/ Joseph Lisowski / Renee Mallett / Adrian Manning/ Karen Margolis / Catfish McDaris / Marcia Meara / james w. moore / Sarah Nichols / Winston Plowes / David S. Pointer / D.A. Pratt / David Rachels / Jonne Rhodes / Van Roberts / Daniel Romo / Tere Sievers / Gerald So / Sherry Steiner / Caitlin Stern / Scott Stoller / Thomas R. Thomas / Mary Umans / Melanie Villines / Mercedes Webb-Pullman / Richard Wink / Joanie Hieger Fritz Zosike

For fans of mystery, crime, and hardboiled fiction, as well as film noir, the Silver Birch Press NOIR Erasure Poetry Anthology is an interesting, unique, and inexpensive holiday gift. The book is currently available for $11.40 from Amazon.com.

A special note of appreciation to you the anthology’s contributing editors: Jenni B. Baker, Catfish McDaris, james w. moore, and Gerald So. Thanks to you, a wide range of established authors contributed their work to the collection. Fedoras off to you!

Major thanks, too, to Guy Budziak for allowing Silver Birch Press to feature his woodcut of William Conrad — as seen in the 1946 film The Killers — on the cover of the collection. For more of Guy Budziak‘s work, please visit filmnoirwoodcuts.com.

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THE BIG SLEEP (Excerpt)
by Raymond Chandler

We drove away from Las Olindas through a series of little dank beach towns with shack-like houses built down on the sand close to the rumble of the surf and larger houses built back on the slopes behind. A yellow window shone here and there, but most of the houses were dark. A smell of kelp came in off the water and lay on the fog. The tires sang on the moist concrete of the boulevard. The world was a wet emptiness.

We were close to Del Rey before she spoke to me for the first time since we left the drugstore. Her voice had a muffled sound, as if something was throbbing deep under it.

“Drive down by the Del Rey beach club. I want to look at the water.”

****

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The above photo and passage from Raymond Chandler‘s novel The Big Sleepappear in the superb photo collectionDaylight Noir byCatherine Corman, with a preface by Jonathan Lethem. A series of photos from the book — including the photo of the Del Ray Beach Club above — were featured in a review by Rollo Romig in The New Yorker (October 7, 2010).

Photo: Del Ray Beach Club by Catherine Corman, ALL RIGHTS RESERVED

Find Daylight Noir by Catherine Corman at Amazon.com.

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THE NIGHT GOES ON ALL NIGHT: Noir Inspired Poems, edited by Rick Lupert (Ain’t Got No Press, November 2011) was published in conjunction with the 2011 Los Angeles Poetry Festival’s “Night and the City” Noir Festival.

The collection features work from 24 poets who, according to the book description, explore “their own noir-de-vivre with humor, grit, nostalgia, and the requisite fedora.” The book includes an introductory note about noir from Los Angeles Poetry Festival director Suzanne Lummis.

CONTRIBUTORS INCLUDE: E. Amato, Michael C. Ford, Michael Cluff, Brendan Constantine, Mike Daily, Gloria Derge, Peggy Dobreer, Jerry Garcia, Joelle Hannah, Kris Huelgas, Elizabeth Iannaci, Jack Bowman, Ruth Nolan, Marc Olmsted, Kevin Patrick Sullivan, Angela Penaredondo, Douglas Richardson, Anthony Seidman, Eric Steineger, Eric Tuazon, Mehnaz Turner, Wyatt Underwood, Wanda VanHoy Smith and Florence Weinberger.

Here is a sampling from the collection…

PANORAMA CITY (Excerpt)
by Brendan Constantine

We started wearing 
dark glasses between the house & the garage. 
Panorama City had no view; from any window 
we saw another window.

Note: Brendan Constantine will appear at the POET NOIR reading at the Bradbury Building in downtown Los Angeles on Sunday, Nov. 24, 2013. Details here.

ABOUT THE EDITOR: Rick Lupert has been involved in the Los Angeles poetry community since 1990. He served for two years as a co-director of the Valley Contemporary Poets, a non-profit organization that produces readings and publications out of the San Fernando Valley. His poetry has appeared in numerous magazines and literary journals, including The Los Angeles Times and Chiron Review. He edited A Poet’s Haggadah: Passover through the Eyes of Poets anthology and is the author of thirteen books. Since 1994, he has hosted the long-running Cobalt Cafe reading series in Canoga Park and is regularly featured at venues throughout Southern California. Rick created and maintains the Poetry Super Highway, a major internet resource for poets. (PoetrySuperHighway.com) Currently Rick works as a music teacher and web designer and can be reached by email at Rick@PoetrySuperHighway.com.

Find the 56-page THE NIGHT GOES ON ALL NIGHT: Noir Inspired Poetry at Amazon.com.

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POETRY NOIR
by John S. O’Connor
Reprinted from poetryfoundation.org (2009)

This year I’m teaching a new class called Literature and Film. Since I’m always thinking of ways to use poetry in the classroom, we started the year by screening Run Lola Run while we read Oedipus the King (the brilliant Robert Fagles translation replete with devastatingly ironic line breaks). In our film noir unit, we read some terrific noir poems from Kevin Young’s Black Maria and some excerpts from Robert Polito’s fine new collection, Holywood and God. (Check out the podcast on Poetry Noir from Poetry off the Shelf.)

Then, while we were examining mise-en-scene (for our purposes, the physical setting of the film) in movies such as Double Indemnity and Chinatown, I asked students to write noir poems of their own. As a first step, I had students work in small groups to make a list of 50 concrete nouns, objects that fill the frame. When they were finished, I asked them to write down 10 “tough guy” lines. With that group-generated word pool, I asked individual students to tell a story that uses no verbs or adjectives that were not on their lists. (They could feel free to add “small words” such as articles and prepositions). For the sake of coherence, I didn’t really care if they broke these arbitrary rules, but for the most part they stayed within the parameters I laid out. Here is an example from Michael:

FEDORA CITY
Candle-lit brooches blinds the darkness

Whiskey perfumes the pearled dame:

Her thin eyebrows, false lashes, painted red lips. Manicured nails

Put pen to pad to pistol

Bourbon shadows suffocate

Every crowded bar
Police fire on the heels of her fur coat

Streetlamps spit halos of light in the boozy night

The Fedora City lights like a knife

A neon scream hits my gut like a brick

Gasping for my life, my lungs find only stale air

I need a drink
 
The broad beat it outta there quick,

dangling rope

earrings her only trace

A doll on the run,

a run in her stockings–
Camera to crime to cuffs.

Set match to photograph

Smothering the city in Venetian streaks

The blinds are drawn shut

Case closed.

Photo: Humphrey Bogart as Sam Spade in The Maltese Falcon, based on Dashiell Hammett‘s novel.

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One of my best all-time thrift store finds was a pristine-condition Vintage/Black Lizard edition of Black Money by Ross Macdonald.

Born Kenneth Millar on December 13, 1915 in Los Gatos, California, and raised in Kitchener, Ontario, Canada, Ross Macdonald has been called the heir to Dashiell Hammett (The Maltese Falcon) and Raymond Chandler (The Big Sleep). Most of his novels — starring detective Lew Archer — are set in Los Angeles and the fictional Santa Teresa, based on Santa Barbara, where he lived most of his life with his wife, and fellow detective novelist, Margaret Millar. Macdonald passed away in 1983 at age 67.

In Ross Macdonald, a Biography, author Tom Nolan writes: “By any standard he was remarkable. His first books, patterned on Hammett and Chandler, were at once vivid chronicles of a postwar California and elaborate retellings of Greek and other classic myths. Gradually he swapped the hard-boiled trappings for more subjective themes: personal identity, the family secret, the family scapegoat, the childhood trauma; how men and women need and battle each other, how the buried past rises like a skeleton to confront the present. He brought the tragic drama of Freud and the psychology of Sophocles to detective stories, and his prose flashed with poetic imagery.”

Here are a few lines from the opening page of Black Money“I walked around the end of the fifty-meter pool, which was enclosed on three sides by cabanas. On the fourth side the sea gleamed through a ten-foot wire fence like a blue fish alive in a net. A few dry bathers were lying around as if the yellow eye of the sun had hypnotized them.”

Find Black Money by Ross Macdonald at Amazon.com.