Los Angeles Noir 2
The Classics
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- 13,99 $
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- 13,99 $
Description de l’éditeur
“This entry, with its high-quality stories from such genre masters as Raymond Chandler and James M. Cain, outshines the typical all-original anthology.”—Publishers Weekly
In Akashic Books’s acclaimed series of original noir anthologies, each book comprises all new stories, each one set in a distinct neighborhood or location within the respective city. This collection of classic stories—the sequel to the award-winning, bestselling Los Angeles Noir—“reaffirm[s] that the shadows cast by the Southland’s sun, and its gloomy ocean fog, have proved some of noir’s most fertile territory” (Los Angeles Times).
This anthology features stories by Raymond Chandler, Paul Cain, James Ellroy, Leigh Brackett, James M. Cain, Chester Himes, Ross MacDonald, Walter Mosley, Naomi Hirahara, Margaret Millar, Joseph Hansen, William Campbell Gault, Jervey Tervalon, Kate Braverman, and Yxta Maya Murray.
“If you love either mysteries or tales about our corner of the world, pick up Noir 2 . . . Hey, the concept of ‘noir’—dark, steamy mystery stories—was invented here.”—Los Angeles Daily News
PUBLISHERS WEEKLY
Like Manhattan Noir 2 and other previous classics entries in Akashic s noir series, this entry, with its high-quality stories from such genre masters as Raymond Chandler and James M. Cain, outshines the typical all-original anthology in the series. Hamilton has been wise to select lesser-known works by legendary writers, guaranteeing that the volume will appeal both to fans unfamiliar with the stories and readers new to their hard-edged prose. The two best come from the pens of husband and wife Ross Macdonald and Margaret Millar. Macdonald s Lew Archer looks into an actress s disappearance in his taut Find the Woman, while Millar s The People Across the Canyon, about a young girl who forms an unhealthy attachment to some new neighbors, offers an unconventional look at the darkness in the human soul. With the exception of Walter Mosley s Crimson Shadow, the tales in the final modern section fall short by comparison.
