Classic Noir

L'histoire, racontée à la première personne, est l'autobiographie d'un cheval nommé Prince Noir qui commence sa vie poulain dans une ferme anglaise. Le roman raconte les mésaventures de ce cheval, vendu par ses premiers propriétaires, jusqu'à devenir cheval de fiacre dans les rues de Londres. Tout au long de l'histoire, Prince Noir est confronté à la cruauté ou la sympathie des hommes, et continue à faire le travail qu'on lui demande avec courage.

Nobody plays accordion like Dick Contino. His skilled fingers can find beauty in even the schmaltziest Borscht Belt favorites, and with his matinee-idol looks he could be a real star. Right now, though, he’s slumming it as the headliner in a Grade Z teenybopper picture called Daddy-O. He’s too good for this movie, and finishing it is going to take him to a very dark place. Daddy-O and Dick Contino are both real, their stories dredged out of the past by James Ellroy, a master of historical crime fiction. In Dick Contino's Blues he takes us to B-List Hollywood in 1957 - a time when movies were cheerful and dirty secrets lurked just off camera.

It's Valentine's Day and private detective John Justin Mallory is planning on closing up the office early and taking his partner, Col. Winnifred Carruthers, out to dinner, since he's sure no one else will do so. But before he can turn off the lights and lock the door, a panic-stricken Buffalo Bill Brody visits them. It seems that the Eastminster pet show is being held the next day, and his dragon, Fluffy, the heavy favorite, has been kidnapped.

Jack Kerouac tells the story of Jack Duluoz, a French-Canadian boy growing up in Kerouac’s own birthplace, the dingy factory town of Lowell, Massachusetts. There, Doctor Sax, with his flowing cape, slouched hat, and insinuating leer, is chief among the many ghosts and demons that populate Jack’s fantasy world. Deftly mingling memory and dream, Kerouac captures the accents and textures of his boyhood in Lowell in this novel of a cryptic, apocalyptic hipster phantom.

Le Chat noir relate l'implacable chute d'un homme. C'est l'une des nouvelles qui ont assuré la célébrité d'Edgar Poe, et ont décidé Charles Baudelaire...

A starlet's plot to blackmail a film-studio executive results in her murder. Only the "trouble chaser" can clear her volatile lover and solve the crime.

Eddie's on his way back from a routine investigation when his horse almost runs down a half-naked blonde in serious trouble. Against his better judgment, he promises to protect the frightened young woman, only to find himself waylaid by unknown assailants and left for dead beside her mutilated body.

For Arthur Rowe the charity fête was a trip back to childhood, to innocence, a welcome chance to escape the terror of the Blitz, to forget 20 years of his past and a murder. Then he guesses the weight of the cake, and from that moment on he's a hunted man, the target of shadowy killers, on the run and struggling to remember and to find the truth.

Aaron Platt has spent every day of his life breaking his back to scrape a living from the rocky, played-out fields of the Adirondack farm he inherited from his sadistic father. One winter morning, he follows footprints in the snow to his barn and discovers a man freezing to death in a horse stall. What unfolds between the two men, past and present, is a brisk, gritty depiction of crime and punishment. But their harrowing story is more than that, exposing the shocking hypocrisy of the people who live in the nearby bucolic town.

William "Kid" Collins was once a respected boxer. Now he's a drifter, on the run after escaping from a mental institution. One afternoon he meets Fay, a beautiful young widow. She is smart and decent - at least when she's sober. Soon Collins finds himself involved in a kidnapping scheme that goes drastically wrong almost before it even begins. Because the kid they've picked up isn't like other kids: He's diabetic and without insulin, he'll die. Not the safest situation for Collins, a man for whom stress and violence have long gone hand-in-hand.

London, June 1965. Karl Braun arrives as a lodger in Pimlico: hatless, with a bow-tie, greying hair, slight in build. His new neighbours are intrigued by this cultured German gentleman who works as a piano tuner; many are fellow émigrés, who assume that he, like them, came to England to flee Hitler. That summer, Braun courts a woman, attends classical concerts, dances the twist. But as the newspapers fill with reports of the hunt for Nazi war criminals, his nightmares become increasingly worse.

Dans les houillères épuisées d'Aberfoyle en Ecosse, ne vivent plus que le vieux contremaître Simon Ford, sa femme et son fils.

Nous retrouvons la Dame en noir 20 ans plus tard, toujours seule et cachée du monde. Son fils André a été élevé dans la Maison maternelle avec un orphelin devenu son frère d'adoption Edouard. André fait carrière dans l'administration tandis qu'Edouard essaye désespérément de devenir un peintre reconnu. Mais un sombre personnage revient en France: le comte de Simiane.

Venu à Paris après avoir recueilli l'immense fortune que lui a léguée son père, le jeune André Clavière est mortellement blessé dans un duel avec le baron de Simiane, ami du comte de Rosamont. Le comte a, sous le nom de Lucien Gervois, séduit Marie Sorel, amie d'enfance d'André Clavière. Marie va être mère quand Maxime de Rosamont l'abandonne pour épouser Mlle Louise de Noyon. Mais celui-ci ignore la situation de sa maîtresse.

Le Chat noir (The Black Cat), publié en 1843, est une autre des nouvelles emblématiques d'Edgar Allan Poe. Comme dans Le Cœur révélateur, cette histoire plonge dans les thèmes de la folie, de la culpabilité et de la violence, tout en explorant les conséquences de l'alcoolisme et du mal-être psychologique. C’est un récit d’horreur qui examine la dégradation d’un homme sous l’influence de ses obsessions et de ses vices.

Fred Underhill is a young cop on the rise in Los Angeles in the early 1950s - a town blinded to its own grime by Hollywood glitter; a society nourished by newspaper lies that wants its heroes all-American and squeaky clean. A chance to lead on a possible serial killing is all it takes to fuel Underhill's reckless ambition - and it propels him into a dangerous alliance with certain mad and unstable elements of the law enforcement hierarchy. When the case implodes with disastrous consequences, it is Fred Underhill who takes the fall. His life is in ruins, his promising future suddenly a dream of the past.

Broadway Can Be Murder started out to be a novel based on Johnny Midnight, a TV series which everyone has long since forgotten. Except, of course, that nothing manages to be forgotten in the Internet Age. I, whose job it was to knock out 50,000 words of Johnny Midnightish prose and dialogue, had forgotten when it ran and who was in it, but Google took no time at all to remind me that the title role was played by Edmund O’Brien, and that the series ran during the first nine months of 1960. I was in New York, newly married, living at 110 West 69th Street.

Tippy the triceratops was once a little girl's imaginary friend, a dinosaur detective who could help her make sense of the world. But when her father died, Tippy fell into the Stillreal, the underbelly of the Imagination, where discarded ideas go when they're too real to disappear. Now, he passes time doing detective work for other unwanted ideas - until Tippy runs into The Man in the Coat, a nightmare monster who can do the impossible: kill an idea permanently. Now Tippy must overcome his own trauma and solve the case, before there's nothing left but imaginary corpses.

There's no glass slipper in this fairy tale - just a damsel in distress, a bag of cash, and a whole lot of dead bodies. Reporter Ted Lindsay is trying to forget his ex-wife, and New York City's tough streets are just what the doctor ordered. They're also filled with alluring women, but only one catches Ted's eye. Cinderella Sims is not only beautiful, she's on the run and she needs Ted's help. She's got a bag full of cash and some very angry people staking out her apartment.

"Nulle part ailleurs André n'avait vu des roses, des lis, des camélias aussi merveilleux, ni des tulipes aussi diverses de couleurs, depuis les blanches comme du lait jusqu'aux noires comme du charbon ; jamais il n'eût imaginé une telle opulence florale. Le printemps commençait à peine, et les vrais trésors du jardin étaient encore abrités dans les serres chaudes ; mais les plantes qu'on voyait fleurir le long des allées et dans les plates-bandes suffisaient pour transporter le promeneur dans un royaume de couleurs tendres, surtout aux heures matinales où chaque pétale étincelle de rosée."