On the other side there is money, rules that let you take it. People inhabit exotic spaces, drive beautiful, elliptical cars whenever and wherever they want, achieve whatever they crave. Their technologies are succulent. On the other side, they have learned to make orgasm last to exhaustion.

Nothing is as it seems. You know that. You've been warned that sating desire is perverse but the powerful secretly indulge as they preach. You risk brief visits. You return with enough of what you need to last the times between. You are safe as long as you know you have made a crossing. That is the logic of borders. Without them, there is no knowing one side from the other.

Noir?
Grab some visionary German film directors on the lam from Nazi jackboots, throw them onto the mean streets of depression-era America, stir well and hey-presto: Film Noir.

NOT EXACTLY

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Domenic Stansberry's
Noir Manifesto
In 1982, after the publication of The Prone Gunman, Jean-Patrick Manchette, the great French crime writer, abandoned the genre altogether. Over the previous decade, he had written ten novels, all in the noir fashion: finely-honed, spare books of great originality and shocking violence. These books - which had made him famous as the father of the neo-polar, the New French crime novel - took the old plotlines of noir and recast them into hard-nosed political critiques. But after The Prone Gunman - having taken his style to its limit - Manchette gave it all up.

More at www.domenicstansberry.com

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Film Noir

Notes and links to
Film Noir Retrospectives.

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Noir & Blue

You could say the blues are the Black noir, if it wasn't redundant and didn't have everything ass-backwards.

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