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Searching... R.H. Stafford Library (Woodbury) | 813.0872 BRO | Searching... Unknown |
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Summary
Summary
New York's punchiest borough asserts its criminal legacy with all new stories from a magnificent set of today's best writers. Brooklyn Noir moves from Coney Island to Bay Ridge and far deeper, into the heart of Brooklyn's historical and criminal largesse, with all its dark splendour. Each contributor presents a brand new story set in a distinct neighbourhood. These brilliant and chilling stories see crime striking in communities of Russians, Jamaicans, Puerto Ricans, Italians, Irish and many other ethnicities - in the most diverse urban location on the planet.
Author Notes
Tim McLoughlin was born and raised in Brooklyn. His debut novel, Heart of the Old Country (Akashic), was hailed as reminiscent of James T. Farrell's Studs Lonigan and George Orwell's Down and Out in Paris. He was editor of Brooklyn Noir, first in the Akashic Noir Series, as well as Brooklyn Noir 2 and Brooklyn Noir 3.
Reviews (3)
Publisher's Weekly Review
In McLoughlin's entertaining if uneven anthology of 19 brand new hard-boiled and twisted tales, each set in a different Brooklyn neighborhood, the best way to get to know New York City's most diverse borough is either to be dead or to cause someone else to assume that state in as grisly a manner as possible. This might be achieved via the old school method-for instance, with a nickel-plated revolver and a heart full of malice, as in "The Book Signing," Pete Hamill's lyrical opener about a Park Slope "ex-pat" writer who revisits his now-gentrified neighborhood only to step inadvertently into a past he'd long thought buried and forgotten. Or death might arrive in a new-fangled mode, with a scalpel and an Internet connection, as in Arthur Nersesian's compelling "Hunter/ Trapper," in which a Brooklyn Heights Web stalker makes the serious mistake of failing to secure his stalkee securely before ravishment. If a few weaker entries exploit the borough as an arbitrary setting for standard cops-and-robbers fare, the best stories concern people in the present coming to terms with the past. In McLoughlin's evocative "When All This Was Bay Ridge," a Sunset Park cop's son struggles with his dead father's secret history, while Maggie Estep's "Triple Harrison," depicting a squatter who tends a broken-down race horse in the abandoned wastes of East New York, takes the prize as the book's weirdest tale. (July) Forecast: Blurbs from the likes of Laura Lippman and Tim Cockey will help call attention to the book, while a contribution by Irish author Ken Bruen will have his fans wondering how Galway is connected to Brooklyn. (c) Copyright PWxyz, LLC. All rights reserved
Kirkus Review
Brooklyn continues to get no respect in this collection of 19 stories, most the work of unheralded hands, all previously unpublished for good reason. The best known of the contributors, Pete Hamill, falls flat with the tale of an author returning to the old neighborhood to confront the "goil" he left behind in "The Book Signing." Norman Kelley wanders the gritty side of the borough in the gender-bending "The Code." Pearl Abraham explains Hasidic intricacies in "Hasidic Noir." Arthur Nersesian resolves an Internet stalking in a brownstone house of horror in "Hunter/Trapper." The saddest story, Ellen Miller's "Practicing," focuses on jumping off Canarsie Pier, climbing a bridge, and what amounts to child endangerment. Several cop partners do each other in, none of the variations noteworthy except for their detailed knowledge of Brooklyn street names--except perhaps for editor McLoughlin's final twisted coup de grâce in "When All This Was Bay Ridge." The most original story is "Fade to . . . Brooklyn," Ken Bruen's brutal tale of an idealized tourist in Galway. Most readers will turn with relief from these unappealing looks at Brooklyn byways and stereotypes back to Manhattan or Cedar Rapids. Copyright ©Kirkus Reviews, used with permission.
Booklist Review
It's all Brooklyn--Bensonhurst and Brighton Beach, Red Hook and Crown Heights--in this atmospheric collection of noir tales. The sound is right, too, from the understated staccato of old lost souls to the jiving rap of younger ones. Abraham Pearl manages a Jewish gumshoe in Hasidic Noir, and Neal Pollack makes a carousel ride and a scavenger hunt as sinister as midnight. Thomas Morrissey does a weird tale of vampire cookies in Can't Catch Me. The language is richly foul, and so is much of the sex in these 19 stories, divided into four sections from Old School Brooklyn to Cops & Robbers. Brooklyn's Italian and Irish belly up to the bar with Russians, Puerto Ricans, and Rastas. Pete Hamill, probably the biggest name here, opens with a signature tale for both himself and the genre, deceptively called The Book Signing. --GraceAnne DeCandido Copyright 2004 Booklist
