Read Online New Orleans Noir (Akashic Noir) By Julie Smith
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Ebook About This original anthology of noir fiction set across the Big Easy includes new stories by Ace Atkins, Laura Lippman, Maureen Tan, and more.New Orleans has always the home of the lovable rogue, the poison magnolia, the bent politico, and the heartless con artist. And in post-Katrina times, it’s the same old story—only with a new breed of carpetbagger thrown in. In other words, it’s fertile ground for noir fiction. This sparkling collection of tales, set both before and after the storm, explores the city’s gutted neighborhoods, its outwardly gleaming “sliver by the river,” its still-raunchy French Quarter, and other hoods so far from the Quarter they might as well be on another continent. It also looks back into the city’s darkly colorful, nineteenth century past.New Orleans Noir includes brand-new stories by Ace Atkins, Laura Lippman, Patty Friedmann, Barbara Hambly, Tim McLoughlin, Olympia Vernon, David Fulmer, Jervey Tervalon, James Nolan, Kalamu ya Salaam, Maureen Tan, Thomas Adcock, Jeri Cain Rossi, Christine Wiltz, Greg Herren, Julie Smith, Eric Overmyer, and Ted O’Brien.A portion of the profits from New Orleans Noir will be donated to Katrina KARES, a hurricane relief program sponsored by the New Orleans Institute that awards grants to writers affected by the hurricane.Book New Orleans Noir (Akashic Noir) Review :
Few American cities have identities as distinctly their own as New Orleans. The Big Easy has its own lifestyle that has been celebrated in literature for decades. So, it’s no surprise that the publishers of Akashic Books chose New Orleans as the setting for one of their first “Akashic Noir” crime anthologies. The result isn’t the Mardi Gras, jazz, and gumbo version of New Orleans that is so popular with tourists. Instead, the 18 stories that appear in “New Orleans Noir” offer readers a fascinating, if not always pleasant, look at the dark underside of the city.Potential readers of “New Orleans Noir” should know going in that the word “noir” in the title is a bit misleading. The “Akashic Noir” anthologies are each set in a particular city or similar locale. However, few of the stories in “New Orleans Noir” would be considered any sort of noir: classic, Southern, or otherwise. Instead, they are stories set in New Orleans that focus in a particular way on some kind of crime. The individual editor of each anthology selects stories that reflect the culture and identity of the specific city. The editor of “New Orleans Noir,” Edgar-winning crime author Julie Smith, has assembled a distinguished group of contributors representing a broad cross-section of the city.The authors of the stories in “New Orleans Noir” either hail from the Crescent City or have spent considerable time there. In addition to Smith herself, the best-known writers include Ace Atkins, author of the continuation of the “Spenser” series, Edgar- and Shamus-winning author, Laura Lippman, and Eric Overmyer, showrunner of the “Bosch” TV series. However, even the lesser-known authors have extensive credentials. Perhaps surprisingly, only a couple of the stories involve Mardi Gras in any way, and only one is set in the French Quarter. (The book includes a city map showing the neighborhood where each story takes place.) But the New Orleans setting of almost every story is immediately recognizable. Race relations and prejudice are ongoing themes in several stories.“New Orleans Noir” was published in 2007, meaning that Hurricane Katrina and its resulting devastation were fresh in the authors’ minds. Eight of the anthology stories are expressly set post-Katrina, and several of them are among the book’s best. (This anthology offers a glimpse of how future fiction writers might incorporate the coronavirus pandemic in their work.) Katrina doesn’t merely rate a passing mention in these stories; instead, the storm becomes an integral part of the story. Julie Smith’s “Loot” looks both backward and forward to today in terms of race relations. At her employer’s insistence, a domestic servant rides out the storm at the employer’s home. But when she and her husband try to leave, they find themselves the victims of racial profiling. No anthology about crime would be complete without recognizing the opportunities that vast stretches of abandoned homes leave for evildoers. Christine Wiltz’s “Night Taxi” is a Big Easy variant on Michael Mann’s thriller, “Collateral.” Here, a late-night cab ride to a deserted part of town puts the driver in danger resulting from his passenger’s illegal business activities. Similarly, in Greg Herren’s “Annunciation Shotgun,” fiction becomes a reality for a thriller writer when he has to dispose of a body in an abandoned house. This story is probably the closest to a classic noir in the entire collection.Several of the stories that take place before the storm are also quite good. David Fulmer’s “Algiers” is set at the turn of the century, the 19th century, that is. It’s essentially a classic Western tale, with a gunslinger of sorts trying to rid the town of a crooked gambler. Also set in the past is Patty Friedmann’s “Two-Story Brick Houses,” in which a teenaged girl at a 50s prep school learns the hard way about anti-Semitism and the cruelty of her classmates. One of the few stories that have an instantly recognizable setting is “Pony Girl” by Laura Lippman. It’s a tale of Mardi Gras in Treme and how some celebrants should be given a wide berth.As in any collection of this size, “New Orleans Noir” has a clunker or two, and a couple of other stories read more like in-jokes for those already very familiar with the setting. Still, I would rate about two-thirds of the stories from good to excellent. Further, almost all of them have a distinctive New Orleans feel to them. The real clincher here, in my view, is the Katrina stories. I’ve read a good bit of fiction set in New Orleans, but these stories are the first that made me experience what the storm and its aftermath must have felt like. “New Orleans Noir” is a tasty dish of Big Easy crime cooking. New Orleans is a special place with a culture and way of life separate from the rest of America. 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