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What is Noir?
CONTENTS

Roman Noir is French for black
novel. The term was originally used by French critics in the 18th century
to describe British Gothic novels, but by the 1930s it had acquired a new
meaning, and was being used to describe American hardboiled thrillers. The
French applied the term broadly--French literary scholar Jean-Jacques Schleret
states
"For the French historians and critics,
the "roman noir" is the hardboiled genre...the roman noir begins with
the stories of John Carroll Daly, Dashiell Hammett and all the Black Mask
writers of the 20's and the 30's, continues with the second generation (the
paperback writers, Harry Whittington, Gil Brewer, Day Keene, Charles Williams,
Jim Thompson...) to the 90's (Lawrence Block, Elmore Leonard, James Ellroy,
Thomas Harris). "
Most Americans first became aware of the term
"noir" in reference to the film style. Film critics Charles
Higham and Joel Greenberg imported the term from France in 1968, where it had
been applied to certain American movies from the 1940s by the French critic Nino
Frank.
In 1984 author and editor Barry Gifford founded
Black Lizard Books, and started the line with reprints of three Jim Thompson
novels: The Getaway, Pop. 1280, and A Hell of a Woman.
Gifford wrote a preface for these books that introduced Americans to the term noir
as a literary concept. He wrote "The French seem to appreciate best
Thompson's brand of terror. Roman noir, literally "black
novel," is a term reserved especially for novelists such as Thompson,
Cornell Woolrich and David Goodis."
Black Lizard books went on to reprint more
titles by Thompson, as well as long out-of-print classics by David Goodis, Peter
Rabe, Harry Whittington, Dan J. Marlowe, Charles Williams and Lionel
White. This led to a rediscovery and new appreciation of the roman noir
in America.

A definition from Benet's Readers Encyclopedia
of American Literature (HarperCollins, 1991), edited by George
Perkins, Barbara Perkins, and Phillip Leininger:
A type of detective or crime story in which an
air of realism is generated through laconic and often vulgar dialogue, depiction
of cruelty and bloodshed at close range, and use of generally seamy
environments. The genre was perhaps a product of the prohibition era, but it was
also a reaction against the attenuated prettifications of the Conan Doyle school
and an attempt to apply the literary lessons taught by such serious American
novelists as Ernest Hemingway and John Dos Passos. Hard-boiled fiction seems to
have appeared first in a magazine called the BLACK MASK (founded 1919), and its
development was closely associated with the editor, Joseph T. Shaw. Many critics
today feel that the first full-fledged example of the hard-boiled method was
Dashiell Hammett's story "Fly Paper," which appeared in August 1929 in
BLACK MASK. In 1946 Shaw compiled THE HARD-BOILED OMNIBUS: EARLY STORIES FROM
BLACK MASK, including stories by Hammett, Raymond Chandler, Raoul Whitfield, and
George Harmon Coxe. To these names should be added W.R. Burnett, Jonathan
Latimer, and Peter Cheyney. Later, hard-boiled fiction in a particularly violent
phase became hugely popular in the Mike Hammer novels of Mickey Spillane.
A bit of a comment from William L. DeAndrea's Encyclopedia
Mysteriosa (Prentice Hall, 1994).
The term hard-boiled has been around since WWI,
during which (according to mystery novelist Donald E. Westlake) it was an
adjective applied to the tough drill sergeants who made men out of boys and
soldiers out of civilians. When the war ended, those soldiers turned back into
civilians, popularizing the term hard- boiled into something referring to any
person, or action, that reflected a tough, unsentimental point of view. The
general consensus seems to be that defining "hardboiled" is like
defining "jazz." There are some trademarks that a lot of the stories
will have (tough guys, tough dames, slang, guns, booze, cigarettes, violence,
corruption, alienation and sociopathic behavior), but you needn't have any or
all of these to be hardboiled. Many hardboiled stories don't have detectives
(e.g., Jim Thompson and James M. Cain). Some writers you wouldn't think of as
fitting into the genre did write in a hardboiled way, and some writers who are
usually classified as hardboiled didn't. Mario Taboada mentioned Ernest
Hemingway, John Dos Passos and Geoffrey Household as three writers who are
hardboiled, but never get classified with pulp writers..

James Gunnison, of adventurehouse.com
writes: Pulp magazines became popular just before the first world war.
Originally began as "Dime Novels," another cheap publication focused
mostly toward young boys and girls. Frank A. Munsey turned his dime novel
publication - GOLDEN ARGOSY into the new form of "Pulp" magazine. This
change was a larger page count, full color covers and a focus on an older
audience. The paper used was inexpensive newsprint or pulp paper, hence the
term. Street & Smith created their first pulp when they re-titled
their Dime Novel - Nick Carter Weekly into DETECTIVE STORY MAGAZINE.
Between World War I and World War II, the pulps became one of the dominate
forces in popular culture. Magazines and writers came and went by the score.
Some key magazines that came into being included: (they are not in any
particular order)
-
Black Mask (detective magazine later known as the home of Hardboiled
fiction)
-
Weird Tales (horror, fantasy and some science fiction, later known as the
home of Conan the Barbarian)
-
Detective Story Magazine (the first detective fiction magazine began in
1915)
-
Amazing Stories (credited as being the first science fiction magazine)
-
The Shadow (credited as being the first and one of
the most important "Hero" pulp characters)
-
The Phantom Detective (the second detective character pulp, following
closely on the heals of The Shadow and the longest running hero pulp
character 1931 - 1953)
-
Ranch Romances (one of the longest running pulp publications - beginning
in 1924 and ceasing publication in 1964)
-
Argosy (also known as Argosy All-Story and even All-Story, although
All-Story was a separate magazine that combined with Argosy. These magazines
brought us Tarzan, Zorro, Dr. Kildare and much, much more.)
-
Doc Savage (the second of hero pulps published by Street & Smith)
-
The Spider (the first hero pulp tried by what would be the largest
publisher of pulps - Popular Publications)
-
G-8 and His Battle Aces (the second hero created by Popular Publications -
the first as an W.W.I spy and aviator)
-
Dime Detective Magazine (Popular Publications first true hit with the
public and credited with saving the fledgling publishing house)
-
Dime Mystery Magazine (the first "weird menace" magazine that
started a trend that most every publisher except for Street & Smith
tried. The magazine centered around horror and what could be called sadistic
covers and stories - highly collected today for their ghoulish and garish
covers)
-
Underworld (credited as the first "gangster" pulp. Later
published by the king of gangster pulp publishers Harold
Hersey who also gave the public Racketeer Stories, Gangster Stories,
Gangland Stories, Greater Gangster Stories, Speakeasy Stories, Mobs,
Dragnet, Detective Dragnet, Courtroom Stories and more)
-
Western Story Magazine (credited as the first dime novel to pulp western
stories fiction weekly)
As paperbacks and comics took over each end of the spectrum that the pulps
served, the industry saw a decline. Yet if you could define the
"heyday" of the pulps, you would have to proclaim the 30's as the
"pulp 30's." The majority of the magazines published found their way
onto the newsstands and into millions of homes during that turbulent time. From
depression through the start of World War II, the pulps helped millions escape
from their troubled lives.
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