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Prison Noir
Paperback
Series: Akashic Noir
Mystery & ThrillerFiction Anthologies
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ISBN13: 9781617752391
Publisher: Akashic Books, Ltd.
Published: Sep 2 2014
Pages: 260
Weight: 0.55
Height: 0.80 Width: 5.20 Depth: 8.30
Language: English
Reading the fifteen stories in Prison Noir is a sobering experience. Unlike most claimants to that much-abused term, this is the real thing . . . The power of this collection comes from the voices of these authors, voices suffused with rage (3 Block From Hell, by Bryan K. Palmer), despair (There Will Be Seeds for Next Year, by Zeke Caligiuri), and madness (Shuffle, by Christopher M. Stephen). --New York Times Book Review
These are stories that resonate with authenticity and verve and pain and truth. Any collection edited by the National Book Award-winning author Oates (them; Blonde, Rape: A Love Story) deserves attention, but the contributors are deft and confident, and great writers without her imprimatur. . . . Authentic, powerful, visceral, moving, great writing. --Library Journal, Starred Review
Akashic Books continues its groundbreaking series of original noir anthologies, launched in 2004 with Brooklyn Noir. Each story is set in a distinct neighborhood or location within the city of the book.
Brand-new stories by: Christopher M. Stephen, Sin Soracco, Scott Gutches, Eric Boyd, Ali F. Sareini, Stephen Geez, B.M. Dolarman, Zeke Caligiuri, Marco Verdoni, Kenneth R. Brydon, Linda Michelle Marquardt, Andre White, Timothy Pauley, Bryan K. Palmer, and William Van Poyck.
From the introduction by Joyce Carol Oates:
The blood jet is poetry--these words of Sylvia Plath have reverberated through my experience of reading and rereading the fifteen stories of Prison Noir. In this case the blood jet is prose, though sometimes poetic prose; if we go a little deeper, in some chilling instances, the blood jet is exactly that: blood.
For these stories are not literary exercises--though some are exceptionally well-written by any formalist standards, and artfully structured as narratives; with a single exception the stories are stark, somber, emotionally driven cris de coeur . . . We may feel revulsion for some of the acts described in these stories, but we are likely to feel a startled, even stunned sympathy for the perpetrators. And in several stories, including even murderers' confessions, we are likely to feel a profound and unsettling identification . . .
There is no need for fantasy-horror in a place in which matter-of-fact horror is the norm, and mental illness is epidemic. Vividly rendered realism is the predominant literary strategy, as in a riveting documentary film.
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