At the New Yorker, Christine Smallwood looks at Dorothy B. Hughes’ “forgotten Noir,” The Expendable Man (1963). “The creation of difference itself was her subject. Her books were widely praised for their atmospheres of fear and suspense, and criticized when they reached, as the New York Times said […]
Some people like their hardboiled noir fiction in cinematic form. Some people prefer text only please–to enjoy, perhaps the racier metaphors and descriptions in The Maltese Falcon, say, over the screen adaptations. I like both. But what if I told you that you could get noir illustrated in […]
Victoria Squid sings the theme song for the new noir novel, Love Is A Grift, written by friend of the Gutter Graham Wynd.
Angelica Jade Bastién shares 33 neo-noirs worth seeing and talks a bit about the history of noir and neo-noirs films.
The Gutter’s own Keith Allison writes about Mickey Spillane, Mike Hammer and Spillane’s I, The Jury at Cocktails and Capers! “In I, the Jury, Mike Danger became Mike Hammer, a war veteran and ex-cop (like every detective of the era) with a chip on his shoulder and a […]
At the Paris Review, Megan Abbott writes about Dorothy B. Hughes and American noir. “Reading Dorothy B. Hughes’s novel In a Lonely Place for the first time is like finding the long-lost final piece to an enormous puzzle. Within its Spanish bungalows, its eucalyptus-scented shadows, you feel as […]
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The Cultural Gutter 