New Jersey Noir [NOOK Book]

Overview


"Oates's introduction to Akashic's noir volume dedicated to the Garden State, with its evocative definition of the genre, is alone worth the price of the book . . . Poems by C.K. Williams, Paul Muldoon, and others--plus photos by Gerald Slota--enhance this distinguished entry."
--Publishers Weekly

"It was inevitable that this fine noir series would reach New Jersey. It took longer than some readers might have wanted, but, oh boy, was it worth...
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New Jersey Noir

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Overview


"Oates's introduction to Akashic's noir volume dedicated to the Garden State, with its evocative definition of the genre, is alone worth the price of the book . . . Poems by C.K. Williams, Paul Muldoon, and others--plus photos by Gerald Slota--enhance this distinguished entry."
--Publishers Weekly

"It was inevitable that this fine noir series would reach New Jersey. It took longer than some readers might have wanted, but, oh boy, was it worth the wait . . . More than most of the entries in the series, this volume is about mood and atmosphere more than it is about plot and character . . . It should go without saying that regular readers of the noir series will seek this one out, but beyond that, the book also serves as a very good introduction to what is a popular but often misunderstood term and style of writing."
--Booklist, Starred Review

"A lovingly collected assortment of tales and poems that range from the disturbing to the darkly humorous."
--Shelf Awareness

Featuring brand-new stories (and a few poems) by: Joyce Carol Oates, Jonathan Safran Foer, Robert Pinsky, Edmund White & Michael Carroll, Richard Burgin, Paul Muldoon, Sheila Kohler, C.K. Williams, Gerald Stern, Lou Manfredo, S.A. Solomon, Bradford Morrow, Jonathan Santlofer, Jeffrey Ford, S.J. Rozan, Barry N. Malzberg & Bill Pronzini, Hirsh Sawhney, and Robert Arellano.

From the introduction by Joyce Carol Oates:

". . . The most civilized and 'decent' among us find that we are complicit with the most brutal murderers. We enter into literally unspeakable alliances--of which we dare not speak except through the obliquities and indirections of fiction, poetry, and visual art of the sort gathered here in New Jersey Noir."
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Editorial Reviews

Publishers Weekly
Oates’s introduction to Akashic’s noir volume dedicated to the Garden State, with its evocative definition of the genre, is alone worth the price of the book. While few of the 19 selections qualify as outstanding, highlights include Lou Manfredo’s “Soul Anatomy,” in which a politically connected rookie cop is involved in a fatal shooting in Camden; S.J. Rozan’s “New Day Newark,” in which an elderly woman takes a stand against two drug-dealing gangs; and Jonathan Santlofer’s “Lola,” in which a struggling Hoboken artist finds his muse. Two stories reflect historical events. In Bradford Morrow’s “The Enigma of Grover’s Mill,” Orson Welles’s infamous broadcast of The War of the Worlds changes the life of one local family, while in Barry N. Malzberg and Bill Pronzini’s “Meadowlands Spike,” a man’s confession details the end of Jimmy Hoffa. Poems by C.K. Williams, Paul Muldoon, and others—plus photos by Gerald Slota—enhance this distinguished entry. (Nov.)
From the Publisher

"Oates's introduction to Akashic's noir volume dedicated to the Garden State, with its evocative definition of the genre, is alone worth the price of the book . . . Poems by C.K. Williams, Paul Muldoon, and others--plus photos by Gerald Slota--enhance this distinguished entry."
--Publishers Weekly

"It was inevitable that this fine noir series would reach New Jersey. It took longer than some readers might have wanted, but, oh boy, was it worth the wait . . . More than most of the entries in the series, this volume is about mood and atmosphere more than it is about plot and character . . . It should go without saying that regular readers of the noir series will seek this one out, but beyond that, the book also serves as a very good introduction to what is a popular but often misunderstood term and style of writing."
--Booklist, Starred Review

"A lovingly collected assortment of tales and poems that range from the disturbing to the darkly humorous."
--Shelf Awareness

Kirkus Reviews
A tour through the Garden State is no bed of roses in this bleak collection of stories and poems. "New Jersey is a place of secrets, complex, rotten with tangled branching vines and rivers of ancient, heaving blood," notes a hit man in Barry N. Malzberg and Bill Pronzini's "Meadowlands Spike." It's also a festival of urban blight, lovingly documented by S.A. Solomon in "Live for Today," Lou Manfredo in "Soul Anatomy," S.J. Rozan in "New Day Newark" and Hirsh Sawhney in "A Bag for Nicholas." Rural Jersey can be pretty spooky, as a young orphan discovers in Bradford Morrow's "The Enigma of Grover's Mill." And it has its own special drug culture, as a Cuban immigrant finds out in Robert Arellano's "Kettle Run." Gentrification is no defense against the state's essential corruption, as an artist entranced by a trophy wife from the upscale part of Hoboken soon learns in Jonathan Santlofer's "Lola." And the shore is filled with bad memories and even worse people in Richard Burgin's "Atlantis." Even the fresh air of the Kittatinny Mountains in the state's northwest corner is tainted by memories of his first family for Reno, who's trying to make a new start with a young wife and her children in (editor) Oates' "Run Kiss Daddy." Only cyberspace offers any relief; in Jonathan Safran Foer's lively "Too Near Real," a disgraced professor tours the world on Google Maps. Anything to get out of New Jersey. With barely a hint of redemption to light the darkness, this volume exacts an even higher toll than the turnpike.
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Product Details

  • ISBN-13: 9781617750816
  • Publisher: Akashic Books
  • Publication date: 11/1/2011
  • Series: Akashic Noir Series
  • Sold by: Barnes & Noble
  • Format: eBook
  • Pages: 290
  • Sales rank: 911,907
  • File size: 660 KB

Meet the Author

Joyce Carol Oates

Joyce Carol Oates is the author of a number of noir works of fiction including Rape: A Love Story, Beasts, The Female of the Species, The Museum of Dr. Moses, and, most recently, Give Me Your Heart. She has edited The Oxford Book of American Short Stories, The Ecco Anthology of Contemporary American Short Fiction, and The Best American Mystery Stories. She has been a resident of Princeton, New Jersey, since 1978.

Biography

Joyce Carol Oates is one of the most influential and important storytellers in the literary world. She has often used her supreme narrative skills to examine the dark side of middle-class Americana, and her oeuvre includes some of the finest examples of modern essays, plays, criticism, and fiction from a vast array of genres. She is still publishing with a speed and consistency of quality nearly unheard of in contemporary literature.

A born storyteller, Oates has been spinning yarns since she was a little girl too young to even write. Instead, she would communicate her stories through drawings and paintings. When she received her very first typewriter at the age of 14, her creative floodgates opened with a torrent. She says she wrote "novel after novel" throughout high school and college -- a prolificacy that has continued unabated throughout a professional career that began in 1963 with her first short story collection, By the North Gate.

Oates's breakthrough occurred in 1969 with the publication of them, a National Book Award winner that established her as a force to be reckoned with. Since that auspicious beginning, she has been nominated for nearly every major literary honor -- from the PEN/Faulkner Award to the Pulitzer Prize -- and her fiction turns up with regularity on The New York Times annual list of Notable Books.

On average Oates publishes at least one novel, essay anthology, or story collection a year (during the 1970s, she produced at the astonishing rate of two or three books a year!). And although her fiction often exposes the darker side of America's brightest facades – familial unrest, sexual violence, the death of innocence – she has also made successful forays into Gothic novels, suspense, fantasy, and children's literature. As novelist John Barth once remarked, "Joyce Carol Oates writes all over the aesthetical map."

Where she finds the time for it no one knows, but Oates manages to combine her ambitious, prolific writing career with teaching: first at the University of Windsor in Canada, then (from 1978 on), at Princeton University in New Jersey. For all her success and fame, her daily routine of teaching and writing has changed very little, and her commitment to literature as a transcendent human activity remains steadfast.

Good To Know

When not writing, Oates likes to take in a fight. "Boxing is a celebration of the lost religion of masculinity all the more trenchant for its being lost," she says in highbrow fashion of the lowbrow sport.

Oates's Black Water, which is a thinly veiled account of Ted Kennedy's car crash in Chappaquiddick, was produced as an opera in the 1990s.

In 2001, Oprah Winfrey selected Oates's novel We Were the Mulvaneys for her Book Club.

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    1. Also Known As:
      Rosamond Smith
    2. Hometown:
      Princeton, New Jersey
    1. Date of Birth:
      June 16, 1938
    2. Place of Birth:
      Lockport, New York
    1. Education:
      B.A., Syracuse University, 1960; M.A., University of Wisconsin, 1961

Read an Excerpt

New Jersey Noir


AKASHIC BOOKS

Copyright © 2011 The Ontario Review Inc.
All right reserved.

ISBN: 978-1-61775-026-7


Introduction

How Blackly Lovely: Noir in New Jersey

During the past several decades, "crime"—as historical fact, as literary subject, as theme and variation—seems to have acquired a mythopoetic status in our American culture. To write about crime is to focus upon American life in extremis: as if distilled, pure. The complex and overlapping worlds of criminal behavior and law enforcement, highly publicized criminal trials, the dissolving of the putative barrier between "business" and "crime"—a subculture of intense interest in the phenomenon of serial killers and a new awareness of "victims' rights"—these have become significant culture issues; as in a novel by Balzac or Dostoyevsky, in which a dense swath of society is minutely examined, the anatomizing of both high-profile crimes and more ordinary, even quotidian crimes has become a way of exposing the American soul. The considerable success of Akashic Books' ambitious Noir Series is both a testament to this American preoccupation with crime as a way of decoding American life and a symptom of the preoccupation.

Noir isn't invariably about crime, nor is the subject of crime invariably a noir subject, but the two are closely bound together, as in this collection of original, highly inventive, and disturbing noir stories, poetry, and art set in the "Garden State"—a title meant to be taken literally (for New Jersey is beautifully rural, hilly, and even pastoral—once you are off the Turnpike and out of range of those powerfully pungent smells of industry), though many inhabitants of the state would guess that it's meant as a cruel irony.

Noir isn't subject matter so much as a sensibility, a tone, an atmosphere. Noir is both metaphor and the actual—raw, ravishing—thing. Noir is the essence of mystery: that which cannot be "solved." Most of all, noir is a place—"a certain slant of light"—in which a betrayal will occur.

Noir is the consequence of an individual's expectations, hopes, or intentions confronted by the betrayal of another, often an intimate. Noir is usually—though not inevitably—sexual betrayal: death is a secondary matter, set beside the terrible betrayal of trust.

Quintessential noir centers around a man—(yes, the genre has been male-oriented, by tradition)—whose desire for a beautiful woman has blinded him to her true, manipulative, evil self: the (beautiful) female as evil, like the primeval Eve. (Unbeautiful women can be evil too, though men are not so likely to be seduced by them, hence betrayed.) But the noir betrayal can range farther and deeper and can encompass, in more ambitious works of art, a fundamental betrayal of the spirit—innocence devastated by the experience of social injustice or political corruption.

Which is why works of enduring significance—Aeschylus's Orestia, Shakespeare's Macbeth and King Lear, Dostoyevsky's Crime and Punishment and The Brothers Karamazov, to name just a few—owe their genesis not simply to crimes but to unspeakable, hideous, taboo crimes: "sins" against humanity.

Noir as the primary human condition: the betrayal of one's kind.

Our indigenous and most glamorous American noir is likely to be identified with the Los Angeles of James M. Cain (The Postman Always Rings Twice, Double Indemnity), Raymond Chandler (The Big Sleep, Farewell, My Lovely), Dashiell Hammett (The Maltese Falcon, Red Harvest)—that is, the Los Angeles of the 1930s and '40s. These are "classic" noir works of fiction in which the femme fatale is a locus of evil, as she is the prime mover of plot: without the primeval Eve, there is no mystery, therefore no story. But they are classic noir works in which the (male) voice of the private detective, and his distinct, post-Hemingway sensibility, are raised to the level of art, not merely pulp entertainment. The private detective as a variant of a crusading knight—the "incorruptible" (male) consciousness seeking to make sense of a labyrinth of lies, double crosses, betrayals, murders. Though in life private detectives are virtually never involved with homicides or crimes of great significance, in noir literature and film the private detective is a successful competitor with the police homicide detective, and is not bound by the officer's putative code of behavior.

The private detective is both cynical and, oddly, innocent—open to being deceived, at least temporarily. That the private detective is open to being betrayed makes him our alter ego in the struggle of good-and-evil—the struggle of good to know evil, to name and conquer it.

These classic noir titles, made into equally classic films, have exerted a powerful influence upon American successors well into the twenty-first century—James Ellroy, Michael Connelly, Dennis Lehane, Tom Cook, Patricia Cornwell, and Laura Lippman, among numerous others. These are "crime" writers but the focus of their concern is moral: the knowing, naming, and conquering of evil. Where noir falls beyond the compass of the questing detective as in, for instance, the sequence of graphically violent, neo-biblical allegories of the West written by Cormac McCarthy (from Blood Meridian to No Country for Old Men and The Road), there is only the knowing and naming of evil—there is no conquering of evil. The human hope is for mere survival.

Noir has flourished in films, particularly in the wake of the influence of displaced European filmmakers (like Fritz Lang) after World War II and the Holocaust—giving to even conventional Hollywood films like Henry Hathaway's Niagara (1953), with its final, eerie, starkly German Expressionist scene of the killing of the unfaithful Rose (Marilyn Monroe in her breakthrough screen role) by her vengeful husband (Joseph Cotten as a traumatized and "impotent" war veteran), a mythopoetic gravity. Classic noir films—from Tod Browning's Freaks (1932) to Alfred Hitchcock's Vertigo (1958)—are too many to list; outstanding neo-noir films include Roman Polanski's Chinatown (1974), Martin Scorsese's Taxi Driver (1976), Curtis Hanson's L.A. Confidential (1997), and the more recent, innovative Memento (2001) by Christopher Nolan. In television, there have been relatively few noir standouts—the Kafkaesque The Fugitive (1963–67), the highly stylized Miami Vice (1984–89) with its pounding, erotic pre-MTV music track, and the more gritty police procedurals Hill Street Blues (1981–87), NYPD Blue (1993–2005), and Homicide: Life on the Street (1993–99). Of the two television series generally named as the greatest achievements in the history of the medium, both are brilliantly original noir dramas—The Sopranos (1999–2007) and The Wire (2002–08). Famously set in New Jersey, suggested in the opening credits as an appendage—that is, a "suburb"—of the more powerful crime families of New York City, The Sopranos is based upon creator David Chase's inspired adaptation of New Jersey Mafioso history including the careers of the Newark "godfather" Ruggiero Boiardo (1890–1984) and Abner Zwillman, "The Al Capone of New Jersey" (1904–59). (Zwillman was the most famous Jewish crime boss of his era; as C.K. Williams notes in "Newark Black": Our gangster hero, Longie Zwillman, who had a black car.) It was Chase's brilliantly original interpretation of the Mafioso legend—the operatic gravitas of Francis Ford Coppolla's Godfather epic rendered in diminished, often domestic images—that made The Sopranos like no other crime saga in film or TV history. So thoroughly has the iconic thickened figure of Tony Soprano saturated American popular culture in the early years of the twenty-first century, it's as if the image of "New Jersey" itself has been transmogrified into a set—a backdrop for the ongoing drama of organized crime in collusion with a corrupt political leadership. In place of the archetypal elder godfather Vito Corleone of The Godfather, played with dignity by Marlon Brando, is the distinctly less elevated but very New Jersey Tony Soprano, played by James Gandolfini.

(Among Jersey settings memorably used in The Sopranos is the teasingly protracted, mordantly funny sequence titled "The Pine Barrens," in which Paulie Walnuts and Christopher Moltisanti try gamely to kill a Rasputin-like member of the Russian mob in the wilderness of South Jersey from which they are barely rescued after becoming hopelessly lost. The subtext of the episode seems to be that "organized crime" is an urban phenomenon: lost in the wilderness, if only the relatively tame wilderness of the Pine Barrens, the blustering Mafioso are helpless as children.)

More recently, Martin Scorsese's critically acclaimed Boardwalk Empire (2010–11), set in Prohibition-era Atlantic City, draws upon Boardwalk Empire: The Birth, High Times, and Corruption of Atlantic City by the New Jersey judge and historian Nelson Johnson; the HBO series is a fictionalization of the flamboyant life and career of the entrepreneurial Enoch "Nucky" Thompson, a Prohibition bootlegger who hosted what is said to have been the first national organized crime syndicate meeting, in 1929, with Al Capone and other mob bosses, photographed companionably together on the Atlantic City boardwalk.

The Sopranos and Boardwalk Empire are noir romances. Boardwalk Empire in particular is rich in 1920s period detail—costumes, automobiles, hairstyles, vernacular speech; unlike Tony Soprano with his loose-fitting sport shirts and careless grooming, Nucky Thompson is the gangster-politician as dandy and visionary. Though frequently and graphically violent, The Sopranos and Boardwalk Empire are populated with characters who are domestic and familial; their most intense concerns are with human relations, not "business"—or not exclusively "business." (It's a measure of the romance of The Sopranos that the mob boss Tony Soprano is so unfailingly solicitous of his wife Carmella—even when they argue, Tony doesn't beat her. And his immense patience for his excruciatingly self-absorbed children is equally impressive.) Like the serio-comic mystery series by Janet Evanovich, featuring an unlikely female bounty hunter in Trenton, New Jersey, and particularly popular with women readers, these HBO dramas appeal to an audience for whom the noir quest—the knowing, naming, and conquering of evil—is linked to colorful storytelling. Not even Martin Scorsese would wish to cross the line into the annals of real-life, unorganized New Jersey crime at its most extreme: the infamous rape and murder of seven-year-old Megan Kanka, for instance, in Hamilton, New Jersey, in 1994, by the serial sex offender Jesse Timmendequas (subsequently incarcerated in New Jersey State Prison); the five or more murders committed by the psychopath Richard Biegenwald, of Monmouth County, between 1958 and 1983 (Biegenwald died in New Jersey State Prison in 2008); the slaughter of his family in Westfield, in 1971, by the accountant John List (who died in prison custody in 2008 at the age of eighty-two). Noir is a highly selective art—and such brute ugliness isn't redeemable by art.

In this volume, no work of fiction or poetry directly evokes such crude, hellish crimes, but the surreal-nightmare family snapshots of Gerald Slota's art at the start of each section comes closest to evoking the "pure products of America" (to use William Carlos Williams's striking phrase) from which these terrible crimes and criminals might spring.

New Jersey!—"The Garden State"—our fifth smallest state, with only Hawaii, Connecticut, Delaware, and Rhode Island below it in land mass, yet it's the state containing the "most murderous" American city (Camden) and the state generally conceded to be, square mile per square mile, the most densely politically corrupt. (Louisiana has been, by tradition, the most corrupt of all U.S. states, but in recent years Illinois has been closing the lead.) Atlantic City, Jersey City, Hackensack, Hoboken, Secaucus, Newark, Camden (three recent Camden mayors have been jailed for corruption)—in these cities as in others corruption isn't aberrant but rather a way of (political) life. (Why? The answer seems to be that New Jersey is a maze of overlapping and competing municipalities—556, to California's 480—that bring with it rich opportunities for political entrenchment, deal-making, and outright thievery.)

New Jersey is among the wealthiest of states, with a per capita income that was the highest in the United States in 2000; judged by the desolation of its inner cities, it is simultaneously one of the poorest. New Jersey is a microcosm of the profoundly unequal distribution of wealth in the United States generally—within an hour one can drive from the wealthy exurbia of Far Hills and Saddle River to the dismal poverty of inner-city Newark; from the mansions of Princeton to the desperate poverty of inner-city Camden. Within an hour's radius of Princeton University, the most heavily endowed (per student) university in the United States, with an endowment in excess of $25 billion, are inner-city schools in ever-desperate need of funds. Sitting between the great cities of New York and Philadelphia, New Jersey has been by tradition a heavily "organized" Mafia state, as it was at one time a northern outpost of the Ku Klux Klan, with a concentration of members in Trenton, Camden, Monmouth County, and South Jersey. (Officially, the Jersey Klan was disbanded in 1944, but a writer friend of mine, now living in Princeton, recalls her Jewish father being harassed by the Klan in the 1960s, when a cross was burned on the front lawn of his family home in Long Branch, on the Jersey shore.)

New Jersey has had a rich history of sensational crimes. Still unsolved are the Hall-Mills murders of 1922: Reverend Edward Hall was a charismatic Episcopal priest in New Brunswick, found dead with his married mistress Eleanor Mills, a singer in the church choir; Hall's wife and two brothers were tried for the murders but acquitted, in a trial that attracted rabid national media interest. Then there is the Lindberg kidnapping-murder of 1932—The biggest story since the Resurrection, as H.L. Mencken dryly remarked. After a manhunt and a badly botched police investigation, the illegal German immigrant and ex-convict Bruno Richard Hauptmann was tried, convicted, and executed for having kidnapped and murdered the twenty-month-old Lindberg baby, taken from his crib in the East Amwell country house of the Lindbergs, near Hopewell. (Though Hauptmann was found guilty, the case remains controversial among aficionados of high-profile crime.) In more recent years the "devoutly religious, family annihilator" John List accrued a high degree of notoriety by eluding police for eighteen years after murdering his mother, wife, and three children in 1971; and the charismatic Cherry Hill rabbi Fred Neulander was a tabloid sensation for having commissioned a hit on his wife Carol in 1994. (Neulander was found guilty of conspiring to murder his wife, following the testimony of the hired assassin.) But most New Jersey crime falls far below the radar of the tabloids, as most New Jersey citizens will never merit the hysterical attention accorded a resident celebrity like Charles Lindberg.

Of the contributors to New Jersey Noir, only Barry N. Malzberg and Bill Pronzini take on a "sensational" subject—the assassination of teamster president Jimmy Hoffa, who disappeared from public view in July 1975 and was declared officially dead seven years later. In Malzberg and Pronzini's first-person confession, "Meadowlands Spike," we learn that—possibly!—the late, not-much-lamented teamster boss has found a resting place in just the right corner of the Garden State.

(Continues...)



Excerpted from New Jersey Noir Copyright © 2011 by The Ontario Review Inc.. Excerpted by permission of AKASHIC BOOKS. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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Table of Contents

Contents

PART I: INNER-CITY NEW JERSEY....................27
S.A. Solomon University Heights (Newark) Live for Today....................40
Lou Manfredo Whitman Park (Camden) Soul Anatomy....................61
S.J. Rozan Central Ward (Newark) New Day Newark....................76
PART II: ROMANCE & NOSTALGIA....................81
Jonathan Santlofer Hoboken Lola....................9
2 Bradford Morrow Grover's Mill The Enigma of Grover's Mill....................125
Gerald sterN Mickle Street (Camden) Broken Glass....................126
Sheila Kohler Montclair Wunderlich....................139
Richard Burgin Atlantic City Atlantis....................161
PART III: COMMERCE & RETRIBUTION....................165
Hirsh Sawhney Jersey City A Bag for Nicholas....................180
Jeffrey Ford Dividing Creek Glass Eels....................191
Barry N. Malzberg & Bill Pronzini Rutherford Meadowlands Spike....................197
Robert Arellano Cherry Hill Kettle Run....................217
PART IV: GARDEN STATE UNDERGROUND....................221
Jonathan Safran Foer Princeton Too Near Real....................235
Edmund White & Michael Carroll Asbury Park Excavation....................255
Robert Pinsky Long Branch Long Branch Underground....................257
Joyce Carol Oates Kittatinny Mountains Run Kiss Daddy....................276
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Customer Reviews

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Sort by: Showing all of 3 Customer Reviews
  • Posted October 21, 2011

    more from this reviewer

    You won't be disappointed!

    This is a selection of brand new short stories and poems by some of our favorite authors. With over 50 books published in the "Noir" series, it was nice to find that the newest is set in New Jersey.

    Being from New Jersey, of course I'm partial to our state and NEW JERSEY NOIR does not disappoint. Forget the wonderful farms in south Jersey and the rolling hills, lakes and mountains in the north, this book is the turnpike of New Jersey; a seamier and scarier vision.

    I expected that more of the authors would actually be from New Jersey, but with stories from the likes of S.J. Rozan, Lou Manfredo, Robert Pinsky and Alicia Ostricker, crossing state lines was not a problem. Not a fan of poetry, but having grown up in Newark, I found myself calling friends to read parts of C.K. Williams' thought provoking and poignant NEWARK BLACK: 1940 - 1954.

    Thoroughly enjoyable, NEW JERSEY NOIR is a wonderful compilation; you can't miss with this one!

    1 out of 1 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted November 23, 2013

    Sonic high school

    Wait one second. Sonic said to knuckles. We were framed! Then before knuckles could answer, a yell came up from the distance. Cream! Hey that sounds like tails voice! Lets go check it out. Sonic said. They rushed over to tails' house. Then unexpectedly tails charged sonic. WHERE DID YOU TAKE CREAM? Tails shouted at sonic while charging him. Before tails could throw a punch at sonic knuckles held him back. Tails calm down. What happened? Sonic asked tails. You kidnapped cream! He said. No i didnt sonic replied. Then why did the car that kidnapped cream have your liscence plate on it? Tails replied. Wait. My car was stolen? Sonic asked. NOOOOOOOOOOOOOOOOOOOOOOOOOOO!!!!!!!! Weve been framed knuckles exclaimed. By who? Who knows where we put our keys? The girls shadow silver rouge blaze nova and glow. Lets take a break said sonic. This is too boring. Lets meet up here at 3:00 P.M. Sound like a plan? Sure replied knuckles and tails.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted November 23, 2013

    Tails

    GREAT STORY I LOVE IT!!!!

    Was this review helpful? Yes  No   Report this review
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