"You want real? Leave the white collar at home and come to Brooklyn. The stories in this astonishingly diverse collection will pull you out onto the street, maybe even rough you up a little. And you'll love it. Edgy, sly, and at times downright eye-popping, Brooklyn Noir takes you on an ultra-cool walking tour of NYC's hippest borough."
Tim Cockey, author of Backstabber
"From the sentimental to the hard-edged, a collection as varied and spirited as the characters and neighborhoods it celebrates."
Thomas H. Cook, author of The Chatham School Affair and Breakheart Hill
"For fans of noir, for fans of Brooklyn, for fans of just plain old great writingthis is the book for you, or, rather, I should say, you'se."
Jonathan Ames, author of What’s Not to Love? and The Extra Man
Praise for McLoughlin's Heart of the Old Country:
"...cracks with the authenticity that only a writer with a perfect ear can accomplish."
Bob Leuci, author of Blaze
"McLoughlin writes about South Brooklyn with a fidelity to people and place reminiscent of James T. Farrell's Studs Lonigan and George Orwell's Down and Out in Paris and London."
Sidney Offit, author of Memoir of the Bookie’s Son
In McLoughlin's entertaining if uneven anthology of 19 brand new hard-boiled and twisted tales, each set in a different Brooklyn neighborhood, the best way to get to know New York City's most diverse borough is either to be dead or to cause someone else to assume that state in as grisly a manner as possible. This might be achieved via the old school method-for instance, with a nickel-plated revolver and a heart full of malice, as in "The Book Signing," Pete Hamill's lyrical opener about a Park Slope "ex-pat" writer who revisits his now-gentrified neighborhood only to step inadvertently into a past he'd long thought buried and forgotten. Or death might arrive in a new-fangled mode, with a scalpel and an Internet connection, as in Arthur Nersesian's compelling "Hunter/ Trapper," in which a Brooklyn Heights Web stalker makes the serious mistake of failing to secure his stalkee securely before ravishment. If a few weaker entries exploit the borough as an arbitrary setting for standard cops-and-robbers fare, the best stories concern people in the present coming to terms with the past. In McLoughlin's evocative "When All This Was Bay Ridge," a Sunset Park cop's son struggles with his dead father's secret history, while Maggie Estep's "Triple Harrison," depicting a squatter who tends a broken-down race horse in the abandoned wastes of East New York, takes the prize as the book's weirdest tale. (July) Forecast: Blurbs from the likes of Laura Lippman and Tim Cockey will help call attention to the book, while a contribution by Irish author Ken Bruen will have his fans wondering how Galway is connected to Brooklyn. Copyright 2004 Reed Business Information.
Brooklyn continues to get no respect in this collection of 19 stories, most the work of unheralded hands, all previously unpublished for good reason. The best known of the contributors, Pete Hamill, falls flat with the tale of an author returning to the old neighborhood to confront the "goil" he left behind in "The Book Signing." Norman Kelley wanders the gritty side of the borough in the gender-bending "The Code." Pearl Abraham explains Hasidic intricacies in "Hasidic Noir." Arthur Nersesian resolves an Internet stalking in a brownstone house of horror in "Hunter/Trapper." The saddest story, Ellen Miller's "Practicing," focuses on jumping off Canarsie Pier, climbing a bridge, and what amounts to child endangerment. Several cop partners do each other in, none of the variations noteworthy except for their detailed knowledge of Brooklyn street names-except perhaps for editor McLoughlin's final twisted coup de grace in "When All This Was Bay Ridge." The most original story is "Fade to . . . Brooklyn," Ken Bruen's brutal tale of an idealized tourist in Galway. Most readers will turn with relief from these unappealing looks at Brooklyn byways and stereotypes back to Manhattan or Cedar Rapids.