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Название книги: Boston Noir [редактор Деннис Лихэйн]
Автор(ы): Лихэйн Деннис
Жанр: Современная проза
Адрес книги: http://www.6lib.ru/books/Boston-Noir-_redaktor-dennis-liheyn_-193998.html
BOSTON NOIR
**
INTRODUCTION.TRIBALISM & KNUCKLEHEADS
No matter what you may hear to the contrary, noir is not a genre defined by fedoras, silver streams of cigarette smoke, vampy femme fatales, huge whitewall tires, mournful jazz playing in the gloomy background, and lots and lots of shadows. Nor is it simply skuzzy people doing skuzzy things to other skuzzy people, a kind of trailer park opera. One could argue that what it is, however, is working-class tragedy. Aristotle, when he defined tragedy, mandated that a tragic hero must fall from a great height, but Aristotle never imagined the kind of roadside motels James M. Cain could conjure up or saw the smokestacks rise in the Northern English industrial hell of Ted Lewis’s Get Carter. In Shakespeare, tragic heroes fall from mountaintops; in noir, they fall from curbs. Tragic heroes die in a blaze of their own ill-advised conflation. Noir heroes die clutching fences or crumpled in trunks or, in the case of
Название книги: Boston Noir [редактор Деннис Лихэйн]
Автор(ы): Лихэйн Деннис
Жанр: Современная проза
Адрес книги: http://www.6lib.ru/books/Boston-Noir-_redaktor-dennis-liheyn_-193998.html
BOSTON NOIR
**
INTRODUCTION.TRIBALISM & KNUCKLEHEADS
No matter what you may hear to the contrary, noir is not a genre defined by fedoras, silver streams of cigarette smoke, vampy femme fatales, huge whitewall tires, mournful jazz playing in the gloomy background, and lots and lots of shadows. Nor is it simply skuzzy people doing skuzzy things to other skuzzy people, a kind of trailer park opera. One could argue that what it is, however, is working-class tragedy. Aristotle, when he defined tragedy, mandated that a tragic hero must fall from a great height, but Aristotle never imagined the kind of roadside motels James M. Cain could conjure up or saw the smokestacks rise in the Northern English industrial hell of Ted Lewis’s Get Carter. In Shakespeare, tragic heroes fall from mountaintops; in noir, they fall from curbs. Tragic heroes die in a blaze of their own ill-advised conflation. Noir heroes die clutching fences or crumpled in trunks or, in the case of
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