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Women. Crime. Justice. At least the search for it. On the mean streets, the back allies, the dark corners. These are stories of tough women in hard places. The nights are long, the women are fast, and danger is always a short block or quick minute away. Edited by award winning author/editors J.M. Redmann and Greg Herren, Women of the Mean Streets is an anthology of some of the top, tough women crime writers today, noir stories with a lesbian twist.
Kendal Richoux's life began during the reign of Egypt's only female pharaoh. After accepting the opportunity to drink the elixir of the sun, Kendal becomes immortal and the Genesis Clan's slayer. History has taught her the dangers of getting too close to anyone who hasn't harnessed the power of time. After many years, she returns to New Orleans to finish a job she's trained for all her life. It's time for her to face her brother Henri, and it will have dire consequences to mankind if she fails. Piper Marmande believes Kendal has come to take over the company her family has built over generations. As Kendal prepares for the most important battle of her long life, Piper does her best to uncover every one of Kendal's secrets, making herself a distraction Kendal can't afford as she hunts Henri and Ora, the vampire who seduced him to a life of darkness.
Sometimes conformity and control are only shields, and all it takes is the right woman to shatter the illusions forever. Andrea Taylor craves peace in her life, no matter what the personal sacrifice. She arranges her career as a violist, her relationships with family and friends, and even her love life so she can avoid strife at all costs. Everything is going according to plan until she meets Brooke Stanton the night before Brooke's wedding rehearsal and her ordered existence falls apart. When Brooke hires a string quartet to play at her rehearsal dinner, she doesn't expect to meet a woman who threatens the security of her already predetermined future. Suddenly she has doubts about the conventional path she has chosen and desires she can no longer ignore. In an eclectic neighborhood in Seattle, Washington, these two women face a life-altering decision—will they fight the attraction that threatens their carefully structured lives or take a chance on finding the harmony only love creates?
What scares you the most? An impressive lineup of the biggest names in gay and lesbian publishing come together to share tales of things that go bump in the night, murder and revenge most foul, and dark creatures that will haunt your dreams, while putting a decidedly queer twist on the literary horror genre. Edited by award-winning authors Greg Herren and J. M. Redmann, the stories in Night Shadows are masterfully told, disturbing tales of psychological terror that will continue to resonate with readers long after they finish reading these delightfully wicked stories. Don’t read these stygian tales when you’re alone—or without every light in the house burning!
First, do no harm. But as New Orleans PI Micky Knight discovers, not every health care provider follows that dictum. She stumbles into a tangle of the true believers to the criminally callous, who use the suffering of others for their twisted ends. In a city slowly rebuilding after Katrina, one of the most devastated areas is health care, and the gaps in service are wide enough for the snake oil salesmen—and the snakes themselves—to crawl through. The seventh book in the Micky Knight mystery series.
With her life as a private investigator in Chicago firmly established, Jan Roberts can often forget where she came from—a backwoods survivalist camp run by her paranoid, dictatorial father. After risking her life at sixteen to escape the camp, she finds it hard to understand the runaway teenager she's been hired to find. With each step on the trail to find her, Jan realizes the girl is running to the same part of Idaho she fled, a digital age version of her father's way of life. Complicating her mission is the new owner of the security firm she works for, a former British agent who has her own secrets to hide. When the sparks fly between them, Jan finds Catherine wanting to share not only her bed, but also her quest to find the missing teen. The journey to the deep woods of Idaho is a voyage to the heart of darkness for Jan, where the reality of her past can no longer be contained, nor her feelings for Catherine denied.
Micky Knight reluctantly takes on two cases, one for money, one for pity. The first is a trawl though archives to solve a century old murder for an arrogant grandson who thinks riches should absolve his family of any sins. The other, to answer a mother’s anguish as she tries to understand her daughter’s suicide. Micky sees no happy ending to either case; the dusty pages of history aren’t going to give up their secrets after holding them for so long. And even if she finds answers for the mother’s questions, nothing will bring her daughter back. But as Micky discovers, the past is never past and a young girl can lead a complicated, even dangerous, life. The secrets, both past and present, are meant to remain hidden—only the first murder is hard. The rest come easy. A Micky Knight Mystery
Spring has returned to New Orleans, bringing with it the swarming termites! First-time homeowner Scotty Bradley is feeling like he may have made the biggest mistake of his life buying in the French Quarter. Between dealing with the Vieux Carré Commission rules, termite damage, and contractors, it’s a relief when his best friend David brings the accidental sleuth a case: one of his students is being harassed by a much older man who turns out to be a big wheel politician in one of the parishes outside of New Orleans, up to his neck in corruption. When the politician turns up dead and Scotty’s client is the most obvious suspect, Scotty and his friends set out to prove his client’s innocence. Lots of people wanted the man dead, but someone doesn’t want all the corruption in St. Jeanne d’Arc Parish exposed. And if that's not bad enough, someone from Scotty's past returns, making him question what he thinks he knows about himself and his own history...
Classic film noir was Hollywood's 'dark cinema' of crime and corruption; a genre underpinned by a tone of existential cynicism which stripped bare the myth of the American Dream and offered a bleak, nightmarish vision of a fragmented society that rhymed with many of the social realities of forties and fifties America. Mean Streets and Raging Bulls explores how, since its apparent demise in the late fifties, the noir genre has been revitalized during the post-studio era. The book is divided into two sections. In the first, the evolution of film noir is contextualized in relation to both American cinema's industrial transformation and the post-Depression history of the United States. In the second, the evolution of neo-noir and its relation to classic film noir is illustrated by detailed reference to representative texts including Chinatown (Roman Polanski, 1974), Night Moves (Arthur Penn, 1975), Taxi Driver (Martin Scorsese, 1976), Blood Simple (Joel and Ethan Coen, 1984), After Hours (Martin Scorsese, 1985), Sea of Love (Harold Becker, 1989), Resevoir Dogs (Quentin Tarantino, 1992), and Romeo is Bleeding (Peter Medak, 1994).
This book examines the contrasting forms neo-noir has taken on screen, asking what prompts our continued interest in tales of criminality and moral uncertainty. Neo-noir plots are both familiar and diverse, found in a host of media formats today, and now span the globe. Yet despite its apparent prevalence—and increased academic attention—many core questions remain unanswered. What has propelled noir’s appeal, half a century on after its supposed decline? What has led film-makers and series-creators to rework given tropes? What debates continue to divide critics? And why are we, as viewers, so drawn to stories that often show us at our worst? Referencing a range of films and series, citing critical work in the field—while also challenging many of the assumptions made—this book sets out to advance our understanding of a subject that has fascinated audiences and academics alike. Theories relating to gender identity and neo-noir’s tricky generic status are discussed, together with an evaluation of differing comic inflections and socio-political concerns, concluding that, although neo-noir is capable of being both progressive and reactionary, it also mobilises potentially radical questions about who we are and what we might be capable of.