Author: isabellegrassel

As our course comes to an end and I begin to reflect on my previous blog posts, I find myself still in agreement with my very first post. In my post, “Noir – Moral Ambiguity and Reality” I argued that although Noir may seem really dramatic and many of the stories are not the most relatable, Noir examines the “darkness and imperfections of reality and human nature.” Now, having read more works in the noir genre and those which we have characterized as black noir, I still feel that noir reflects reality, in all of its darkness, imperfections, and moral ambiguity.

As a political science major, I have always enjoyed analyzing written works and trying to discern the deeper meaning or lesson that is hidden somewhere in the literature. In our discussion of Trick Baby, I found myself questioning the books that we were reading and if there is any deep meaning behind this literature, or if it is simply just an enjoyable book to read. However, even if a book is for entertainment purposes, I think it can still offer commentary on society and life at a certain point in history, which is why I think that many books in the noir genre are so reflective of society. In our first noir book, The Maltese Falcon, we were given a glimpse into San Francisco in the 1920s and met characters who didn’t make the best decisions at times, much like many people do today. Making mistakes and imperfections is a part of human nature and our reality. Many of the noir books we read exemplified this. Looking back on my other blog posts, which covered topics such as power, race & class, masculinity, and women in society, these are all things we experience daily and books in the noir genre reveal the darkness or problems which may exist in these areas.

The books which we characterized as “Black Noir,” while varying in storyline and subject matter, can also be seen as reflecting society. In the works such as If He Hollers Let Him Go, The Expendable Man, or Blanche on the Lam, these authors offered us glimpses of society in the United States throughout different time periods. In traditional Noir fashion, these books have elements such as a descent into darkness, moral ambiguity, and characters existing on the margins of society. These elements reveal themselves through the focus on racism in the United States and the different ways in which it manifests itself, and the ways in which many of these characters cope with experiencing racism. In this way, Noir can be seen as further reflecting our past and current realities, as racism is still an ever-present issue in the United States.

In signing up for this course I was curious about how we might centralize the black identity within a Noir genre, which I did not recall having any black characters. In being introduced to literature by black authors and that has protagonists who were black, I have come to realize the importance of being exposed to a range of literature and authors. Reading literature that is different from what we typically read challenges us both as readers and thinkers, exposing us to new ideas and perspectives. I know in reading Trick Baby and Never Die Alone, I really struggled to read a book that seemed so foreign to me, but I think this challenge allows me to realize that there are a lot of different stories to be told, all revealing truths that need to be shared.  

Throughout the semester, as we are introduced to a new book under the genre of “black noir” we have been prompted to ask ourselves, “What is our definition of black noir?” As we read Devil in a Blue Dress, a book that touches on many of the themes and storylines that we have read in other works, I have come to the conclusion that black noir follows a descent into darkness in the search for power and control. In many of the novels, we have read this semester which we have categorized as “black noir,” we have looked at black characters and their attempt to establish agency and control over their lives, in a world where racism prevails, and they are seen as less than a person. While many of these characters take different approaches to obtain power and control of their lives, they can each be seen as sinking more into moral ambiguity and darkness in order to do so.

In If He Hollers, Let Him Go, it is clear that Bob already exists in a world of darkness, in which he is paranoid and scared for his life. He lacks agency and power and as a black man in the United States he is not treated as a human being, and this becomes clearer to Bob through his interaction with white women. In order to regain control over himself and his life, Bob attempts to establish dominance over women. Bob’s abusive actions towards Alice when she is interacting with Stella or his violent thoughts about Madge, could be seen as a descent into darkness in order to gain some sense of power, in a world where it feels like he has none.

In Never Die Alone, the character of King David can be seen descending into darkness as he is tricking people into being addicted to heroin and then exploiting their addiction to obtain money and sexual favors. King David does all of this to obtain power. King David’s approach to power and his willingness to take advantage of others to get this power, shows that in the black noir genre, characters have to sacrifice something and enter a world of moral ambiguity in order to obtain some sense of control in a world that is already, for them, quite dark due to the evils of racism and persistent socioeconomic inequalities.

Finally, in Devil in a Blue Dress, we once again see this descent into darkness as Easy is trying to maintain his power or control, which he attributes to his house and owning property. In the novel, it is clear that Easy sees owning property as his power: “I felt that I was just as good as any white man, but if I didn’t even own my front door then people would look at me like just another poor beggar, with his hand outstretched” (9). As Easy lost his job, the only way in which he can maintain his power is by working for Mr. Albright, therefore, descending into darkness and moral ambiguity.

This definition of black noir may not be applicable to all the books we read this semester, as The Expendable Man may be seen as an exception; however, I think that this definition exemplifies the distinction between black noir and noir, as these characters have to sacrifice a lot and a certain sense of morals in order to gain even the slightest sense of control or power over their own lives, unlike characters like Sam Spade, who have power thrust upon them by society.

In this section of the course, we have begun to explore the role of black women in the Noir genre, and in literature in general. Blanche on the Lam is our first encounter with a black female protagonist. In the pieces of literature which focused on black male protagonists, one thing which was central was black men trying to understand their masculinity and assert their power. In Blanche on the Lam, the protagonist, Blanche, is not focused on what it means to be a woman, but rather is focused on surviving and taking care of the people in her life. While Blanche is the protagonist of the story it is not in the same way that the black male protagonists are like Bob and Hugh. Blanche is still in the background, which could be seen as a reflection or commentary on the invisibility of black women in literature and in society.  

When examining the role of black women in society, they have often been pushed to the background. The civil rights movement is an example of this. Although women did have somewhat of a role in the movement, they were often pushed to the background, and have now become forgotten in the story of this historical period. Rather, it is the men that are remembered. This is also reflected in literature. In the works we have read throughout the semester, black women are either not present, or play a supporting role to black men. In “The Oppositional Gaze – Black Female Spectators,” the author explains that “black women have written little about black female spectatorship, about our moviegoing practices…The prolonged silence of black women as spectators and critics was a response to the absence, to cinematic negation” (118). Black women are invisible in the world of cinema, literature, and history. In a way, while the protagonist of Blanche on the Lam is a black woman, the book still reflects this invisibility that black women experience.

While on the lam, Blanche tries hard to blend and attempts to lean into this invisibility which is thrust upon black woman: “The sheriff didn’t bother to respond. He simply turned from her to Everett, dismissing her with his lack of interest” (80). Simultaneously, it is interesting that Blanche has a lot of self-awareness, knowing that society picks and chooses when a black woman is visible. Blanche knows what would make her vulnerable to society: “A running black person was still a target of suspicion in this town, even if the runner was a woman” (6). This sense of self-awareness and knowing how to navigate this world shows that Blanche, in a similar way to the women who have developed the oppositional gaze, does not see herself as invisible. Although society has attempted to make Blanche feel invisible and push her to the background of the historical narrative, she doesn’t really let that affect her sense of self in the same way the male protagonist let society affect their sense of masculinity. Blanche can be seen as choosing to oppose that narrative by going on the lam, reclaiming her agency, and choosing to stay with this family and solve this mystery.

Throughout the semester, our class has read various works in the noir genre, all of which center around a male protagonist. This prompted me to think, is the exploration of masculinity a part of the noir genre? Although we have yet to read an example of noir which centers around a female protagonist, I would argue that the noir genre is not necessarily about the exploration of masculinity, but an exploration of identity and power dynamics. However, until we read an example of noir in which the protagonist is female, my definition remains that an aspect of noir is an examination of masculinity.

What is masculinity in the noir genre? Throughout the semester we have read a variation of books, all spanning different timelines, and throughout history, the definition of what it means to be a man has shifted. First, we were introduced to Sam Spade, who embodied everything it meant to be masculine. He was strong, he didn’t need to use a gun. He made women swoon. He was good-looking and devilish. This is a complete contrast from a character like Bob, who wanted to be seen as a man, but his masculinity, or lack thereof, was directly associated with his race as a black man in the 1940s. Then there is the pimp in Black Pulp Fiction and the Making of a Literary Underground, who was flamboyant and dressed in a way that was not the typical depiction of what it meant to be “a man” in the 1970s. It is evident that the depiction of masculinity and what it means to be a man has changed throughout time; however, one thing that has remained constant is power and exerting power over others.

From Sam Spade to King David, the conception of masculinity has centered around exerting power over others, either through physical means or financially. In The Maltese Falcon, Sam Spade shows his masculinity through his calm and collected manner in addition to using force against the less masculine Joel Cairo. Rarely in The Maltese Falcon do we see power being used against Spade or someone having the upper hand on him physically. Spade retains his power over others.

In a similar vein, the pimp, which we discussed in class and in Black Pulp Fiction and the Making of a Literary Underground is the antithesis of the typical masculinity displayed by Sam Spade in The Maltese Falcon. He dresses flamboyantly and doesn’t need to use his physicality to prove it. Instead, he simply wields his power, money, and control over women to exude masculinity, which also makes people want to be him and admire him. Power is central to this admiration.

Finally, with the example of King David, his masculinity, which Paul comes to admire for a moment is centered around his ability to manipulate others in order to get what he wants, whether that be women or money. Paul is enticed by King David’s life and the way he uses power to get what he wanted: “King David has been one hell of a man, he reflected…” (150).

The idea that being a man and masculinity are centered around power has not changed today, but I think it also shows that being a man is not just one thing, but a product of a power dynamic and having control over others, which for a majority of history has been a right exclusive to men. I am curious to see in the books which have a female protagonist if men still have the power and control, which we have seen to be typical throughout the semester.

I cannot say I am an avid reader. I never find myself reading for enjoyment or just for the sake of reading. So, when I do read, which is often for class, I find myself reading and searching for a purpose, which is how I have approached this class and more specifically Trick Baby. I have a hard time believing that this book is just a story, not meant to be analyzed and dissected with the goal of understanding some deeper meaning or commentary on society.

Trick Baby touches on a lot of important topics, such as the intersection of the LGBTQ+ community and the black community, the role of one’s racial identity, as well as the long-lasting effects of one’s childhood and upbringing These are intriguing topics that could be seen as an examination of life or possibly one variation of the black experience.

I have found when reading these books which we have deemed to be under the genre of “black noir” that I have been reading these books and trying to establish a connection to my own life. I think this is because these works all take place in recent history, so there is somewhat of a sense of familiarity with the subject matter, especially when there is a larger diversity of characters, which is more reflective of current society. Although the story of White Folks isn’t the most identifiable, at least to me, I am finding there are still elements of the book in which the reader can identify with the story or the character, and I think that is what makes books appealing. Regardless of if this was the intention of Iceberg Slim, I think there is value in examining books, especially one’s like Trick Baby both in the context of our own lives and society. Even with works like The Maltese Falcon where the material seems so distant, we are still given a glimpse into life in San Francisco in the 1920s and the way in which society functions, especially in relation to the treatment of women and minorities.

While many of these works may be written for the sake of entertainment and sales, I think there is something to be lost if we do not examine these works which have been imbued with meaning, either by the reader or by the author themselves, and it’s important to recognize that. I took the Basics of Film Television, and Theatre my sophomore year at Notre Dame and one of the first things we learned is that nothing in a film is done unintentionally, and I think that applies to books as well. These important topics in Trick Baby, which may be in the background of the plot and somewhat masked by the “sleaze” as Nishikawa puts it in his chapter, are still worthy of discussion and serve a purpose beyond just moving the plot along. They are there to foster discussion, to draw the reader’s attention to a problem they weren’t yet aware of, or prompt them to sit with these topics and think about them in relation to their own life. If books are art, then they have meaning and are meant to be examined as such, even Trick Baby.

Trick Baby by Iceberg Slim is similar to the other examples of the noir genre that we have read this semester but also has contrasting elements in terms of what establishes these characters on the margins of society. It is similar in its portrayal of darkness, especially in reference to black characters. Like the character of Bob in If He Hollers Let Him Go, these characters exist in a world of darkness in which they are struggling to get out of the darkness; however, for these characters and black men in general it is inescapable. In Trick Baby we see the character of White Folks trying to escape his past and his origin, which is what establishes him on the margins of society and this seems like it may lead him further into the inescapable darkness.

White Folks is multiracial in that his mother is black and his father is white, which already establishes him on the margins of society. Similar to the character of Alice in If He Hollers Let Him Go, White Folks is unable to escape this as a part of his identity, as it has been brought up several times thus far in the book. White Folk wants to be accepted and wants to be a part of the same world as Blue: “Blue, I owe you my life. I can’t forget how you stood by me when the Goddess put me into that crazy drunken tailspin. Nothing can change that or the sincere affection I feel for you” (26). However, it is evident that no matter how much White Folks attempts to throw himself into the same world as Blue, the fact that he is white-passing and that he is possibly a “trick baby” will always set him to the margins, even in the darkness. Two prominent examples in the book so far are communicated to White Folks by Blue and Mr. Murray.  In a conversation, Blue explains to White Folks that, “Some blacks have hated you because they believed you were really white…as a white child born of a brown mother, they had to hate you” (27). White Folks will always be separate from Blue and this world that it seems he is dedicated to, but his racial identity and origin will always keep him separate. When meeting with Mr. Murray, White Folks had to strongly declare that he was not a “trick baby,” but even after this declaration, Mr. Murray said he would not believe him until he saw proof on an official document of his mother’s marriage to a white man.

Trick Baby shows us a very different character on the borders that we have not yet seen in the other works of Noir that we read this semester. In The Expendable Man, we saw the characters on the margins of society dealing more with class relations, and in If He Hollers Let Him Go, we saw the characters on the margins pertaining more to race. In Trick Baby, it is quite different as this has to do with race, but also with someone’s origins, their background, which doesn’t necessarily pertain just to race. As we are being introduced to new examples of Black Noir and Noir in general, one thing that has become clear is that anyone can exist or be pushed to the margin and be on the bounds of society for really any reason.

While reading the Noir genre, we are also exploring the intersection of race, class, and gender. In the novels we have read this semester, these three groups can be seen as somewhat conflicting in terms of which takes precedence in the hierarchy of power. In If He Hollers, Let Him Go, the character of Bob feels that gender is “ranked” first on this hierarchy, as he is a man and should have power over women; however, he is reminded by the racial hierarchy that he is not a man and rather race is indicative of how he is treated and his place in society. In The Expendable Man, readers can see the role of class taking precedence as the main indicator of how people are treated in society. While the character of Dr. Hugh Denismore may seem that he has the ability to avoid many of the harsh realities of racism, his class can also be seen as drawing attention to his race, further reinforcing the importance of a person’s race in society.

Hugh Densmore is a doctor and comes from a wealthy family. He drives a white Cadillac and is interning at UCLA Med Center. This higher economic status allows for Hugh to be treated differently by society, but also impacts his view of the world, especially that of the lower class. In comparison to other protagonists like Bob, who is not as wealthy, Hugh is able to navigate the world with more privilege than Bob, as provided by his class. Even in his current situation as a possible suspect in the death of Iris, Hugh’s family and personal connections allow him to somewhat navigate this situation with less anxiety than a character like Bob: “You [Hugh] needn’t worry. He [Judge Hamilton] knows everyone in law worth knowing. He’ll find us the right man” (99). In addition, Hugh’s life or privilege has allowed him to avoid many instances which could have led him to experience the same type of racism that was experienced by Bob. For example, Hugh explained to Marshal Hackaberry that he had never been in a police station before, and when he did get a ticket, he would pay for them through the Auto Club, allowing him to avoid interactions with the police and possible racism: “…But I always pay through the Auto Club.’ And realized at once that he’d done it an again. Not for using the service but by taking for granted the use” (93). Hugh is very much aware of the privilege that his class provides him, but at the same time, is also aware of the racial hierarchy, and how in combination with his wealth this could also draw attention to him.

In the novel, Hugh’s car, a white Cadillac, can be seen as an indicator of his class. It is referenced multiple times throughout the book and can be seen as drawing further attention to Hugh and can possibly be seen as connecting him to Iris. When attempting to put together the pieces of Iris’ murder, Hugh seems to be somewhat under the impression that the married man who possibly murdered Iris identified Hugh by his car when framing him for the crime: “It’s the car,’ he reiterated. ‘He waited for the car. The timing isn’t coincidental” (140). As race and class are very intertwined, and during this time people of color were often of lower socioeconomic status due to generational wealth inequality, the fact that Hugh went against this stereotype, was a doctor and had the status symbol of his white Cadillac, could be seen as putting a target on his back. While class does play a very important role in this book, race is still central and the most important indicator in the hierarchy of power.

Power and authority are two important elements in the world Chester Himes has created. We can see power and authority in an institutional sense with the role of police officers or even the relationship between Bob and the shipyard manager. Power is also on display within society. The power dynamic between genders as well as between people of different races reveals that the way in which people interact and are perceived is influenced by power. As a political science major, I could not help but notice how much this display of power aligns with the theory of Michel Foucault.

While there are many theories on power, Michel Foucault explains power to be like a chain-linked web, one on which we can act and use power, while power can simultaneously act on us as well. Seeing power being used causes a person to be caught in the web of power and therefore influences them to exert power themselves. Bob is a perfect example of someone who gets caught in this web of power.

Power is something that is central to Bob and how he sees the world. When looking at examples such as when the cops pulled over him and Alice, or instances with the shipyard manager, power is being exerted against Bob in a discriminatory way, and both seeing and experiencing this power used on him, influences Bob to want to use power as well, in a way of regaining his agency.

We can see this in his interactions with women, especially with Alice. When Alice and Bob were hanging out with Alice’s friends after the cop incident, Bob slaps Alice when she was with Stella: “She gave me a look of raw hatred. I’d slap her before I knew it” (67).   Bob’s need to assert his power over others is a product of the discrimination he has experienced in the United States as a black man. The extra layer of complexity to this display of power as a web is that anyone can have access to it. This is evident in the relationship between Bob and white women. Bob feels that he can exert power over white women, as a man; however, white women also have access to this power as well. As both belong to groups that have been discriminated against in some way and have power used against them, they can be seen as trying to gain agency back by exerting power themselves.

Looking at this complex relationship through a Foucauldian lens, the world that Himes has depicted is one in which everyone is trying to use power in order to reestablish the sense of agency that has been taken from them; however, using the tools of their oppressors to essentially do the same thing, pushes them further in this descent into darkness.

In these first chapters of If He Hollers Let Him Go, my mind has been swirling as I attempt to understand to navigate this world Himes has displayed. Although If He Hollers Let Him Go does not seem to follow the Noir genre at first, it does as it explores living on the bounds of society. However, unlike the case of Spade and Malloy, Bob is unable to escape these bounds of society as they are dictated by race. In this novel, the readers can get a glimpse of what life is like for people of color. Looking at the examples of Bob in the workplace and Alice’s upper-class family, who are stuck on the bounds of society, unable to escape because of their race.

First looking at Bob, as a black man in America, it is evident that even as he enters the workforce, he is not accepted nor respected in society, and because of this it is causing him severe distress: “Nobody bothered me. Nobody said a word. But I was tense every moment to spring” (4). This contrasts characters such as Sam Spade, who is smooth and controlled, and never worried at all. The bounds of society are where Spade wants to operate whereas Bob is forced to the bounds of society, not by his own choice. This force to the bounds of society shows the prominent role that race plays in the world Himes is describing, so much so that it cements someone in a certain role or position, always to be regarded as an outsider. Even as Bob enters the workforce, he is an outsider. In the shipyards, readers see a lot of tension between white women and black men; however, when called a racial slur by a white woman, the manager does not take Bob’s side. While this is not shocking, due to the time period, it is indicative of how race dictates a person’s role in society. Although white women and black men are both new to the workforce during this time, black men are still regarded as less than, solidifying them on the bounds of society, a place where Bob doesn’t want to be. At the beginning of chapter 5, Bob talks about the feeling of being included and how wonderful that felt. This shows that Bob does not want to exist on the bounds of society, but rather wants to experience this sense of inclusion and belonging.

Alice and her family similarly want to experience this sense of belonging, but are also on the bounds of society, even though Alice can pass for white and is a part of a higher class. Alice and her family are of a higher social class and Alice has more fair skin. She has been described by other characters as almost white; however, her family still feels the need to prove themselves and flaunt their wealth because they know that their race cements them on the bounds of society. Regardless of their class, they will always be seen as different and not be respected by the white upper class, which is why “passing” acts as a way to escape these bounds. Alice can exit the bounds of society that black people in this novel are pushed to; however, as she exits this one bound, she is once again pushed into another as she is not fully accepted by the black community either, as she is judged for being fair skinned by other characters such as Ella Mae. Even for a character who can “pass,” race still confines her to the bounds of society.

Unlike Spade and Malloy in our other examples of Noir, the bounds of society are not where these characters like Bob and Alice want to exist because in this world that Himes has depicted the bounds of society include discrimination and mistreatment, and they are inescapable, as they are determined by race, something that cannot be changed or muted, even for people like Alice.

So far in our course, we have touched on the idea of race in the world of Noir and what it means to be a foreigner or not from the United States. While reading Farewell My Lovely, I learned that the world of Noir can be diverse and not only consist of white people. In The Maltese Falcon, I learned that the world is much smaller than it used to be with the development of transatlantic travel. Bringing these two aspects into conversation with each other, I am having a hard time defining what it then means to be a foreigner. I would argue that the role of the foreigner is not correct in terms of being foreign in the sense of not from the United States, but rather foreign as in unfamiliar to the characters.

In Farewell My Lovely, many characters take on the role of a foreigner, mainly black characters, people of color, or even characters from a different class, many of which are from the United States. Having taken courses that explore the dimensions of race and class in the United States throughout multiple periods in time, I have always seen these divides as very distinct, therefore, anything outside of what you would consider normal would be foreign to you. We see that a lot in Farewell My Lovely, as many of these characters are trying to cling to what they think is normal through nostalgia. Through this concept of the foreigner, I find it interesting as to how people of different races are perceived. In The Maltese Falcon, there are people from all over the world interacting, but characters such as Brigid O’Shaughnessy are also seen as foreigners, even though I would argue she is not any different from a character such as Spade, who is supposed to embody what it means to be a “typical American.” All in all, there is a fear of change and the unknown in the world of Noir, which I would say is like our own, and this fear is very much getting intertwined with issues of race, class, and even gender, broadening our definition of what it means to be a foreigner.