Author: juliacarr

In the first couple of class periods, I was silent. I was intimidated because everyone around me seemed to be an English major or some major requiring higher proficiency in reading and writing. I questioned my voice’s validity and doubted the relevance of my perspective. Additionally, we were reading books about experiences I was less familiar about and believed that meant I had to platform to speak about them. However, one of the biggest lessons I have learned throughout this class is that one of the overall major points of the noir genre is to expose readers to experiences that exist along the margins. Though I still might not talk a lot in class, I do have the confidence to speak when I want to, even if I know it might not be right on the spot.

Most of the books out there are centered around a white Christian narrative. Noir provides the antithesis of this account with contrasting perspectives. We learned that one of the major themes of noir was that people live and exist on the margins and that there is a world of corruption that exists where no light reaches. While this theme is incorporated into each of our stories like Trick Baby which highlight the life of a pimp, I think it also speaks to the genre as a whole. Noir is the darkness that exists in the literary world, full of topics that people largely stray from. It is not a large genre, but it exists and it is our glimpse into a world we may be unfamiliar with. For a while this foreignness is partly what made me fall silent. I, like many common readers, was comfortable reading the big name books. Yet, these books and this class was the challenge that pushed me to become a more intelligent and informed reader and person.

While I grew up right outside D.C., where I was exposed to social and political issues from a young age, I will be the first to admit the limitations that came with my all-girls Catholic education. I had one or two classes that strayed from traditional literature. I am not trying to discount these other books that taught me numerous of other lessons, but I very much maintained a position in the light of literature, somewhat blind that a darker side to literature existed. One of our books, If He Hollers, Let Him Go was especially challenging to me. I was less familiar of the psyche behind the black experience, but the main character, Bob gave me a full transparent look into the paranoia and anxiety that he faced. In some ways when I encountered these books, I experienced my own descent into the darkness because a spotlight was finally shown on the marginalized. I was not completely ignorant to the existence of these real issues, but our noir books took my understanding to a greater level. With exposure, I became more comfortable in not only this class but all my other classes because I learned I did not have to know everything to know that my voice is still valid.

The noir genre is a darkness in all literature that sheds light on the darkness of marginalized issues. These books have become a powerful learning experience about the world and myself. My descent into the darkness of noir is definitely an illuminating experience.

Besides moving out for college, moving homes is not something I am familiar with. I have always been happy with where I lived, and my family has maintained a stable lifestyle, so there was never any need to move. Although, I have always been curious about what it would be like to live elsewhere. It is very interesting to me how two people from very different states in the same country can live such different lives. This is what has always sparked my curiosity of moving to somewhere new. However, moving can also be uncomfortable because change is uncomfortable. While I have never had a bad experience that has made me want to move, I have been in situations that are not healthy, but I continue to stay in them because change can be scary. This is what I perceive to be happening in Blanche on the Lam. The main character, Blanche, recounted how she tried to flee away from her normal life and headed to California, but only lasted there a year. Then she returned to the east coast and headed to New York where she stayed with her niece and nephew until they were confronted by a stranger. As a result, she moved her and the family back home down south to Farleigh, NC. Throughout these shifts in location, Blanche must have encountered many new environments, but she did not stick around in these new locations very long. Despite returning to Farleigh in the end, she does not speak very highly of the small town and describes the many racist encounters she has every day. This was what made me most curious about Blanche’s relocations.

In our previous books set in California, it has always been portrayed as progressive with a diverse population. Although the population may not be specially integrated, there was still a representation of the variety. When Blanche travels there, I wonder why she was so quick to leave. I am sure part of the reason involved her niece and nephew back home, but there must have been more to it because as a black woman one would think she could achieve a better quality of life. Though no details are explicitly mentioned, there must have been a fear within Blanche of the stark difference between a small town in the south and the big state of California. A fear, that even if she could achieve more equality, it would be different from anything she has known. Sometimes having too much freedom can be intimidating like when we enter into our adult lives and suddenly we gain a large amount of responsibilities and freedom to choose how we live our lives. I think Blanche was afraid of the new and somewhat intimidated by the agency she gained in the west.

Blanche proceeds to move to New York. She travels back east which we have referenced in class largely means traveling back in time on racial progressiveness. However, she still remains in the north, which has a different racial dynamic than the south, more closely resembling California. Even still, Blanche is scared, but I think her fear is more of the contrast between the small town she came from and the large city she entered. Cities are dangerous and can be especially frightening when you do not have experience. It is unfortunate but homeless people are more common, crime is more common, and overall darkness seems more present. Blanche is run out of the city when a man tries to convince her niece and nephew into his car. She is fearful of the dangers of the city. Not because she is a coward but these are dangers that she has no prior experience with which makes them all the more intimidating.

Finally, Blanche moves back down to Farleigh, NC. She willingly returns to the life she knows, even if it is not a good life. Blanche knows how to deal with the racist people in the south and even admits to enjoying manipulating them by acting unintelligent. Though her fears that reside in Farleigh are still ever present, they are familiar fears. Change is incredibly hard to face and Blanche believes it is much easier to face the challenges she knows than try and discover something new even if it would be to her benefit.

Throughout this semester, we have been asked to form our own definition of noir. Now, as we near about two-thirds of the semester, we have come a long way since the once-empty information bank on the noir genre. However, I personally still feel as though I struggle to be able to actually define noir. I could list numerous characteristics and themes commonly found in noir, but I believe these fall short of establishing a full, all-encompassing definition. I feel as though I am failing to identify a foundational aspect of the genre that would bring all of these themes together into one distinguished category.

The theme that is most often referred to and seems to get closest to defining the genre is the descent into darkness. In every book we have read thus far, a character is pushed to the margins and forced to exist in the darkness of a marginalized society. We read about all different character experiences with the same dark outlook. In If He Hollers, Let Him Go, Bob begins in the darkness and experiences a deeper descent into the depths when he struggles with the paranoia of finding his manhood as a black man. He has a bleak outlook on life and falls victim to the gaslighting of society causing him to lose his ability to distinguish what is reality and what is just the chaos of his mind. Bob wants to be a man more than anything, but never finds the light because of his conviction that black men cannot escape their own doom. Similarly, Hugh, in The Expendable Man, comes to terms with his own racial limitations when he accused of murder and/or an illegal abortion because he was seen with a young white girl. Hugh’s descent into darkness was slightly different because he came from a higher class family and was privileged to receive more societal respect. However, his darkness prevailed when his class was trumped by race. Both of these experiences and those of all the other characters we have read about brought me as a reader into a darkness of topics that are rarely discussed. These ideas on the margins are largely what I think makes noir, noir.

While the descent into darkness and the play between the light and dark is a dominating feature of noir, to say that it defines the genre, I believe, would be too limiting. Themes like masculinity versus femininity, nostalgia, foreigners, time and space, construction and fetishizing of the other, and many more all major contributors to the books we have read and the construction of the plot. I could also be misunderstanding noir. It is possible that noir is defined by the interaction of light and dark and all the other themes I listed are just the implication of the interaction. This could be supported by Bob’s story because his struggle to find his masculinity does come from his insecurity about race. Bob believes that he will never be a man the way a white man is. However, I see Sam Spade’s masculinity in The Maltese Falcon as a more prominent theme above his descent into darkness. Regardless, I just feel like I am missing or not fully understanding some piece of noir that would be the clarification I need to confidently define what noir is.

Sweet Sweetback’s Baadasssss Song is nothing like any movie I have ever watched. If I had not been required to watch this movie for class, I would have turned it off within the first five minutes. However, it was required, and I did finish it. But the exposure to new topics that I received while watching this movie was well worth watching the movie for. One thing in particular I did think about is how the noir theme of nostalgia applied to this movie. In the unforgettable first scene, where Sweet Sweetback receives his nickname, he is raped at a very young age by a prostitute. After this traumatic event, he continues to be adopted and raised by the prostitutes. In his adult life, Sweet Sweetback is a sex worker. As messed up as it sounds, I wondered if there was any nostalgia that Sweetback has from being raped that he indulges in by being a sex worker. For most, such an event would be so traumatic that they would never want to engage in any activity that could be reminiscent of it. However, Sweet Sweetback fully immerses himself in the world of sexuality, a world that could easily trigger memories of the trauma of his childhood. So, even though it sounds disturbed, I do not believe it is entirely out-of-pocket to say that he is somewhat nostalgic about the event. Similar If He Hollers, Let Him Go, Madge practically begs Bob to rape her. In class, we discussed rape fantasies and how we could not believe this to be real. I, personally, cannot fathom that there is a desire to connect with such traumatic things. However, this sentimental longing for something so dark fits exactly in the noir genre. It is a darkness that goes beyond any of my experiences which is what makes it so uncomfortable to discuss. The noir genre takes full advantage of this feeling of discomfort and pushes readers to dive deeper into its meaning. As a class, if we can push past the discomfort, we can move into some interesting conversations about the topics that hide in the darkest corners of society.

A pimp is a man who controls prostitutes and arranges clients for them, in turn taking a portion of the profits. But the identity of the pimp goes far beyond the job description. A pimp is an all-encompassing identity. Characterized by stylish, flamboyant outfits and over-the-top personalities, most pimps are hard to miss. Their outfits consist of loud, extravagant, and highly feminized suits that could easily be associated with queer. However, the masculinity of these men are never in contention.

Masculinity is one of the main themes in the black noir genre. In the books, white males are automatically perceived to be masculine men. It is, however, the black male characters that are forced to prove their masculinity by their outwardly actions. In If He Hollers, Let Him Go, Bob struggles to find his manhood. All he wants is to be a man. To prove to himself and others that he is a man’s man, Bob does his best to dominate women, most importantly, white women. Additionally, the black man could not show any sign of weakness. In fact, Bob works in overtime to make sure all of his masculinity is on display and is not hesitant to pick a fight or vocally threaten others. However, the pimp character introduces a whole different type of manly men. In our latest book, Trick Baby, the author, Iceberg Slim, is a pimp. In all his pictures he is adorned in the feminized suit. Yet, even despite this “unmanly” expression, the masculinity of Iceberg Slim and other pimps like him is never doubted because of their extreme control over women. In a sense, pimps have an ownership of the women they manage. This is the type of domination that Bob strived for. Especially in the black community, the figure of the pimp has been revered. This is appropriate because of the ongoing process of proving that the black men are manly enough. The pimp would be the ultimate example because of the control that the black man has in the lives of their women not only their occupational opportunities but ultimately the majority of their lives, by taking profits and subjecting the women to whatever they discern to be acceptable.

Despite the feminine outward expression, Pimps maintained control over women that many black men desired, knowing that it was the valid proof that they needed to show they were manly enough.

The English language inherently has implicit biases. Putting race aside, white is associated with purity, honesty, cleanliness, and peace. However, black has associations with darkness, fear, and discomfort. When these words are introduced to describe anything, there are automatic connotations, including when speaking about race. In The Expendable Man by Dorothy Hughes, she intentionally excludes any descriptions of race when introducing characters. Hughes is playing with the language allowing the reader to determine for themselves who is good and who is bad without having the preconceived perceptions. However, it does not take long for the main character, Hugh Densmore’s identity and all its implications to be exposed. Not only does the reader find out that Hugh is black but automatically that he is one he is considered a murderer. His established and respected reputation that was created at the start of the book by his upper class status and occupation of a doctor is completely diminished. The class distinctions that were at the forefront at the beginning of the story become irrelevant and immediately Hugh casted out to the margins where he has to be cognizant of every move he makes. By the end of the story, Hugh’s upper class distinction does prevail over his racial status as he is able to make the proper connections to escape the murder allegations. Furthermore, his race actually is beneficial to him when his love interest, Ellen, chooses him over another man because he is black. Yet, regardless of how the story prevails in the end, it is especially interesting the tactics Hughes uses to avoid these language barriers and misunderstandings that are present in the English language.

As we approach the second half of the semester, I want to take an intentional look at the language used surrounding race and if the use of black and white automatically introduces stereotypes for the remainder of the story before the plot occurs

Because The Expendable Man was the first book we read by a female author, I took an immediate interest in how Hughes’ writing might differ from that of the previous male authors. Early on, the book confronts the topics of pregnancy and abortion. Although still presented somewhat discreetly, these themes have not been previously mentioned. Not only are they considered taboo subjects, but especially taboo subjects for men to be discussing. However, as a woman, especially a white woman, Hughes is less hesitant in writing about these topics. By including them in her book, Hughes forces all readers, regardless of gender, to contemplate these topics and the issues surrounding them. In a time period before the overturn of Roe v. Wade, illegal abortions were very much a terrifying reality. A reality that many men never had to think about the dangers of. Yet, Hughes gives these hidden real world issues a public place to exist so that they become less avoidable. This is why it was especially important to give women a platform such as books to speak or else these concerns would stay lingering in the back of all women’s minds. In the other books we have read written by men, all the women featured seemed more simple-minded. However, Hughes begins to dive into the complexity of a woman’s mind and the many anxieties that often plague her mind; especially ones that men do not care to think about much less write about.

While Dorothy Hughes is a woman, she is still a white woman, giving her a level of privilege. We briefly questioned whether Hughes wrote her own personality into the book at all. While we determined that as a professional writer, she most likely did not, I believe that she wrote in some of her own privileges that she is entitled to as a white woman. Iris Croom is a young white girl who is seemingly from a lower class family. However, she is still able to exert a power of Hugh who is a black man from a higher class family. For example, at the state inspection, Hugh is under an extremely watchful eye and has no choice but to act friendly and candidly towards Iris. She fully took advantage of the power dynamic that existed between Hugh, herself, and the inspection officers. Whether it be subconsciously or not, Hughes includes a privilege she can take advantage of as a white woman in her writing.

Dorothy Hughes’ perspective, as a white female writer, offers benefits such as shining a spotlight on topics that many men would avoid but also limitations, for she can claim privileged blindness to many issues that white women are not subject to.

In the previous two books we read, there is an explicit depiction of the “ideal.” Between the handsome and cool anti-hero or the pure yet sexualized femme fatale, each book had characters or plots that set a standard of aspiration. However, in If He Hollers, Let Him Go, we are immediately immersed in the darkness of Bob’s world. The presence of the ideal is still present but is just exhibited differently. Instead of being on the side of the idealistic characters such as Sam Spade who attempts to save the day with his quick intelligence and smooth wit, the readers are exposed to the characters on the other side that are striving to become the “ideal”. This new perspective helped me to understand noir better because I gained a more encompassing view of what descending into the darkness really meant.

Upon our introduction to Bob, he admits it is “hard enough each day just to keep on living” (4). Right away, we know he is struggling. As we read, Bob’s gaze on reality becomes more and more confusing to not only himself but also to us readers because he becomes so obsessed with finding the manhood that is robbed from him as a black man. Constant gaslighting causes Bob to question everything, making him somewhat of an unreliable narrator. This chaos and confusion, within his mind, is the darkness we do not see in The Maltese Falcon and Farewell, My Lovely because these books are both centered around white characters. If He Hollers, Let Him Go shines a spotlight on the darkness. As we have discussed in class, this darkness is where the terrors and dangers of racism and paranoia hide. However, the book calls attention to this darkness, forcing the reader to contemplate it.

Throughout time, people have been hesitant to talk about scandalous subjects such as race. By writing from the black person’s point of view, If He Hollers, Let Him Go redefines the noir characteristic of idealism. Bob is honest beyond a doubt, which can be uncomfortable for a lot of people. However, his presentation of darkness and the unideal further defines what the noir ideal is, the reality that Bob constantly craves. Additionally, characters like Alice represent those on the margins who can straddle the line between light and darkness. She acts as a comparison within herself by putting on white person mask and becoming one with the ideal or taking off the mask and hiding her flaws in the dark.

Between the three books we have read, each one’s inclusion of the contrast between dark and light strengthens the concept more and more. Without the comparison, we lose the context of the other, which is why it is essential that noir as a genre includes both.

In both The Maltese Falcon and If He Hollers Let Him Go, the masculinity of the leading male characters is definitely on display. However, Sam Spade and Bob display and prove their masculinity differently. Their individual expression represents a contrasting expectation for a white male versus a black male to be viewed as masculine by society.

Sam Spade, the white male anti-hero in The Maltese Falcon, arrogantly claims that he does not carry any guns when being questioned. His openness is admitting to not carrying any defense indicates his security in being able to defend himself. Spade asserts that he can successfully handle any conflict that arises with his brain and two bare hands. His rejection of traditional masculine objects, such as a gun, projects Spade as a male above all males. Manly men are supposedly tough and supposed to carry around guns, but for Spade to regard that as somewhat immature and unnecessary proves to others that he is just that much more masculine than the other male characters in the book.

In contrast, Bob in If He Hollers Let Him Go is a black male who frequently references asserting his dominance through violence. Dominance over others is a signifying characteristic of a masculine man. Very early on in the book, Bob makes no effort to hide his aggressions, whether it be picking a fight or stating his impulses to kill others. Violence is a much more obvious and desperate means of proving and displaying one’s masculinity. Although Bob does not always act on his aggressive desires, he is still has no intention of hiding them.

Sam Spade never has to prove his masculinity throughout the book, yet as a reader, I still always viewed him as an intelligent and brave detective. I never doubted his masculinity. This theme is indicative of the superiority that comes with being a white male. No action needs to be taken for the reader or anyone in society to know that they are masculine. It is rather his actions that will either inflate or negate this notion. In Spade’s case, his lack of additional self-defense further emphasizes his masculinity. However, Bob, as a non-white male, has to make it very clear that he is tough and masculine. This dichotomy between the two characters represents the inferior status that non-white males held to white males. White males were just automatically the masculine hero while non-white males had to overplay with their behavior.

As we continue to read more books, it will be interesting to explore this further as we encounter more books with white versus non-white male leading roles.