Indian Country Noir (Akashic Noir) by Sarah Cortez, Liz Martinez

By Sarah Cortez, Liz Martinez

Step into Indian nation. input the darkish welter of heritage during the Americas, the place the background of violence meets the ferocity of intent.

Features brand-new tales by way of: Mistina Bates, Jean Rae Baxter, Lawrence Block, Joseph Bruchac, David Cole, Reed Farrel Coleman, O'Neil De Noux, A.A. Hedge Coke, Gerard Houarner, Liz Martínez, R. Narvaez, Kimberly Roppolo, Leonard Schonberg, and Melissa Yi.

Sarah Cortez, a legislation enforcement officer, is the award-winning writer of the poetry assortment tips to Undress a Cop. She brings her historical past as a Tejana with Mexican, French, Comanche, and Spanish blood to the written page.

Liz Martínez's tales have seemed in ny Noir, Queens Noir, and Cop stories 2000. She is a member of Wordcraft Circle of local Writers and Storytellers, and she or he lives in long island.

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Extra info for Indian Country Noir (Akashic Noir)

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Paris, Capital of Fetishism 55 be re-seen, in fetishized form, always and forever. For, if “this very crowd brings to the city dweller the figure that fascinates” (Benjamin 1997, 125), Baudelaire’s poem sends it back to the crowd, establishing the clothes of the woman passing by as a fetish, and turning her appearance on the street into a myth of modernity. Festoons and hems are now enough – they both veil and symbolize the shock of the double city – and Malet, Vian and the stall-holders of rue Lepic all dwell on the ‘sartorial representation’.

26 The move from modernity to modernism can be expressed by a change of perspective, which sees the poet move down from his garret into the city streets. The conflation of the roles of reader and writer, so famously theorized in the wake of the death of the author, has its echoes in the shift in Baudelaire’s poetry from verse form to prose poetry, when suddenly the poet-narrator looks at Paris directly, seeing it as it is presented to him just as it is to the reader. And, of course, the prose poems present the position of the reader alongside (or juxtaposed with) the poetic representation of verse motifs.

Dior’s women are dressed both as themselves and as they ‘yearn to be’, both in and out of time. In other words, the constricting corsets and free-flowing skirts embody that stilted conversation between women and Woman. Fashion itself, we should recall, functions according to a double and paradoxical movement. It is interesting to note that Georg Simmel’s point about the evolution of fashion being first and foremost a step taken by the fashionable away from the crowd, but one which always already heralds a recapturing of the fashionable on the part of the crowd, is remade in the same year as the incident of Rue Lepic: “Quentin Bell (1947) put his finger on a central paradox of fashionable dress when he described how it is individualistic and conformist simultaneously.

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