Best 155 quotes in «noir quotes» category

Fine by me, Jack. I just have to plug in the machine. The City will have to change its name to Sunny Beach.” “We don’t have a beach.” “Well, you know what I mean …” Conversation on Radio Fake 112.8 MHz In The Shadow of Sadd

Gory frontline memories from war in the Philippines returned to Mitch as he submerged himself in the brush. He sunk deep into the leaves and mud, and stayed there. He remembered scenes from the jungle. The tremors of falling bombs. The smell of smoke.

He looked as if he'd got a lot of pleasure out of going ten rounds with your grandmother and making sure she went the whole distance.

Freedom breeds uncertainty; uncertainty invites chaos.

He was a scoundrel and a saint and a survivor. A tangled Celtic knot of thorns and roses. Ragged and sincere. It moved her deeply. Like a forgotten melody that suddenly struck a vibrant chord inside her heart. He was almost irresistible.

He's prowling back and forth like a lion with distemper now. There's a shiny streak down one side of his face. "I shouldn't have let her go ahead - I ought to be hung! Something's gone wrong. I can't stand this any more!" he says with a choked sound. "I'm starting now -" "But how are you -" "Spring for it and fire as I go if they try to stop me." And then as he barges out, the fat lady waddling solicitously after him, "Stay there; take it if she calls - tell her I'm on the way-" He plunges straight at the street-door from all the way back in the hall, like a fullback headed for a touchdown. That's the best way. Gun bedded in his pocket, but hand gripping it ready to let fly through lining and all. He slaps the door out of his way without slowing and skitters out along the building, head and shoulders defensively lowered. It *was* the taxi, you bet. No sound from it, at least not at this distance, just a thin bluish haze slowly spreading out around it that might be gas-fumes if its engine were turning; and at his end a long row of un-colored spurts - of dust and stone-splinters - following him along the wall of the flat he's tearing away from. Each succeeding one a half yard too far behind him, smacking into where he was a second ago. And they never catch up. ("Jane Brown's Body")

His fear-inflamed mind sent the control-signal to his finger-joint to fold back. The trigger sliced back. The blast seemed to lift the booth clear off the floor, drop it down again. A pin-wheel of vacancy appeared in the glass, flinging off shards and slivers.

His deadpan expression turned bitter with a curl of his lip. “Save your sermon for some other sap. Nobody shares money—not even dead people. Why do you think they invented wills and trust funds?

His most characteristic detective stories end with the realization that no rational account of events is possible, and his suspense stories tend to close with terror not dissipated but omnipresent, like God. ("Introduction")

Home? What is home? Home is where a house is that you come back to when the rainy season is about to begin, to wait until the next dry season comes around. Home is where your woman is, that you come back to in the intervals between a greater love - the only real love - the lust for riches buried in the earth, that are your own if you can find them. Perhaps you do not call it home, even to yourself. Perhaps you call them 'my house,' 'my woman,' What if there was another 'my house,' 'my woman,' before this one? It makes no difference. This woman is enough for now. Perhaps the guns sounded too loud at Anzio or at Omaha Beach, at Guadalcanal or at Okinawa. Perhaps when they stilled again some kind of strength had been blasted from you that other men still have. And then again perhaps it was some kind of weakness that other men still have. What is strength, what is weakness, what is loyalty, what is perfidy? The guns taught only one thing, but they taught it well: of what consequence is life? Of what consequence is a man? And, therefore, of what consequence if he tramples love in one place and goes to find it in the next? The little moment that he has, let him be at peace, far from the guns and all that remind him of them. So the man who once was Bill Taylor has come back to his house, in the dusk, in the mountains, in Anahuac. ("The Moon Of Montezuma")

He began as a minor imitator of Fitzgerald, wrote a novel in the late twenties which won a prize, became dissatisfied with his work, stopped writing for a period of years. When he came back it was to BLACK MASK and the other detective magazines with a curious and terrible fiction which had never been seen before in the genre markets; Hart Crane and certainly Hemingway were writing of people on the edge of their emotions and their possibility but the genre mystery markets were filled with characters whose pain was circumstantial, whose resolution was through action; Woolrich's gallery was of those so damaged that their lives could only be seen as vast anticlimax to central and terrible events which had occurred long before the incidents of the story. Hammett and his great disciple, Chandler, had verged toward this more than a little, there is no minimizing the depth of their contribution to the mystery and to literature but Hammett and Chandler were still working within the devices of their category: detectives confronted problems and solved (or more commonly failed to solve) them, evil was generalized but had at least specific manifestations: Woolrich went far out on the edge. His characters killed, were killed, witnessed murder, attempted to solve it but the events were peripheral to the central circumstances. What I am trying to say, perhaps, is that Hammett and Chandler wrote of death but the novels and short stories of Woolrich *were* death. In all of its delicacy and grace, its fragile beauty as well as its finality. Most of his plots made no objective sense. Woolrich was writing at the cutting edge of his time. Twenty years later his vision would attract a Truffaut whose own influences had been the philosophy of Sartre, the French nouvelle vague, the central conception that nothing really mattered. At all. But the suffering. Ah, that mattered; that mattered quite a bit.

Human beings shouldn't have to enter such doors, shouldn't have to stay behind them. No moon ever entered there, no stars, no anything at all. They were worse than the grave, for in the grave is an absence of consciousness. And God, she reflected, ordered the grave for all of us; but God didn't order such burrows in a third-class New York City Hotel.

I cadged a complimentary green matchbook with a gold bird icon from the Bell canning jar. Later we'd use the matches to light our spliffs. My fingertips tapped the stem to the gizmo that dinged a bell. Nobody came out. Wrong signal, so I did two bell rings. No response prompted me to tap out a series of bell rings.

I couldn't see why it shouldn't be my one hundred dollars.

I had killed a man, for money and a woman. I didn't have the money and I didn't have the woman.

I'd done it, I'd crossed the line between accepted behavior and behavior most of the population would consider a lynching offense, and that morning I felt as real as any of the men in the Escape commercials. It had been dirty and nasty but I wanted more.

I decided to coin the term 'cosy crime noir' for Brighton Belle. That is 'cosy crime' for today's sensibilities because there is that slightly edgy element to it.

I knew what she was, and it made no difference at all. She was hard, as ruthless as she was beautiful, as brittle as bone china.

I let my gaze travel out the picture window. Unlike at my old doublewide trailer perched on the fringe of a played out quarry, here I owned a real yard with real grass that screamed for mowing each Monday a.m. I sat at the kitchen table, cooling off from just having finished this week's job. Yes, here in 2005, I was a full-fledged suburbanite, but I'd been called worse.

I'll remember you... I remember everyone I've lost.

I never knew her in life. She exists for me through others, in evidence of the ways her death drove them

I hate the world. Everything comes into it so clean and goes out so dirty. (from COVER CHARGE - currently not listed)

Inevitably, his vision verged toward the fantastic; he published a scattering of stories - most included in this volume - which appeared to conform to that genre at least to the degree that the fuller part of his vision could be seen as "mysteries." For Woolrich it all was fantastic; the clock in the tower, hand in the glove, out of control vehicle, errant gunshot which destroyed; whether destructive coincidence was masked in the "naturalistic" or the "incredible" was all pretty much the same to him. RENDEZVOUS IN BLACK, THE BRIDE WORE BLACK, NIGHTMARE are all great swollen dreams, turgid constructions of the night, obsession and grotesque outcome; to turn from these to the "fantastic" was not to turn at all. The work, as is usually the case with a major writer was perfectly formed, perfectly consistent, the vision leached into every area and pulled the book together. "Jane Brown's Body" is a suspense story. THE BRIDE WORE BLACK is science fiction. PHANTOM LADY is a gothic. RENDEZVOUS IN BLACK was a bildungsroman. It does not matter.

In near panic, I craned my neck to gaze over the cabin’s roofline a bursting fireball.

In the official police account, the plumber was shot and robbed on the street. Not true—guys stick together—the detective didn't want the victim's wife to know he was flagrante delicto with a prostitute when wounded. I didn't want her hurt or embarrassed either. She figured it out herself. I met her later, after their divorce, and she brought up the subject. The hospital returned her injured husband's garments. She was washing them when she realized that, although there were a number of bullet holes in his body, there were none in his clothes.

I open the toilet door and step out, my internal fire re-stoked, ready to face my demons, fight if need be and win. I’m raging, focused like a jungle warrior after his second bowl of tiger-cock soup.

In Woolrich's crime fiction there is a gradual development from pulp to noir. The earlier a story, the more likely it stresses pulp elements: one-dimensional macho protagonists, preposterous methods of murder, hordes of cardboard gangsters, dialogue full of whiny insults, blistering fast action. But even in some of his earliest crime stories one finds aspects of noir, and over time the stream works itself pure. In mature Woolrich the world is an incomprehensible place where beams happen to fall, and are predestined to fall, and are toppled over by malevolent powers; a world ruled by chance, fate and God the malign thug. But the everyday life he portrays is just as terrifying and treacherous. The dominant economic reality is the Depression, which for Woolrich usually means a frightened little guy in a rundown apartment with a hungry wife and children, no money, no job, and desperation eating him like a cancer. The dominant political reality is a police force made up of a few decent cops and a horde of sociopaths licensed to torture and kill, whose outrages are casually accepted by all concerned, not least by the victims. The prevailing emotional states are loneliness and fear. Events take place in darkness, menace breathes out of every corner of the night, the bleak cityscape comes alive on the page and in our hearts. ("Introduction")

I preyed on this sort of thing, discontentment, a clash of passions among the rivals, and the zealots. Open sores opened secrets. That’s how I roll.” Jackson Guild, The Trinity Conspiracy, Betrayal at Black Mesa

I'm a detective, but nuns could stonewall Sam Spade into an asylum

I ripped all her clothes off. She twisted and turned, slow, so they would slip out from under her. Then she closed her eyes and lay back on the pillow. Her hair was falling over her shoulders in snaky curls. Her eye was all black, and her breasts weren’t drawn up and pointing up at me, but soft, and spread out in two big pink splotches. She looked like the great grandmother of every whore in the world. The devil got his money’s worth that night.

It's only crazy if we fail.

I sat down in a booth, and the waitress shoved a menu in front of me. There wasn’t anything on it that sounded good, and anyway, one look at her and my stomach turned flipflops… Every goddamned restaurant I go to, it’s always the same way… They’ll have some old bag on the payroll — I figure they keep her locked up in the mop closet until they see me coming. And they’ll doll her up in the dirtiest goddamned apron they can find and smear that crappy red polish all over her fingernails, and everything about her is smeary and sloppy and smelly. And she’s the dame that always waits on me.

I sit in the car, staring up at the big corporate beast of a hotel where everyone from prime ministers, presidents, pop stars and the red carpet parade had fucked, pissed, slept and golfed away our taxes and respect. I would need to strap on a pair before I enter.

It’s a case of mistaken identity. It’s one big mistake. You weren’t even in the country when it happened.” Maja in the short story 'Metro' by Steen Langstrup

It was a sort of car that seemed to have a faculty for motion with an absolute lack of any accompanying sound whatsoever. This was probably illusory; it must have been, internal combustion engines being what they are, tires being what they are, brakes and gears being what they are, even raspy street-surfacing being what it is. Yet the illusion outside the hotel entrance was a complete one. Just as there are silencers that, when affixed to automatic hand-weapons, deaden their reports, so it was as if this whole massive car body were encased in something of that sort. For, first, there was nothing out there, nothing in sight there. Then, as though the street-bed were water and this bulky black shape were a grotesque gondola, it came floating up out of the darkness from nowhere. And then suddenly, still with no sound whatsoever, there it was at a halt, in position. It was like a ghost-car in every attribute but the visual one. In its trancelike approach and halt, in its lightlessness, in its enshrouded interior, which made it impossible to determine (at least without lowering one's head directly outside the windows and peering in at nose-tip range) if it were even occupied at all, and if so by whom and by how many. You could visualize it scuttling fleetly along some overshadowed country lane at dead of night, lightless, inscrutable, unidentifiable, to halt perhaps beside some inky grove of trees, linger there awhile undetected, then glide on again, its unaccountable errand accomplished without witness, without aftermath. A goblin-car that in an earlier age would have fed folklore and rural legend. Or, in the city, you could visualize it sliding stealthily along some warehouse-blacked back alley, curving and squirming in its terrible silence, then, as it neared the mouth and would have emerged, creeping to a stop and lying there in wait, unguessed in the gloom. Lying here in wait for long hours, like some huge metal-cased predatory animal, waiting to pounce on its prey. Sudden, sharp yellow spurts of fangs, and then to whirl and slink back into anonymity the way it came, leaving the carcass of its prey huddled there and dead. Who was there to know? Who was there to tell? ("The Number's Up")

I've always thought hard-boiled detective novels an American art form. At their best, they're more than who-dun-its or thrillers, they're vehicles for a writer's observations about culture, politics, philosophy, music, history and a time or a place. Or life, it’s ownself. When you read James Ellroy, Dashiell Hammett or James Lee Burke, their stories are always about far more than good guys chasing bad guys. That’s the kind of book I wanted to write. Still do.

I’ve just been wandering the streets at night. If I came by a German soldier out alone, I would follow him, shove the pistol to the back of his head, and shoot. Once, I even did two at the same time, but they were really drunk.” Poul-Erik aka ‘Willy’ The Informer by Steen Langstrup

IT TOOK a conscious effort for Tallow to keep his hand off his gun as he walked up the apartment building’s stairs. There was no threat here. He told himself that with every step. But every step held memory.

I wasn't that good you know. What I was was a guy who could write a little, publishing in magazines surrounded by people who couldn't write at all. So I looked pretty good. But I never thought I was that good at all. All that I thought was that I tried to tell the truth.

Lots of cops married nurses, Tallow knew. Nurses understood the life: murderous shiftwork, long stretches of boredom, sudden adrenaline spikes, blood everywhere. Tallow almost smiled as he followed his wincing partner into the apartment building. He made sure the door closed as silently as possible, and only then did he draw his firearm.

Looking back, I know that the man possessed no gift of prophecy; he simply worked to assure his own future, while I skated uncertainly toward mine. It was his flat-voiced "Cherchez la femme" that still haunts me. Because our partnership was nothing but a bungling road to the Dahlia. And in the end, she was to own the two of us completely.

Luis found all this very exciting. He had enthusiasm for myths, legends, bad omens, bad weather, supernatural happenings and inexplicable events. His passion for superstitions and doomsaying drove his other family members crazy. He didn’t often meet curious strangers with whom he could share his fantastic tales.

Miss Leary, do you mean to insinuate that I should go encouraging homo-sex-uality amongst these corpses?

It's time to end the brain drain and move to brain gain. It's time for a great mind of Nigeria to return home. You're the mind we need, Doctor.

May they run free forever and grow back their limbs!

Nobody saw what happened next, or else nobody admitted to it. A couple of people said they saw the Kid stand up, turn around quickly, and sit down again. But neither of those people was there at the time. The teacher had turned her back to the class and was writing on the board. She heard something and looked around. Gordon Ritchie was coming towards her, reaching for her, whimpering. The Kid’s pen was sticking out of Gordon’s face. The Kid had stabbed him with it, stabbed him so hard that it pierced his cheek and impaled his tongue. The teacher backed away from Gordon, trying to take in what she was seeing. Bubbles of blood were coming out of his mouth. Some of the children ran out of the room. Others screamed or cried. The Kid just sat at his desk, as though there had been no interruption to the class.

No me atrevería a decir que te equivocas, aunque tampoco podría darte la razón.

No whiskey, no religion, nothing.

one of the crazies moved into the cone of light beneath a streetlight. It was a black man, high-stepping and making jerking movements with his arms. He made a crisp turn and began moving back into the darkness. He was a trombone player in a matching band in a world somewhere else.

Normally, I don't take to drinking so early in the morning, but I bend the rules when I get my ass kicked before sunrise."--Thomas Morelli