‘Paris Noir’ is more ‘Paris’ than ‘Noir’

Compilation books like Paris Noir are typically a mixed bag. There are usually some gems scattered in with some definite duds. Think of it like the songs playing on the stereo at a party: You’ll be nodding your head along to a few of them, while others enter one ear and exit the other.

Unfortunately, the short stories in Paris Noir are mostly forgettable. The book seems to break a basic rule: There are very few noir-ish tales. Yes, many of the stories, edited by Maxim Jakubowski, center on crime in the capital city of France. In fact, Jakubowski’s own short story (“L-Americaine”) is one of the best, and that’s because he sticks to the rubric. Others are less successful; their wayward plots, never focusing on mystery or crime, are the ultimate reason for their disconnection.

John Harvey’s simple fable of drug addiction and musicianship, titled “Minor Key,” kicks off the book. It’s a nicely woven tale following the travails of a musical quartet. This is followed by Paris Noir’s strongest story, “Bar Fight,” by Jason Starr. Now this is so-called “Capital Crime Fiction;” it’s violent; it’s redemptive; it’s simple; it’s shadowy.

Michael Moorcock’s “The Flaneur of Les Arcades de l’Opera” is a clever piece that utilizes a bit of fantasy. It could have done with some trimming (it lasts almost 60 pages), but is fun nevertheless. Dominique Manotti’s “Ethnic Cleansing” is expertly written, but feels too underdeveloped for a tale about the enormously important subject of immigration. “Deux ex Machina” by Sparkle Hayter is a forlorn tale of an unlucky, struggling writer. “Guy Georges’ Final Crime” by Romain Slocombe is slight, but effective in displaying a sense of angst over a serial killer on the loose.

The rest of the stories in Paris Noir are serviceable. Everything fits because it takes place in Paris, and yet nothing seems terribly illuminating. The city is not brought to life; it’s just a locale that is mentioned once in a while. Take out the word “Paris” and plug in any other world capital, and you have Berlin Noir, London Noir, New York City Noir. A wiser compilation would have followed the lead of Paris Je T’Aime, a wonderful film that lets the lens of several directors capture the City of Light. Each filmmaker focuses on a particular neighborhood, and by the movie’s end, a full portrait emerges.

In Paris Noir, there are only glimpses of totality. Everything is too lacking, too discordant.

John Soltes / Publisher

• Paris Noir

• Edited by Maxim Jakubowski, featuring short stories by several writers

• Serpent’s Tail, 288 pages

• Retail price: $14.95 (paperback edition)

• Bubble score: 2.5 out of 4

• Click here to purchase Paris Noir.