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A Flash of Noir is a collection of flash fiction and short, short stories, laid down old-school style by master mystery writer Christopher Pinto. Writing in the genre of gumshoe detectives and sultry dames, creepy horror and hep cat jive, Pinto has put together a series of mostly one-page, 60-second reads that will transport you to another time…a darker, more sinister time.

From smokey bars in New York City to the tropical islands of the Florida keys, A Flash of Noir takes you for a spin through the seediest gin joints and darkest alleys. One minute you’re speeding down I-95 in a hot rod, the next you’re tasting cheap whiskey in a basement tap room where the women are heartless and the men are unforgiving. Gangsters, cops, private eyes, strippers, murderers, phantoms…plus a few comedy pieces to keep you from wanting to slit your wrists.

Over 40 stories of crime fiction, ghost stories, retro fiction and short beatnik poetry plus noir-esque original photographs by the author make this a fast, fun read. There’s even a flash written entirely of song titles…see if you can list every one!

Pinto is author of the new, up-and-coming Detective Bill Riggins paranormal mystery series, of which Murder Behind the Closet Door and Murder on Tiki Island have already been met with rave reviews. Murder Under the Boards, The Atlantic City Murder Mystery is due out next…soon. For more information on the series and the author, visit Stardust Mysteries Publishing at http://stardustmysteries.com .

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Director Billy Wilder (Sunset Boulevard) and writer Raymond Chandler (The Big Sleep) adapted James M. Cain’s hard-boiled novel into this wildly thrilling story of insurance man Walter Neff (Fred MacMurray), who schemes the perfect murder with the beautiful dame Phyllis Dietrichson (Barbara Stanwyck: kill Dietrichson’s husband and make off with the insurance money. But, of course, in these plots things never quite go as planned, and Barton Keyes (Edward G. Robinson) is the wily insurance investigator who must sort things out. From the opening scene you know Neff is doomed, as the story is told in flashback; yet, to the film’s credit, this doesn’t diminish any of the tension of the movie. This early film noir flick is wonderfully campy by today’s standards, and the dialogue is snappy (“I thought you were smarter than the rest, Walter. But I was wrong. You’re not smarter, just a little taller”), filled with lots of “dame”s and “baby”s. Stanwyck is the ultimate femme fatale, and MacMurray, despite a career largely defined by roles as a softy (notably in the TV series My Three Sons and the movie The Shaggy Dog), is convincingly cast against type as the hapless, love-struck sap. –Jenny Brown

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In his introduction to the The Best American Noir of the Century, James Ellroy writes, “noir is the most scrutinised offshoot of the hard-boiled school of fiction. It’s the long drop off the short pier and the wrong man and the wrong woman in perfect misalliance. It’s the nightmare of flawed souls with big dreams and the precise how and why of the all-time sure thing that goes bad.” Offering the best examples of literary sure things gone bad, this collection ensures that nowhere else can readers find a darker, more thorough distillation of American noir fiction. James Ellroy and Otto Penzler, series editor of the annual The Best American Mystery Stories, mined one hundred years of writing — 1910-2010 — to find this treasure trove of thirty-nine stories. From noir’s twenties-era infancy come gems like James M. Cain’s “Pastorale,” and its post-war heyday boasts giants like Mickey Spillane and Evan Hunter. Packing an undeniable punch, diverse contemporary incarnations include Elmore Leonard, Dennis Lehane, Patricia Highsmith and William Gay, with many page-turners appearing in the last decade.In his introduction to the The Best American Noir of the Century, James Ellroy writes, “noir is the most scrutinised offshoot of the hard-boiled school of fiction. It’s the long drop off the short pier and the wrong man and the wrong woman in perfect misalliance. It’s the nightmare of flawed souls with big dreams and the precise how and why of the all-time sure thing that goes bad.” Offering the best examples of literary sure things gone bad, this collection ensures that nowhere else can readers find a darker, more thorough distillation of American noir fiction. James Ellroy and Otto Penzler, series editor of the annual The Best American Mystery Stories, mined one hundred years of writing — 1910-2010 — to find this treasure trove of thirty-nine stories. From noir’s twenties-era infancy come gems like James M. Cain’s “Pastorale,” and its post-war heyday boasts giants like Mickey Spillane and Evan Hunter. Packing an undeniable punch, diverse contemporary incarnations include Elmore Leonard, Dennis Lehane, Patricia Highsmith and William Gay, with many page-turners appearing in the last decade.

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