Description:

Brand new stories by: George Pelecanos, James Grady, Kenji Jasper, Jim Beane, Jabari Asim, Ruben Castaneda, James Patton, Norman Kelley, Jennifer Howard, Richard Currey, Lester Irby, and others.

Mystery sensation Pelecanos pens the lead story and edits this groundbreaking collection of stories detailing the seedy underside of the nation's capital. This is not an anthology of ill-conceived and inauthentic political thrillers. Instead, in D.C. Noir, pimps, whores, gangsters, and con-men run rampant in zones of this city that most never hear about.

**

From Publishers Weekly

While only a few of the contributors, such as editor Pelecanos, will be familiar to most readers, every story in this all-original noir anthology set in the nation's capital is well written, even if each captures the cynicism and despair of classic noir with varying success. Highlights include Pelecanos's "The Confidential Informant" and Laura Lippman's "A.R.M. and the Woman," though these could have been set elsewhere with little change to characters or plot. Jim Fusilli's "The Dupe," a contemporary political tale of betrayal, best makes use of the Washington setting. Despite Pelecanos's claim in his introduction that it's too easy to call the city polarized, rarely do the paths of the haves and the have-nots cross in these 16 tales, 10 of which have their crimes occur in the prosperous Northwest section of D.C. (Feb.)
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From Booklist

The publisher's Noir series, launched with Brooklyn Noir (2004), is growing with viruslike rapidity--even though it's not always infectious. The problem may lie with the choice of editors. Chicago Noir , for example, was selected by Neal Pollack ( Never Mind the Pollacks, 2003). Whatever his talents may be, murder is not his metier, and his lineup included some lightweights. For D.C. Noir , Akashic had the good sense to turn to Pelecanos ( Drama City , 2005), who delivers a wholly satisfying volume. From his own "Confidential Informant," to James Grady's "Bottom Line," Pelecanos shows us how both trash-strewn alleys and oak-paneled offices can trap their occupants with dreams, compromise, and heartbreak. Even Quintin Peterson's "Cold as Ice," which features an O. Henry-like twist and a happy ending, has a downbeat feel, reminding us that victories wrought by violence are still losses. The forthcoming Manhattan Noir will be edited by Lawrence Block--too bad they couldn't get Michael Connelly for Los Angeles Noir. Keir Graff
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