{"id":1225,"date":"2026-08-05T12:08:12","date_gmt":"2026-08-05T12:08:12","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=1225"},"modified":"2026-08-05T12:08:12","modified_gmt":"2026-08-05T12:08:12","slug":"how-jordan-harper-reinvented-noir-for-the-epstein-era","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=1225","title":{"rendered":"How Jordan Harper Reinvented Noir for the Epstein Era"},"content":{"rendered":"
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As I approached the end of Jordan Harper\u2019s \u201cA Violent Masterpiece,\u201d this year\u2019s buzzy crime novel, I was surprised\u2014slightly disoriented, even\u2014by the presence of an unexpected feeling on the page: hope. The feeling is unexpected because of all that has come before it, including in \u201cEverybody Knows,\u201d Harper\u2019s previous novel, to which \u201cA Violent Masterpiece\u201d is a sequel of sorts (though perfectly readable on its own). The world of these books is a bleak, fallen one: a grotesque, Day-Glo Los Angeles where the rich and powerful do whatever they want, aided by armies of flunkies and stacks of N.D.A.s. Both stories burst at the seams with corrupt cops and politicians, private mercenaries, concierge peddlers of drugs and sex and plastic surgery, lawyers who stop charges from sticking, and \u201cblack-bag publicists\u201d who stop dirt from surfacing. One central character is a monster clearly cobbled together from recent-ish headlines of American depravity: part Weinstein, part Epstein. (In \u201cA Violent Masterpiece,\u201d he quickly winds up dead in jail.) The novels\u2019 Boschian background is full of people whom the powerful no longer have any need for, or never cared about in the first place\u2014discarded child actors, assistants who couldn\u2019t hack it, addicts who live in encampments.<\/p>\n

Read more What Makes an Adaptation Good?<\/a><\/p>\n

Harper has been widely f\u00eated by both critics and his fellow crime writers. (\u201cEverybody Knows\u201d was, according to the detective novelist Michael Connelly, \u201cthe book everybody\u2019s been waiting for.\u201d) When \u201cA Violent Masterpiece\u201d came out, in April, the Times Book Review<\/em> dubbed it \u201cthe<\/em> noir novel for our times.\u201d In the noir tradition, Harper\u2019s writing trains us not to set our hopes too high. Again and again, he shows us how would-be rebels who fight \u201cthe Beast\u201d (as a few of them call L.A.\u2019s power structure) get defeated and punished, often violently. His prose radiates an ecstatic pessimism, as if lit up from within by the relief of not having to sugarcoat things with comforting lies. \u201cThis wicked truth that moves under everything rises to the surface,\u201d he writes, describing an outbreak of police violence against protesters. \u201cThe serpent that circles the world shows itself.\u201d<\/p>\n

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But, as the new book hurtles toward its climax, it starts to seem as if at least some of Harper\u2019s characters might eke out some kind of victory against the Beast. Is Harper, like so many noir writers before him, raising our hopes for the express purpose of dashing them against the rocks? Or is hope really in reach? If so, what kind?<\/p>\n

\u201cNoir,\u201d a term originally coined by French critics to refer to certain American films made in the nineteen-forties, now refers to all manner of stories, onscreen and off, with a wide variety of preoccupations and stylistic tendencies. If there\u2019s a single unifying fixation, it might be the contrast between surface and reality, and especially between superficially happy cover stories and subterranean despair. In the forties and fifties, noir stories of criminality thumbed their noses\u2014with style\u2014at the enforced cheeriness of postwar American life, dissenting from the era\u2019s sunny master narrative: that the U.S. was always and forever a beacon of progress, an unambiguous force for good in the world, a place where hard work and upstanding behavior were always rewarded, and crime never paid. In the decades since, more recent variants have adapted this schema for other settings. West Coast noir insists that the sun-drenched beauty and free-spirit mythology of California hide a world of corruption and greed. Nordic noir suggests the presence of violence and hatred beneath the tranquillity and order of the Scandinavian welfare state, just as Southern noir peels back hospitality and charm to reveal repressed family secrets and moral decay.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Noir always means darkness\u2014but how much of it, and how completely, in \u201ctrue\u201d noir, it blots out the sun has always been a debate among connoisseurs. In essays accompanying their co-edited anthology, \u201cThe Best American Noir of the Century,\u201d published in 2010, the genre masters James Ellroy and Otto Penzler insist that literary noir has to mean total bleakness: stories exclusively about desperate people doomed to lose it all, because them\u2019s the breaks. The genre, Ellroy writes, is \u201cthe nightmare of flawed souls with big dreams and the precise how<\/em> and why<\/em> of the all-time sure thing that goes bad. Noir is opportunity as fatality, social justice as sanctified shuck, and sexual love as a one-way ticket to hell.\u201d<\/p>\n

Harper is a well-known fan of Ellroy\u2019s; he spent years working up a TV adaptation (never picked up by CBS) of Ellroy\u2019s 1997 novel, \u201cL.A. Confidential,\u201d and, in the afterword for \u201cA Violent Masterpiece,\u201d he thanks Ellroy \u201cfor carving the path.\u201d So, as expected, he has gloom to spare. His books are pervaded by depravity of all sorts: casting agencies that funnel desperate young actors to powerful older men; little Weinsteins everywhere; rich kids who get off on launching explosives in homeless camps. There\u2019s even a human-tissue business that scouts the morgue, looking for corpses to process into the stuff of butt lifts and plumped lips. If you\u2019re thinking that a human-tissue business sounds like a great way to hide evidence, you\u2019ve probably been reading too much noir; you\u2019re also right.<\/p>\n

\u201cA Violent Masterpiece\u201d alternates between the perspectives of three characters. None of them lose their innocence in the course of the story; they lost it long ago. (Ellroy again: \u201cAmerica was never innocent. We popped our cherry on the boat over and looked back with no regrets.\u201d) Kara Delgado works as a fixer at L.A.\u2019s premier concierge service, catering to the outr\u00e9 tastes and perversions of the city\u2019s \u00e9lite. Doug Gibson, the novel\u2019s closest thing to an idealist, is a pugilistic criminal-defense lawyer, the kind with ads on bus-stop benches. He has a well-worn speech about the value of due process and can speak trenchantly about all the ways the system is stacked against his clients. But somewhere inside he knows that the status quo has made him a wealthy man, while he hasn\u2019t changed the status quo a bit. Jake Deal, formerly employed to dig up secrets for a gossip website, now works for himself as a live streamer; he drives through the city, using a police scanner to track down scenes of chaos and carnage, feeding his viewers\u2019 appetite for v\u00e9rit\u00e9 gore. If the photos are good enough, he can sell them to his old employer.<\/p>\n

All three characters know exactly what\u2019s wrong with the world. If they were in the mood, they could articulate a cogent critique (and, in the next breath, a plausible minimization) of their own contribution. All three are shown enjoying what they do, at least some of the time. Each, in a way, gets to be up close to the gears that make the real world turn. Each gets to enjoy the adrenaline rush of making the world bend to his or her will, at least a little bit: Kara when she gets every rule rendered moot on her clients\u2019 behalf; Gibson when he gets his clients out, or their sentences reduced; Jake when he gets the right footage or finds the right words for his live stream (called the Creepy Crawl) and sees his followers go wild. Here he is, talking to his audience:<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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\u201cWe are America dreaming itself. We\u2019re a fractal of fortunes and crimes, fortunes and crimes. We\u2019re cars and guns and land grabs and tacos, money and movies and big tits and death, all served under a dirty sky\u2014please rise for our national anthem, am I right?\u201d<\/p>\n

Read more Stella Lefty and the Rise of Nepo-Baby Musicians and \u201cIndustry Plants\u201d<\/a><\/p>\n<\/div>\n<\/blockquote>\n

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He picks up speed. The light turns red. He rockets through it. Pissed-off horns chorus on both sides. He glances down at the chat, watching it roll with HELL YEAHs and mushroom-cloud animations. He turns hard onto Florence\u2014tires sing. This high, wild laugh comes out of him.<\/p>\n<\/div>\n<\/blockquote>\n

In interviews, Harper has described prepping for the novel by driving around L.A. Jake-style, police scanner and all. The live streamer feels like a stand-in for the author\u2019s own ambivalence about crime writing. In one charged scene, Jake\u2014moonlighting as an investigator for a celebrity-blackmail outfit\u2014films through a window as a famous actor becomes increasingly violent with a woman he\u2019s just picked up. At first, Jake is worried mostly about the poor quality of the video he\u2019s capturing. But the worse the scene unfolding through the glass gets, the more troubled Jake becomes\u2014by the celebrity\u2019s actions, yes, but also by his own. Almost by reflex, he punches the window, smashing it. The intensity of Harper\u2019s writing, especially in his grisliest depictions of violence, can feel like the prose equivalent of trying to smash the glass. At other times, the book embodies an awareness that glass-smashing isn\u2019t in the cards.<\/p>\n

What is the line, you can sense Harper asking, between documenting the horrors of the world and profiting from them, packaging them\u2014like Jake, like Harper, like almost all crime writers\u2014for an audience safe at home? In one of the novel\u2019s eeriest moments, Jake is driving around the city, talking into his microphone, as usual\u2014only now it\u2019s intentionally unplugged and he isn\u2019t live streaming, because what he\u2019s up to (fighting the Beast) is secret. He\u2019s trying, I think, to figure out what he sounds like when just describing the world isn\u2019t enough, and when he\u2019s not putting his description up for sale. It\u2019s as if Harper, too, is trying to figure out what kind of noir he\u2019s really writing, and why.<\/p>\n

Around the novel\u2019s halfway point, one of Harper\u2019s characters dares to change, or try changing, his relationship to the Beast. They receive a brutal noir comeuppance, in a scene of terrifying violence. Reading it, I felt that trademark quicksand feeling of the most hard-core noirs: that every action, no matter its intentions, is sending its characters in only one direction\u2014down, closer to the heart of darkness.<\/p>\n

But then the book keeps going. If your preferred experience of reading crime fiction relies on knowing absolutely nothing about how things pan out, stop here. Harper\u2019s characters live to fight another day. (Well, some of them do.) More than that, though, they transform into people who are resolved to fight, with new weapons in their arsenals and new feelings in their hearts. \u201cI\u2019m thinking, maybe there\u2019s another way of being,\u201d one of them says fumblingly, in a rare moment of direct sincerity. \u201cI\u2019d like to find out if there is.\u201d<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Is this still noir? Partisans of the Ellroy and Penzler definition probably wouldn\u2019t say so, except perhaps as a diss, proof of a contemporary inability to face misery without slapping on some good cheer at the end. Or perhaps one might say: It\u2019s not really noir\u2014and that\u2019s fine! Ellroy himself, in the nineteen-nineties, declared, \u201cNoir is dead for me,\u201d because its world view was too simple, and left no room for him to explore subjects such as love, redemption, and self-knowledge without forcing them into a predetermined script.<\/p>\n

But there\u2019s another way of looking at the noir-ness of Harper\u2019s writing, one that draws on the genre\u2019s history without using it as the basis for an essentialist definition. If traditional noir drew much of its energy from sneering with style at America\u2019s sunny master narratives, those narratives have largely broken down, as has the homogenous mass-media ecosystem that endlessly recirculated them. There\u2019s no significant cultural prohibition against pointing out that things aren\u2019t going so well. (\u201cThings Aren\u2019t Going So Well\u201d is easy to imagine as the title of a Times<\/em> op-ed, a viral Substack post, or a new A24 movie.) In the era of Trump, Epstein, and all the tentacular corruption they represent, pointing out that there\u2019s rot beneath the surface, or a repressed truth behind the smile, isn\u2019t edgy; it\u2019s rote. Now the rot is right there on the surface; the people smiling are less likely to be clueless optimists than the people who are happy about the rot, or profiting from it. A network of particularly depraved men in \u201cA Violent Masterpiece\u201d has a name for itself, one that speaks not just to its members\u2019 impunity but also to their delight: the Kids in the Candy Store.<\/p>\n

Maybe it makes sense that a noir for our current era would dare to find its way to hope, albeit hope of a very noirish variety. If Harper\u2019s voracious hunger for piling on details of Hollywood depravity can seem exploitative, the noir framework suggests another way of looking at it. In order to point\u2014against the prevailing mood of our times\u2014toward a sliver of optimism, he needs his readers to know, beyond the shadow of a doubt, that he\u2019s fully aware just how hard that optimism is to find. The risk, of course, is that he makes the depravity so convincing that hope can only pale in comparison. Readers will have to decide for themselves what to believe. Doing so will mean asking just what they think about the world today and our prospects within it. These are questions that can be discomfiting, even disturbing. Which is, in its way, pretty noir.\u00a0\u2666<\/p>\n

Read more The Mentor<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

\u201cA Violent Masterpiece,\u201d this year\u2019s buzzy crime novel, inverts the genre\u2019s traditional contrast between superficial optimism and subterranean despair, writes Peter C. Baker.<\/p>\n","protected":false},"author":1,"featured_media":1224,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28],"tags":[],"class_list":["post-1225","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-under-review"],"yoast_head":"\nHow Jordan Harper Reinvented Noir for the Epstein Era - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=1225\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How Jordan Harper Reinvented Noir for the Epstein Era - City Relocation News\" \/>\n<meta property=\"og:description\" content=\"\u201cA Violent Masterpiece,\u201d this year\u2019s buzzy crime novel, inverts the genre\u2019s traditional contrast between superficial optimism and subterranean despair, writes Peter C. 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