The argument of Noir Fiction and Film is curiously counterintuitive: that in a century of hard-boiled fiction and detective films, characteristics that at first seemed trivial swelled in importance, flourishing into crucial aspects of the genre. Among these are aimless descriptions of people
and places irrelevant to plot, along with detectives consisting of little more than sparkling dialogue and flippant attitudes. What weaves together such features, however, seems to be a paradox: that a genre rooted in solving a mystery, structured around the gathering of clues, must do so by
misdirecting our attention, even withholding information we think we need to generate the suspense we also desire. Yet successful noir stories and films enhance that suspense through passing diversions (descriptive details and eccentric perspectives) rather than depending on the center pieces of
plot alone (suspected motives or incriminating traces). As the greatest practitioners of the genre have realized, the "how" of detective fiction (its stylistic detours) draws us in more insistently than the "what" or the "who" (its linear advance). And the achievement of recent film noir is to make
that "how" become the tantalizing object of our entire attention, shorn of any pretense of reading for the plot, immersing us in the diversionary delight that has animated the genre from the beginning.

Lee Clark Mitchell, Holmes Professor of Belles-Lettres, Department of English, Princeton University

Lee Clark Mitchell is Holmes Professor of Belles-Lettres at Princeton University, where he has served as Chair of the English Department and Director of the Program in American Studies. He teaches courses in American literature and film, with recent essays focusing on Cormac McCarthy, John Williams,
the Coen brothers, and Edith Wharton. His recent books include Mere Reading: The Poetics of Wonder in Modern American Novels (Bloomsbury, 2017), Late Westerns: The Persistence of a Genre (Nebraska, 2018), and More Time: Contemporary Short Stories and Late Styles (Oxford, 2018).