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| | | | CHARTACatherine Corman: Daylight NoirRaymond Chandler's Imagined CityIntroduction by Catherine Corman. Preface by Jonathan Lethem. Text by Raymond Chandler.
Daylight Noir: Raymond Chandler's Imagined City comprises photographs of all those ominous, forbidding Los Angeles locations so hauntingly described by Chandler in his novels. From Malibu Pier to the Hollywood Sign, from Union Station to the Beverly Hills Hotel, from MGM Studios to Musso and Frank's Grill, these locales form the geography of Chandler's imagination, and conjure a world not yet entirely vanished. Clive James wrote of Chandler's fascination with Los Angeles that "when he said that it had as much personality as a paper cup, he was saying what he liked about it." But Chandler was also drawn to the Hopperesque loneliness of the city, to that sense of isolate existences that never merge. In these photographs, Catherine Corman (editor of Joseph Cornell's Dreams) has given us, as Jonathan Lethem writes in his preface, "a supremely evocative catalogue of haunted places... these streets and buildings we have erected in order to give order to our solitudes."
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FORMAT: Pbk, 8.5 x 8.5 in. / 128 pgs / 54 duotone.
LIST PRICE: U.S. $39.95
LIST PRICE: CANADA $50
ISBN: 9788881587247
PUBLISHER: Charta
AVAILABLE: 10/31/2009
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: No longer our product
AVAILABILITY: Not available
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| Catherine Corman: Daylight Noir
Raymond Chandler's Imagined City Published by Charta.
Introduction by Catherine Corman. Preface by Jonathan Lethem. Text by Raymond Chandler. Daylight Noir: Raymond Chandler's Imagined City comprises photographs of all those ominous, forbidding Los Angeles locations so hauntingly described by Chandler in his novels. From Malibu Pier to the Hollywood Sign, from Union Station to the Beverly Hills Hotel, from MGM Studios to Musso and Frank's Grill, these locales form the geography of Chandler's imagination, and conjure a world not yet entirely vanished. Clive James wrote of Chandler's fascination with Los Angeles that "when he said that it had as much personality as a paper cup, he was saying what he liked about it." But Chandler was also drawn to the Hopperesque loneliness of the city, to that sense of isolate existences that never merge. In these photographs, Catherine Corman (editor of Joseph Cornell's Dreams) has given us, as Jonathan Lethem writes in his preface, "a supremely evocative catalogue of haunted places... these streets and buildings we have erected in order to give order to our solitudes."
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