Miami Noir

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As both a teacher and a writer, I have often been asked to explain why Miami is such fertile territory for writers who write well and truly of crime and violence and of the dark side of the human condition. Sometimes the question is put out of honest curiosity. Other times, it seems as if there is a challenge there. As if the questioner might have continued, given half a chance: Why aren’t you writing novels of manners down there? Drawing room comedies? Something literary, for God’s sake?

The former types are fine — honest curiosity is a good thing; as for the latter interrogators, they tend to become the models for the victims in our upcoming work. But let there be an attempt at an explanation:

The truth is that Miami, though naturally lovely, is a frontier town, perched on the border between the known and the rarely before experienced. The poet Richard Hugo once said that the natural place for the writer was on the edge, and “edge” might well be the definitive word when it comes to this city.

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