Miami Noir: The Classics

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When I wrote the introduction to the original Miami Noir in 2007, I spoke of the relative youth of the city, barely more than one century and one decade old at the time, and of the appropriate fact of the irascible crime story as its reigning literary emblem. There might come a day, I theorized, when Miami — having acquired its art and science museums, and its thriving opera house and shimmering performing arts centers — would have developed the ease and the multifaceted cultural and historical backdrop from which reserved and careful works exhibiting the decorum of literature some purists denote with a capital “L” might be spawned.

But, said I, Miami remained at the time essentially a frontier town, a city on the edge of the continent, inviting all comers, full of fractious delight, where nothing of import had been settled, where no special interest group could yet claim control of politics or culture, and every day brought a new melee between some subset of those on the make and destined for collision. The perfect literary medium to give voice to such a place, I ventured, was the story of crime and punishment.

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