The best gritty noir novels full of poetic lines, dirty realism, and dark humour

This is the dirty realist poet, Charles Bukowski's, last novel and is filled with intriguing code and name-dropping of people he knew and was influenced by. As well as being as poetic as hell. Pulp also gives a glimpse of what it might have been like if Bukowski had lived on and ventured fully into crime fiction or pulp noir.

I love the book’s surface-level simplicity to draw you into its world. However, it then subversively lets bigger themes creep in: including surrealism and spiritualism, as the author faces his own death. All this with Bukowski’s deftly poetic touches.

This showed me how semi-autobiographical elements can fuse and influence fiction and vice versa. And, that it doesn't have to be hard to absorb or distract from the story. By acknowledging layers in writing which are there for those who want to peel back and discover them. And when they don’t, these layers form a deep and vivid backdrop to the story and invite the reader back for a re-read.

Derek Raymond’s 4th book in his Factory Series is sublimely dark and poetic. It’s brit-grit with an industrial, dirty backdrop and hard feel. Some lines are funny in their harshness with a cliched bad PI turned up to max.

This is a British hard-boiled, hard-drinking, and damaged detective with all the atmosphere of a French noir clashing with Ted Lewis’ Get Carter.

I Was Dora Suarez is a prime example of brit-noir with a flawed protagonist chasing clues and signs in an equally damaged world. Despite the bleakness of the characters and situations it’s impossible not to be gripped and have your face thrust against the glass to see.

This is Auster exploring all the themes he’s well known for now, and crafting them into a beautifully absurd almost surreal tale. Not strictly a noir book this has a protagonist struggling with his place in the world and his identity, whilst getting drawn into situations out of their control—all tropes which are seminal to the genre. 

Auster’s first book released under the pseudonym Paul Benjamin, called Squeeze Play, is a more typical crime, or pulp noir. And it's easy to see his blend into literary fiction whilst holding the noir handles close for The Music of Chance.

Often writers start out literary then a genre attaches itself. Here, Auster appears to have hit big by penning a commercially aimed work, then shifting back to where his core themes ring out.

I’m a huge fan of these themes he’s so good at; stories within stories, back-tales of characters, and existential overlaps between these roles; involving the author and reader in this word-play as well as a profound search for identity throughout.

In The Music of Chance, I found enthusiasm for drawing readers into absurd and surreal sidelines that eventually become attuned to, or evolve into the defining theme. Similar to David Lynch’s work, this is genius in that it doesn’t always strive to make sense, as real life rarely does, but it always entertains and feels more creative and authentic for it.

This is angry, savage, beautifully poetic, and uncomfortably real crime fiction.

Sallis writes like a master blues or jazz musician with deft control over what notes not to play, as much as which to let shout out…creating tensions, succinct phrasing, and beautifully rich and condensed narratives and characters.

I’ve learned a lot from Sallis’ books and the translation onto the screen of this one in particular. They're a masterclass of modern neo-noir.

Stephen J. Golds is a prolific powerhouse of dirty realist poetry and gritty modern crime fiction. I’ve been lucky enough to work with him on a number of projects now and admire his mind and words greatly. 

Say Goodbye When I’m Gone is a breakthrough work of art for someone well-studied in his craft. It’s punchy, atmospheric, and brutal…but also, so sensitively poetic and soulful.

Say Goodbye When I’m Gone, and his other books generally, are prime examples of how a masterwork doesn’t have to be a doorstop in page length. Like The Postman Always Rings Twice by James M. Cain, these gems of noir fiction are often in novella format. Soulful, concise, sharp, and lean. Like the best poetry, which Golds happens to be unsurprisingly masterful with too.