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Attendees of this coming weekend’s 5th anniversary / 10th issue launch reading can look forward to mixing with a special selection of noir sounds as selected and sequenced by Black Clock editor Steve Erickson.

In fact, dig.

Limited Edition Soundtrack CD

1. “Générique” by Miles Davis
2. “The Big Sleep” by Max Steiner
3. “Double Indemnity” by Miklos Rosza
4. “Body Heat” by John Barry
5. “If You Go” by Helen Merrill
6. “Peter Gunn” by Henry Mancini
7. “Vertigo” by Bernard Herrmann
8. “The Bad And The Beautiful” by David Raksin
9. “Harlem Nocturne” by Harry James
10. “Touch Of Evil” by Henry Mancini
11. “It’s A Lonesome Old Town” by Frank Sinatra
12. “Laura” by David Raksin
13. “Marlowe” by David Shire
14. “Taxi Driver” by Bernard Herrmann
15. “Park Avenue Beat” by Fred Steiner
16. “The Fountainhead” by Max Steiner
17. “Long Ago And Far Away” by Jo Stafford
18. “Chinatown” by Jerry Goldsmith

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With both the occasion of our fifth anniversary and the publication of our tenth issue imminent, Black Clock has asked some of its most frequent (and prominent) contributors to describe their experience as readers of the magazine. The responses we collected are as singular, idiosyncratic and even a little mysterious as the contents of any given issue.

“Black Clock measures the temper of the turning world, ” a journal of ideas, provocations and cultural leaps, with some of the best writing anywhere.” – Don DeLillo

“There’s never before been a literary journal with exactly the power and elegance, even the force of enigma, of Black Clock. Each issue arrives in the reader’s hands as an artifact throbbing with potential and strangeness, new names and old names in wild conjunctions and brave forays, a journal to drive the collectors of the future into acquisitive frenzies.” – Jonathan Lethem

“Black Clock is one of the literary magazines I can’t wait to see when it arrives in the mail, and the thing I read that night before all else.” – Susan Straight

“Black Clock provides a much needed fix of experimental fiction and adventurous writing. If you’re getting the itch for some literary stimulation, cut down on the lattes and invest in a subscription.” – Carlos Ruiz Zafón

“One of the contemporary literary magazines with real vision — and they are in short supply.” – Rick Moody

Black Clock is published semi-annually by the California Institute of the Arts (CalArts) MFA Writing Program.

Black Clock 10 Darkening The Horizon

Born in the despair of the Great Depression, flourishing in the first radioactive blush of the nuclear age, Noir really is more a sensibility than a style, and the tenth issue of Black Clock operates on the premise that Twenty-First Century Noir is a mutated thing that still bears kinship with the original. Robert Polito finds early signs of noir all the way back in Eighteenth Century America in “It Would Be a Queer World If,” and Dana Spiotta takes a look at one of the classic Fifties film noirs in “First is First, Second is Nobody.” In Diana Wagman’s “The Five Elements of Noir,” some noir archetypes find the movie they’re in has taken them over. The genre gets decidedly weird with Michael Ventura’s cross-dressing private-eye in “One Marilyn Too Many,” and becomes altogether supernatural in stories by Denise Hamilton and Francesca Lia Block. And amid work by major contemporary authors Scott Bradfield, Brian Evenson, Geoff Nicholson and others, Black Clock 10 also identifies 70 essential noir movies, novels, comics, poems, paintings, performances and pieces of music.

Now among the nation’s foremost literary magazines, Black Clock has showcased award-winning writing by established and emerging authors, with pieces anthologized in best-of-the-year collections and two excerpted novels going on to win National Book Awards.

Black Clock is published semi-annually by the California Institute of the Arts (CalArts) MFA Writing Program.

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Black Clock 10 Darkening The Horizon

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