Love and Suspense in Paris Noir : Navigating the Seamy World of Jake Lamar's Rendezvous EighteenthMain MenuMeet Jake LamarMeet Jake Lamar, his Paris, and his novel Rendezvous Eighteenth.Your GuideThe guide or the narrator in Rendezvous Eighteenth.Left and Right BanksHow Rendezvous Eighteenth departs from African-American expatriate tradition in Paris.Routes in the EighteenthExplore some places in Rendezvous Eighteenth that aren't well known in expatriate fiction.Routes of Love and Paris NoirConclusion of Dr. Thompson's analysis of Rendezvous Eighteenth.MerciAcknowledgments to everyone that contributed to this interactive literary analysis.About this BookCitation and Copyright InformationTyechia Thompson51961cf661a6fd012f289d19ce56a839e787d137Published by Publishing Without Walls, Urbana, Ill., part of the Illinois Open Publishing Network.
The Banlieue in Ghosts of Saint-Michel
12018-11-26T09:49:14+00:00Tyechia Thompson51961cf661a6fd012f289d19ce56a839e787d137134Jake Lamar explains his focus on the Banlieue in his second novel set in Paris, Ghosts of Saint-Michel.plain2019-06-25T15:03:06+00:00Tyechia ThompsonA Reviewerecb458192daa317dd112b745ee8c78c5dcfb198b
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1media/r18.pngmedia/James Emanuel and Jake Lamar(1).JPG2018-12-03T10:35:32+00:00Two-Sided Paris117image_header2019-06-28T14:14:32+00:00 In Laila Amine’s article “The Paris Paradox: Colorblindness and Colonialism in African American Expatriate Fiction” and the chapter "Romance and Brotherhood" in her book Postcolonial Paris: Fictions of Intimacy in the City of Light​, she argues that the fictional writings of Richard Wright, James Baldwin, and Willian Gardner Smith portray Paris in terms of colorblindness through interracial romantic relationships, but paradoxically, their portrayals also complicate that notion through portraying homosocial relationships with Algerians, who are subject to harassment, abuse, and murder by French police (741). In developing this argument, she demonstrates that there are two sides of Paris in African-American expatriate fiction during this period. One side is “on the Left Bank of the Seine River” and “is a site of acceptance where African American men gain access to the privileges of patriarchy,” namely “interracial intimacy” (724). This intimacy is both heterosexual and homosocial, but she emphasizes heterosexual romance. The other Paris is “north of the city,” where “Algerian men [are] segregated, monitored, and subject to police violence,” and it is “a site of recognition rallying African Americans and colonial subjects as ‘brother’” (742). She analyzes these two sides of Paris in Wright’s “Island of Hallucination,” Baldwin’s “This Morning, This Evening, So Soon,” and Smith’s The Stone Face. She shows that Baldwin expands on Wright’s “Island,” and Smith expands on Baldwin’s “This Morning.”
Lamar’s Rendezvous Eighteenth advances the trope that Amine examines in African-American expatriate fiction. In Rendezvous Eighteenth,Ricky’s interracial relationships are set in the Eighteenth Arrondissement, and his homosocial relationships are set on both sides of the Seine. In this way, Lamar alters the spatial trope of earlier expatriate fiction. Also, Lamar’s protagonist, Ricky, lives and works in the Eighteenth Arrondissement, which is the area of African-American and Algerian brotherhood. Within and beyond the Eighteenth Arrondissement, Lamar integrates interracial and homosocial relationships that challenge black migration narratives of inclusion.