Whip-smart, transportingly evocative, darkly funny.
that Davis articulated one of his most memorable dialectics, in an opening chapter entitled “Sunshine or?” It is this tension which Davis saw as the central push-and-pull of Los Angeles, as the city has been imagined, represented, and lived. “Sunshine” is the boosterish impulse to frame the city as a white Anglo-Saxon paradise, all palm trees and pristine coast and limitless potential for success, wealth, and glamor.
This is a magnificent passage: whip-smart, transportingly evocative, even darkly funny. I quote it at length because, well, how can you not. But Davis also had a brilliance for economy, pithy and erudite phrasing that somehow managed to convey everything you need to know about a subject. “Noir,” wrote Davis, “was like a transformational grammar turning each charming ingredient of the boosters’ arcadia into a sinister equivalent.
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