James Ellroy [The Black Dahlia, The Big Nowhere, LA Confidential, American Tabloid, and others] is a cult. For many, he’s a you’re-in-or-you’re out cult, because he’s intense and absolute and violent in every respect–emotionally, linguistically, and p…
James Ellroy [The Black Dahlia, The Big Nowhere, LA Confidential, American Tabloid, and others] is a cult. For many, he's a you're-in-or-you're out cult, because he's intense and absolute and violent in every respect--emotionally, linguistically, and physically. He's a brash writer who spins marvelously complicated, suspenseful plots. He is fluent in local period dialect that captures everything dirty, transient, prejudiced, profane, and provincial about the way cops and robbers, movie stars, and politicians talk. His thick, relentless dialogue (fully peppered with all the nasty racist and sexist things you might imagine that hard-boiled cops would say) combines with a compressed, impressionistic aesthetic that puts the language somewhere between A Clockwork Orange and Ulysses.
Minna Procter, Bookforum, Oct./Nov./Dec., 2014