American Tabloid [Anglais] [Broché]

Although it follows his L.A. Trilogy chronologically, Ellroy's visceral, tightly plotted new novel unfolds on a much wider stage, delivering a compelling and detailed view of the American underworld from the late 1950s to the assassination of JFK. Demythologizing the Camelot years, Ellroy (White Jazz) depicts a nexus of renegade government agencies, mobsters, industrial tycoons and Hollywood players fueling the rise and fall of the Kennedy administration. The story hinges on the entanglements of three 40-something government mercenaries who play major, behind-the-scenes roles in such events as the Bay of Pigs and the assassination of the president. Suave and sybaritic Kemper Boyd pimps for JFK while carrying out simultaneous undercover work for the CIA, FBI, Robert Kennedy and the Mob. Hulking, sadistic ex-L.A. cop Pete Bondurant, a hired killer for Jimmy Hoffa, digs dirt for a drug-addled Howard Hughes while training a cadre of bloodthirsty, anti-Castro Cuban exiles off the Florida Coast. Idealistic FBI wiretapper Ward Littel, following a series of disastrous anti-Mafia operations, becomes a Machiavellian mob lawyer. All three rub shoulders with an enormous cast of real-life characters, including clever, two-dimensional portraits of the Kennedy family, J. Edgar Hoover and Jack Ruby. Exercising his muscular, shorthand prose, Ellroy moves the narrative from break-in to lurid assignation to brutal hit job in a tightening gyre that culminates in the murder of the president. While not especially convincing as revisionist history, this is a cool and riveting evocation of a cultural epoch abounding in government surveillance, endemic corruption and yellow journalism. BOMC and QPB selections; author tour.
Copyright 1995 Reed Business Information, Inc. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.

Critics either adored or abhorred Ellroy's last crime novel, White Jazz, for its gritty subject matter and "word jazz" prose. American Tabloid, a fictional examination of the conspiracy-to-end-all-conspiracies-the assassination of JFK -will contain more of the same.
Copyright 1994 Reed Business Information, Inc. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.

James Ellroy's great gift as a writer is his ability to view history from the bottom up. Appetites, he has shown us again and again--but especially in his L.A. Quartet of crime novels--are what drive human events: money, power, and sex lurk behind every headline, and to follow their trail is to expose a slippery umbilical cord of sleaze connecting high life to low life, ideological posturing to the fundamental hungers that define us all. Given this worldview, it was inevitable that Ellroy would come eventually to that paradigmatic tabloid moment in American history: the assassination of JFK. Forget Camelot, grassy knolls, and Oliver Stoneish righteous indignation: Ellroy's story reads like your typical office power struggle gone bad. At the center of it all are three extremely bent law-enforcement types: two FBI agents and an ex-L.A. cop turned CIA operative. The labyrinthine machinations that take these three through multiple coalitions involving JFK, RFK, J. Edgar Hoover, Howard Hughes, Jimmy Hoffa, various mobsters, and a few boatloads of anti-Castro Cubans are detailed in Ellroy's signature staccato style. His short sentences and shorter paragraphs read as if fueled by the Benzedrine that propels the central characters in their various moves and countermoves.

Narcotics of all kinds are omnipresent in Ellroy's books, but the most potent drug of all--the most energizing and the most debilitating--is always power. Writing about powerful people is difficult for a novelist who does it unflinchingly because power works against empathy. We never care about powerful characters with the same passion we care for those abused by power, but we are fascinated by them and feel the allure of their addiction. That's especially true here. It's as if Ellroy injects us with a mainline pop of the undiluted power that surges through the veins of his obsessed characters. Though he is thought of as a crime novelist, Ellroy is really a political novelist, and like the best of the breed, his work has no politics. Is his version of who killed JFK believable? Probably, but the real message behind this profoundly disturbing, utterly intoxicating book is how trivial a question that really is. Bill Ott --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.

"A supremely controlled work of art." --The New York Times Book Review

"Hard-bitten. . . . Ingenious. . . . Ellroy segues into political intrigue without missing a beat." --The New York Times

"Vastly entertaining." --Los Angeles Times

"Compulsively readable. . . . Hard to forget." --Chicago Tribune --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.

We are behind, and below, the scenes of JFK's presidential election, the Bay of Pigs, the assassination--in the underworld that connects Miami, Los Angeles, Chicago, D.C. . . .

Where the CIA, the Mob, J. Edgar Hoover, Howard Hughes, Jimmy Hoffa, Cuban political exiles, and various loose cannons conspire in a covert anarchy . . .

Where the right drugs, the right amount of cash, the right murder, buys a moment of a man's loyalty . . .

Where three renegade law-enforcement officers--a former L.A. cop and two FBI agents--are shaping events with the virulence of their greed and hatred, riding full-blast shotgun into history. . . .

James Ellroy's trademark nothing-spared rendering of reality, blistering language, and relentless narrative pace are here in electrifying abundance, put to work in a novel as shocking and daring as anything he's written: a secret history that zeroes in on a time still shrouded in secrets and blows it wide open. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.

An explosive novel by the author of White Jazz uncovers the dark secrets behind Kennedy's election and assassination, the Bay of Pigs, and the roles of the underworld, the CIA, Howard Hughes, Hoover, and three renegade law-enforcement officers. 30,000 first printing. Tour. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.

Dark, gritty, and a favorite read of mine. I've passed along this book to many friends, but I still have a hard time describing it and why I liked it so much. Ellroy has constructed a period piece that encapsulates the Kennedy-Bay of Pigs era where he follows the trail of some rogue FBI agents. He doesn't paint a flattering picture and gets away with writing about actual people that still amazes me. Hoover, the "Mob", Sinatra, JFK's trysts, it's all there. And if his portrayal of history isn't on the money, it must be close.

-Ron Lundquist, Ballantine Sales Rep. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.

"A supremely controlled work of art." --The New York Times Book Review

"Hard-bitten. . . . Ingenious. . . . Ellroy segues into political intrigue without missing a beat." --The New York Times

"Vastly entertaining." --Los Angeles Times

"Compulsively readable. . . . Hard to forget." --Chicago Tribune --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.

James Ellroy was born in Los Angeles in 1948. His L.A. Quartet novels The Black Dahlia, The Big Nowhere, L.A. Confidential, and White Jazz, were international best-sellers. His novel American Tabloid was Time magazine's Best Book (fiction) of 1995; his memoir, My Dark Places, was a Time Best Book of the Year and a New York Times Notable Book for 1996. He lives in Kansas City.

From the Trade Paperback edition. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.