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James Ellroy

Lee Earle "James" Ellroy (born March 4, 1948) is an Americancrime fiction writer and essayist. Ellroy has become known for a so-called "telegraphic" prose style in his most recent work, wherein he frequently omits connecting words and uses only short, staccato sentences,[1] and in particular for the novels The Black Dahlia (1987), The Big Nowhere (1988), L.A. Confidential (1990), White Jazz (1992), American Tabloid (1995), The Cold Six Thousand (2001), and Blood's a Rover (2009).
Life and career

Ellroy was born in Los Angeles, California, the son of Geneva Odelia (née Hilliker) Ellroy, a nurse, and Armand Ellroy, an accountant and, according to Ellroy, onetime business manager of Rita Hayworth.
After his parents' divorce, Ellroy and his mother relocated to El Monte, California. In 1958, Ellroy's mother was murdered.
تطلق والده وانتقلت الام لتعيش مع ابنه في كاليفورنيا وفي عام 1958 قتلت الام
The police never found the perpetrator, and the case remains unsolved.
لم يعرف البوليس القاتل وظلت القضية بدون حل
The murder, along with reading The Badge by Jack Webb (a book composed of sensational cases from the files of the Los Angeles Police Department, a birthday gift from his father), were important events of Ellroy's youth.
Ellroy's inability to come to terms with the emotions surrounding his mother's murder led him to transfer them onto another murder victim, Elizabeth Short, the "Black Dahlia"; throughout his youth, Ellroy used Short as a surrogate for his conflicting emotions and desires. His confusion and trauma led to a period of intense clinical depression, from which he recovered only gradually.
فشل الروي في التعامل مع عواطفه على اثر مقتل والدته مما ادى الى وقوعه في مشاكل نفسية مثل الكآبة والتي شفي منها بشكل تدريجي وكتب عن حالة قتل اخرى رواية فرغ فيها مشاعره حول قتل امه
Ellroy dropped out of school without graduating.
انفصل عن المدرسة قبل ان يتخرج
He joined the army for a short while.
انضم الى الجيش لفترة قصيرة
During his teens and twenties, he drank heavily and abused Benzedrex inhalers.
بعد مقتل والدته وخلال العشرينيات من عمره ادمن الكحول
He was engaged in minor crimes (especially shoplifting, house-breaking, and burglary) and was often homeless.
ارتكب بعض الجرائم الصغيرة مثل السرقة من المحلات التجارية واقتحام المنازل والسرقة وكان غالبا من دون مأوى
After serving some time in jail and suffering a bout of pneumonia, during which he developed an abscess on his lung "the size of a large man's fist," Ellroy stopped drinking and began working as a golfcaddy while pursuing writing. He later said, "Caddying was good tax-free cash and allowed me to get home by 2 p.m. and write books.... I caddied right up to the sale of my fifth book."
After a second marriage in the mid 1990s to Helen Knode (author of the 2003 novel The Ticket Out), the couple moved from California to Kansas City in 1995.
تزوج للمرة الثانية عام 1990
In 2006, after their divorce, Ellroy returned to Los Angeles.[ He is a self-described hermit who possesses very few technological amenities, including television, and claims never to read contemporary books by other authors, aside from Joseph Wambaugh's The Onion Field, for fear that they might influence his own.[ However, this does not mean that Ellroy does not read at all, as he claims in My Dark Places to have read at least two books a week growing up, eventually shoplifting more to satisfy his love of reading. He then goes on to say that he read works by Dashiell Hammett and Raymond Chandler accompanied by abuse of alcohol and Benzedrex inhalers.
Literary career

In 1981, Ellroy published his first novel, Brown's Requiem, a detective story drawing on his experiences as a caddy.[12] He then published Clandestine and Silent Terror (which was later published under the title Killer on the Road). Ellroy followed these three novels with the Lloyd Hopkins Trilogy, three novels centered on Hopkins, a police officer.
Writing style

Hallmarks of his work include dense plotting and a relentlessly pessimistic—albeit moral—worldview.[13][14] His work has earned Ellroy the nickname "Demon dog of American crime fiction."[15]
Ellroy writes longhand on legal pads rather than on a computer[16] and prepares elaborate outlines for his books, most of which are several hundred pages long.[14]
Dialog and narration in Ellroy novels often consists of a "heightened pastiche of jazz slang, cop patois, creative profanity and drug vernacular" with a particular use of period-appropriate slang.[17] He often employs stripped-down staccato sentence structures, a style that reaches its apex in The Cold Six Thousand and which Ellroy describes as a "direct, shorter-rather-than-longer sentence style that's declarative and ugly and right there, punching you in the nards."[14] This signature style is not the result of a conscious experimentation but of chance and came about when he was asked by his editor to shorten his novel White Jazz from 900 pages to 350. Rather than removing any subplots, Ellroy achieved this by eliminating verbs, creating a unique style of prose.[citation needed] While each sentence on its own is simple, the cumulative effect is a dense, baroque style.[17]
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