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قديم 12-23-2011, 12:07 AM
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الصورة الرمزية ايوب صابر
ايوب صابر
مراقب عام سابقا

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The L.A. Quartet

Main article: L.A. Quartet
While his early novels earned him a cult following, Ellroy earned much greater success and critical acclaim with the L.A. Quartet—The Black Dahlia, The Big Nowhere, L.A. Confidential, and White Jazz.[14] The four novels represent Ellroy's change of style from the tradition of classic modernist noir fiction of his earlier novels to so-called postmodernhistoriographicmetafiction.[18] The Black Dahlia, for example, fused the real-life murder of Elizabeth Short with a fictional story of two police officers investigating the crime.[19]
Underworld USA Trilogy

In 1995, Ellroy published American Tabloid, the first novel in a series informally dubbed the "Underworld USA Trilogy"[13] that Ellroy describes as a "secret history" of the mid-to-late 20th century.[14] Tabloid was named TIME's fiction book of year for 1995. Its follow-up, The Cold Six Thousand, became a bestseller.[13] The final novel, Blood's a Rover, was released on September 22, 2009.
[edit] My Dark Places

After publishing American Tabloid, Ellroy began a memoir, My Dark Places, based on his memories of his mother's murder and his investigation of the crime.[4] In the memoir, Ellroy mentions that his mother's murder received little news coverage because the media were still fixated on Johnny Stompanato's murder. Frank C. Girardot, a reporter for The San Gabriel Valley Tribune, accessed files on Geneva Hilliker Ellroy's murder from detectives with Los Angeles Police Department.[4] Based on the cold case file, Ellroy and investigator Bill Stoner worked the case but gave up after fifteen months, believing any suspects to be dead.[4] In 2008, The Library of America selected the essay "My Mother's Killer" from My Dark Places for inclusion in its two-century retrospective of American True Crime.
Public life and views

In media appearances, Ellroy has adopted an outsized, stylized public persona of hard-boiled nihilism and self-reflexive subversiveness.[14] He frequently begins public appearances with a monologue such as:
Good evening peepers, prowlers, pederasts, panty-sniffers, punks and pimps. I'm James Ellroy, the demon dog, the foul owl with the death growl, the white knight of the far right, and the slick trick with the donkey dick. I'm the author of 16 books, masterpieces all; they precede all my future masterpieces. These books will leave you reamed, steamed and drycleaned, tie-dyed, swept to the side, true-blued, tattooed and bah fongooed. These are books for the whole fuckin' family, if the name of your family is Manson.[20]
Another aspect of his public persona involves an almost comically grand assessment of his work and his place in literature. For example, he told the New York Times, "I am a master of fiction. I am also the greatest crime novelist who ever lived. I am to the crime novel in specific what Tolstoy is to the Russian novel and what Beethoven is to music."[21]
Ellroy frequently has espoused conservative political views, which have ranged from a vague antiliberalism to authoritarianism.[14] In an October 15, 2009, Rolling Stone interview, Ellroy said that in the 1960s and 1970s "I was never a peacemaker; I was a fuck-you right-winger." He has also been an outspoken and unquestioning admirer of the Los Angeles Police Department, and he dismisses the department's flaws as aberrations, telling the National Review that the coverage of the Rodney King beating and Rampart police scandals were overblown by a biased media.[22] Nevertheless, like other aspects of his persona, he often deliberately obscures where his public persona ends and his actual views begin. When asked about his "right-wing tendencies," he told an interviewer, "Right-wing tendencies? I do that to fuck with people."[23] Similarly, in the film Feast of Death, his (now ex-) wife describes his politics as "bullshit," an assessment to which Ellroy responds only with a knowing smile.[9] Privately, Ellroy opposes the death penalty and favors gun control.[24] Of the current political environment, Ellroy told Rolling Stone in 2009:
I thought Bush was a slimeball and the most disastrous American president in recent times. I voted for Obama. He's a lot like Jack Kennedy—they both have big ears and infectious smiles. But Obama is a deeper guy. Kennedy was an appetite guy. He wanted pussy, hamburgers, booze. Jack did a lot of dope.[23]
Structurally, several of Ellroy's books, such as The Big Nowhere, L.A. Confidential, American Tabloid, and The Cold Six Thousand, have three disparate points of view through different characters, with chapters alternating between them. Starting with The Black Dahlia, Ellroy's novels have mostly been historical dramas about the relationship between corruption and law enforcement.[19]
A predominant theme of Ellroy's work is the myth of "closure." "Closure is bullshit," Ellroy often remarks, "and I would love to find the man who invented closure and shove a giant closure plaque up his ass."[25]
Ellroy has claimed that he is done with noir crime novels. "I write big political books now," he says. "I want to write about LA exclusively for the rest of my career. I don't know where and when."[26]
Film adaptations and screenplays

Several of Ellroy's works have been adapted to film, including Blood on the Moon (adapted as Cop), L.A. Confidential, Brown's Requiem, Killer on the Road/Silent Terror (adapted as Stay Clean), and The Black Dahlia. In each instance, screenplays based on Ellroy's work have been penned by other screenwriters.
While he has frequently been disappointed by these adaptations (such as Cop), he was very complimentary of Curtis Hanson and Brian Helgeland's screenplay for L.A. Confidential at the time of its release.[27] In succeeding years, however, his comments have been more reserved:
L.A. Confidential, the movie, is the best thing that happened to me in my career that I had absolutely nothing to do with. It was a fluke—and a wonderful one—and it is never going to happen again—a movie of that quality. Here’s my final comment on L.A. Confidential, the movie: I go to a video store in Prairie Village, Kansas. The youngsters who work there know me as the guy who wrote L.A. Confidential. They tell all the little old ladies who come in there to get their G-rated family flick. They come up to me, they say, “OOOO… you wrote L.A. Confidential.... Oh, what a wonderful, wonderful movie. I saw it four times. You don’t see storytelling like that on the screen anymore.” I smile, I say, “Yes, it’s a wonderful movie, and a salutary adaptation of my wonderful novel. But listen, granny: You love the movie. Did you go out and buy the book?” And granny invariably says, “Well, no, I didn’t.” And I say to granny, “Then what the fuck good are you to me?”[9]
Shortly after viewing three hours of unedited footage[28] for Brian De Palma's adaptation of The Black Dahlia, Ellroy wrote an essay, "Hillikers," praising De Palma and his film.[29] Ultimately, nearly an hour was removed from the final cut, and the film was a commercial and critical disappointment. Of the released film, Ellroy told the Seattle Post-Intelligencer, "Look, you’re not going to get me to say anything negative about the movie, so you might as well give up."[17] He had, however, mocked the film's director, cast, and production design before it was filmed.[30]
In 2008, Daily Variety reported that HBO, along with Tom Hanks's production company, Playtone, was developing American Tabloid and The Cold Six Thousand for either a miniseries or ongoing series.[31]
Ellroy co-wrote the original screenplay for the 2008 film Street Kings but refused to do any publicity for the finished film.[17]
In a 2009 interview, Ellroy himself stated, "All movie adaptations of my books are dead."[32