Customer Reviews (1)

Ellroy rides out of the Underworld on a high
So pleased to finally get around to reading this one, after really enjoyed reading the first two volumes of Ellroy's American Underworld trilogy. It's been a while though, and all I could honestly remember is the intensely dark subject matter (heroin section in Vietnam in The Cold Six Thousand springs to mind), the clandestine phone conversations between DH and JEH and the big subverted historical set pieces. More of the same was the least required.
An explosive start sets the tone, with leads trailing off everywhere from an armoured car heist. We are introduced to Don Crutchfield, a low-life peeper and tail man, as well as renewing acquaintances with Dwight Holly and Wayne Tedrow Jr. The action splits between them in the same formula as the first two books - no White Jazz-like stylistic curveballs here.
Race and politics are the big themes, mirroring the time period. The narrative is pure Ellroy: unsympathetic, unapologetic and angry. To be honest, I found the rhetoric a little too violent at points. But you can't dilute The Demon Dog. I think that's why the Hollywood attempts at his books have always been lacking in places for me. There's no Ellroy in there; his voice is as important as the characters in terms of this book's success. (I've always felt LA Confidential `the book' and `the movie' are two totally separate beasts: the film takes a very good plot and gives it a new coat.)
I found the story gripping. It was masterful how at the end of the journey Ellroy attempts to let the reader in on what drives these men to do the things they do. Crutchfield comes off most sympathetic - "So women will love me." I wondered if there wasn't an autobiographical edge to his character - a young man lost in LA, like Ellroy was lived back in the day. A shared indulgence in peeping is another tantalising overlap too.
A really satisfying end to a superb trilogy. Can't imagine where Ellroy can go from here.
... Read more

Product Description
Summer, 1968. Martin Luther King and Robert Kennedy are dead. The assassination conspiracies have begun to unravel. A dirty-tricks squad is getting ready to deploy at the Democratic Convention in Chicago. Black militants are warring in southside L.A. The Feds are concocting draconian countermeasures. And fate has placed three men at the vortex of History.Dwight Holly is J. Edgar Hoover's pet strong-arm goon, implementing Hoover's racist designs and obsessed with a leftist shadow figure named Joan Rosen Klein. Wayne Tedrow-ex-cop and heroin runner-is building a mob gambling mecca in the Dominican Republic and quickly becoming radicalized. Don Crutchfield is a window-peeping kid private-eye within tantalizing reach of right-wing assassins, left-wing revolutionaries and the powermongers of an incendiary era. Their lives collide in pursuit of the Red Goddess Joan-and each of them will pay "a dear and savage price to live History."Political noir as only James Ellroy can write it-our recent past razed and fully reconstructed-Blood's A Rover is a novel of astonishing depth and scope, a massive tale of corruption and retribution, of ideals at war and the extremity of love. It is the largest and greatest work of fiction from an American master. ... Read more

Product Description
Since its inception in 1915, the Best American series has become the premier annual showcase for the country's finest short fiction and nonfiction. For each volume, a series editor reads pieces from hundreds of periodicals, then selects between fifty and a hundred outstanding works. That selection is pared down to the twenty or so very best pieces by a guest editor who is widely recognized as a leading writer in his or her field. This unique system has helped make the Best American series the most respected -- and most popular -- of its kind. In his introduction to this year's collection, James Ellroy explores the differences between the novel and the short story. Included here are experts at both forms. Featuring renowned novelists like Stuart Kaminsky, Michael Connelly, Joe Gores, and Robert B. Parker, as well as veterans of this series like Brendan DuBois, Michael Downs, Joyce Carol Oates, and Clark Howard, this edition will delight readers with its wide variety and peerless quality. ... Read more

Customer Reviews (8)

Pick and Choose
This anthology of "Mystery" stories is a puzzling mix of genuine mysteries and several other stories that belong to other genres, as other reviewers have pointed out. Many of them would be better categorized as short dramas or action thrillers. A good chunk of the stories also are unnecessarily lewd in a way that serves no useful purpose in the story. I did, however, enjoy several of the stories, and found some to be rather humorous. Not all the ones I enjoyed fit my understanding of mystery, for example, the "Championship of Nowhere" and the "Mule Rustlers" were good non-mystery fiction. Basically this collection is not what you might expect or hope for, but it does have several redeeming stories.

Another dud
What is Mr. Penzler thinking?This is the second year in a row that he has chosen inferior mystery fiction as the "best".Although this book is a slight improvement over last year's, which isn't saying much, as a mystery fan and reader, I expect more.And what's most troubling is that I know there are far better stories out there.This anthology, like last year's stinker, is tedious and baffling.I'm beginning to wonder if Mr. Penzler has some ulterior motives in his selection process.Whatever his motivation, it certainly isn't selecting the "best" that mystery fiction has to offer.

Don't let editors get away with selecting just anything as the best.Please, punish Mr. Penzler for his editorial crimes and skip this book.

not very mysterious
I don't buy the Best American Mystery Stories every year (like I do for the Best American Short Stories, Essays, Science and Nature Writing, and now Nonrequired Reading). What I do is glance at the editor and at the authors included within. This year's edition is edited by James Ellroy (L.A. Confidential and the rest of his L.A. Quartet). And it has a story by Joe Lansdale, "The Mule Rustlers" --which is a great story, with a nice, humorous twist at the end-- (Lansdale is the greatest Texas writer whose name isn't McMurtry); and a story by Joyce Carol Oates, "The High School Sweetheart"--which is a story very much in her style, and somewhat 'experimental', but isn't as good as what she normally does. The best two stories in this year's volume is Brendan Dubois' "A Family Game" (great twist of an ending) and Daniel Waterman's "A Lepidopterist's Tale", which really only kicks in at the end, and reminds me of an Oates story. Stuart M. Kaminsky, Fred Melton, Annette Meyers, Michael Connelly, Thomas H. Cook, Sean Doolittle, and Joe Gores also have good stories within. What detracts from the collection: the fact that while these may be good stories, there isn't a whole lot of mystery to them; John Biguenet's dull story "It Is Raining in Bejucal"; David Edgerley Gates' mediocre "The Blue Mirror"; James Grady's unreadable "The Championship of Nowhere"; amd F.X. Toole's story "Midnight Emissions", which I was unable to finish. When reading the collection you'll notice an unusual amount of sports stories--mainly baseball and boxing stories (or maybe not surprising since Otto Penzler edited the two books those stories came from).

If you are looking for really good 'mystery' stories, you probably want to move along, but there are 11 really good stories (that's over half) to read. Some you would call mystery, some you wouldn't.

Where's the mystery?
I agree with another reviewer that the title should have indicated crime stories rather than mysteries. There was never any mystery about who had done it. Also, the vast majority of the stories seemed aimed at a male audience. I got pretty tired of descriptions of fights and near fights and thugs and guns.If I remember correctly, only one story seemed aimed at a female audience and was also the only one read by a female.

A mix that doesn't completely work.
When someone edits an anthology, he should be aware of the different tastes in the audience. Unless it is a themed anthology, the stories should reflect a wide spectrum to provide the readers with the best possible entertaiment. A "best-of" anthology like this one should cover this, as well as present us with both new and established writers. Unfortunately, this edition doesn't come close to answering to these criterias.

It's obvious that guest editor James Ellroy has a preference for sports stories. Nearly half of the stories in here are about sports (mostly boxing, which is one of Ellroy's favourites). Not that there's anything wrong with sports stories. It's just that the ones featured here are far from remarkable. Save for Michael Connelly's murder at the baseball game story, and for Thomas Cook's The Fix, none of the sports-themed stories deliver the goods.

Fortunately, there are a few stories here that are quite memorable. Joe R. Lansdale always delivers the goods, and his story The Mule Rustlers does not disappoint. Other great stories are Joyce Carol Oates's The High School Sweetheart, Daniel Waterman's A Lepidopterist's Tale, Stuart M. Kaminisky Sometimes Something Goes Wrong, Sean Doolittle's Summa Mathematica and John Biguenet's It Is Raining in Bejucal.

That's only seven good stories out of the twenty that are found in this anthology. If these stories really represent the best stories of 2002, then it was a pretty bad year for mystery fiction!

And it would have been nice if Ellroy could have added more new writers. All the featured writers here save for one have published more than one book. I love an anthology that makes you discover new writers. This one didn't do that either. I can't say that I recommend this new edition of The Best Mystery Stories. Otto Penzler is a great editor, maybe he should think about taking the reins of the next one himself. ... Read more

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Word count: 2971. ... Read more

Product Description

The 2005 edition of The Best American Crime Writing offers the year's most shocking, compelling, and gripping writing about real-life crime, including Peter Landesman's article about female sex slaves (the most requested and widely read New York Times story of 2004), a piece from The New Yorker by Stephen J. Dubner (the coauthor of Freakanomics) about a high-society silver thief, and an extraordinarily memorable "ode to bar fights" written by Jonathan Miles for Men's Journal after he punched an editor at a staff party. But this year's edition includes a bonus -- an original essay by James Ellroy detailing his fascination with Joseph Wambaugh and how it fed his obsession with crime -- even to the point of selling his own blood to buy Wambaugh's books. Smart, entertaining, and controversial, The Best American Crime Writing is an essential edition to any crime enthusiast's bookshelf.

Customer Reviews (10)

Mostly fiction
I am a survivor from one of the stories in this book.I wouldn't have enough time or patience to explain why I am saying this, but just be aware that, at least for my story, much of what you read is fictionalized history.The main facts (names, dates, places) are true, but the rest is, shall we say "generously edited" to fit the writer's vision.And for her, mission accomplished.For myself and the others from this story, all we got was pain, grief, and disrespect from someone claiming to report "only the facts."

Ellroy's Wonderful Tribute To Joe Wambaugh
There are several very good articles in this edition of "The Best American Crime Writing."I especially liked "The Self-Destruction of an M.D." and "Stalking Her Killer."But the main reason for me to buy this book is editor James Ellroy's heartfelt, masterful tribute to pioneering crime novelist Joseph Wambaugh in the never-before-published essay "Choirboys."Ellroy once again tells the sordid story of his early life and hard times as a street person. Only this time he recounts his reading at the time of Wambaugh's revelatory early novels, interspersed with tales from Wambaugh's police and writing careers. (Which have obviously been gleaned from conversations with Wambaugh.)Ellroy credits Wambaugh with literally saving his life and providing the spiritual resources for him to overcome his demons and make a successful life for himself.This is an excellent telling of what an author can mean to a reader and how important, even vital, literature is to our survival.They should use "Choirboys" to teach young students of literature why it really matters.

Excellent overall, but biased toward coastal publications
This is quite a good anthology, although the selections are heavily tilted toward New York publications. The New Yorker and New York Times magazines are certainly not the only venues for crime reporters, though you might think so if you relied only on the editor's choices.

The best part of the book is James Ellroy's contributed essay "Choirboys" in which he recounts his misspent youth before finally being motivated to writing by the publication of Wambaugh's novels. Ellroy's power as a writer is fully on display in this intensely personal tale.

Of the 15 stories, I would judge only one as weak. The selection covers crime, not just those with gore. There's the story of a burglar who stole nothing but sterling silver. Another accompanies a businessman who is about to start a five year prison sentence for financial misdeeds that cost investors about a billion dollars. The decades old murder of a Peace Corps volunteer is given attention as the author tracks down a woman's killer who literally got away with murder thanks to political maneuvering by the State Department and Peace Corps.

Overall it's a solid anthology and choosing James Ellroy to write the introduction and finagling his own contribution was genius. My only reservation, as noted, is that the editors seem to have chosen only from publications mostly on the east coast where the view of things can be skewed.

Jerry

A Slightly Off Year For This Usually Fantastic Anthology...
Crime writers are thankful that Otto Penzler and Thomas H. Cook have found a new home for The Best American Crime Writing 2005. This anthology, previously published by the Vintage label of Random House, has just jumped ship to the Harper Perennial label of Harper Collins. The collection, priced at $10.17, gathers sixteen primo stories that were carefully selected by two authentic crime aficionados. The yarns reprinted here were initially published in oddball places ranging from big city newspapers, to little magazines, to men's magazines, or regional magazines in-between, all of which saw print in the calendar year 2004. I add this series anthology to my mounting book collection every year. Big-name writers like James Ellroy happen to appear in this issue, but I do prefer the tales by the "lesser known writers."

Readers will enjoy the introduction by James Ellroy, ditto his bonus contribution. The original essay Choirboys, featured here, reading like a beat poem about the author's misspent youth -- details his criminal fascinations -- and it's a fine tribute to his most valued teacher; the legendary crime writer Joseph Wambaugh. It isn't hard imagining Ellroy being arrested for disorderly conduct, guzzling booze, reading in libraries, shoplifting crime books, snarfing dope, sneaking into movies, sparring with cops and stealing food, after reading this. But that's ignoring his good qualities. You'll probably recognize Ellroy's name from a quartet of books he's written about L.A. -- The Big Nowhere, The Black Dahlia, L.A. Confidential and White Jazz -- one of which became an Oscar winning movie starring Kim Basinger, Russell Crowe, Guy Pearce and Kevin Spacey.

I'm ambivalent about the potency of this anthology, so here are some suggestions. For continuity, Mr. Penzler, go back to the glossy covers and don't use black on the spine either as it shows wear too easily. Keep the contributor notes in the back, Mr. Cook, since they deserve their own section. List the article source on the Contents page, so I can jump immediately to a preferred story. Also, consider that your series (much like Best American Short Stories) might benefit from having a rotating Guest Editor each year; it'll keep that whiff of stagnation at bay. If a Guest Editor sounds unappealing, set up a three person Prize Jury instead. Lastly, what stories were short-listed? Were there 50 Distinguished Crime Stories from 2005 that you had to cut? Were there 100?

My favorite article was "The Virus Underground," a story by Clive Thompson that first appeared in the New York Times Magazine. Running only 21 pages in length, this story about teens in the virus writing community is a cerebral examination of a subculture that is greatly misunderstood. What motivates these malicious coders? The author does an excellent job of picking at, and pulling on the nuances of, his cyber investigation, revealing the psychological multi-threading that perks beneath all hacking. Threats to national security? Pragmatic geniuses? Both? Since writing about technology and unintended consequences (in plain English) isn't easy, Thompson proves to be skilled. His long paragraph documenting consultant Paula Scalingi and "Purple Crescent" (an exercise modeling a terrorist attack that floods New Orleans, causing national confusion) proved eerily prophetic just one year later!

Editorially, Cook and Penzler didn't do "as good a job" as in previous years. I'm not sure if this is due to the change in publishers, or if this is just the expected outcome when the page count has been significantly reduced. Overall, The Best American Crime Writing 2005 seemed bland in spots, lacking a range of subject matter exhibited in previous editions. I hope the Editors take my suggestions for improvement to heart. If you make this purchase, you should pick up last years version of Best American Crime Writing: 2004 Edition for direct comparison. The magazines I've linked to below are the source publications for these reprinted stories. Nominate articles for possible inclusion by sending your submissions to Otto Penzler,c/o The Mysterious Bookshop, 129 West 56th Street, New York, NY 10019.


The Book:
The Best American Crime Writing 2005,
Harper Perennial

ISBN:
0060815515 or
9780060815516

Pages:
367 Pages

Rating:
3 Stars

Sixteen Essays:
The Girls Next Door
The Ones That Got Away
The Family Man
Mysterious Circumstances
The Virus Underground
Punch Drunk Love
The Terror Web
Anatomy Of A Foiled Plot
To Catch An Oligarch
A Long Way Down
Fine Disturbances
The Silver Thief
Stalking Her Killer
Social Disgraces
The Self-Destruction Of An M.D.
Choirboys

If You Like 'The Best American Crime Writing 2005,' You Might Enjoy:
Atlanta Magazine
Boston Globe Magazine
GQ
Men's Journal
New York Magazine
New York Times Magazine
San Francisco Magazine
Texas Monthly
The New Yorker

Visit the Publisher's Website:
www.harperperrenial.com

Recommended
Yes


Pros: "The Family Man," "The Ones That Got Away," "The Virus Underground."

Cons: Contributor info lacks separate section. Cover finish is matte. Sources unlisted on contents page.

The Bottom Line: New York publications are overrepresented. 2005 edition is 150 pages thinner than previous year.

what crime?
really its bit of a misnomer there are 4 or 5 stories that arent reallycrime in the more traditional sense. a couple storiesbelong in politics . yes i understand blowing up things is a crime but really were looking at a different animal here. if you want a good read inthe al quedaarea read steven coll's book or charlie wilsons war- more of the genesis of al queda. the bar room fight story which wasnt all that bad for what it was mostly because the writer was able to breathe a little life in to an otherwise non story. he even mentioned he was given the story as a punishment.i guess it must have been a slow crime yearto have included this story which is good news. one of the better stories was thechild exploitation story. it seems the reporter did alot of researchhowever never let a liberal arts grad monkey with numbers. not a good idea. the number they throw arounf seem really extreme.if you want the staright dope go to www.stats.org.click on crime and click on child exploitaiton actually bookmark this pageit ll provide a good laugh at all the bs in the media.this is not to downplay the tragedy of the story however fear mongering and reporting are a little too common these days. if the stories are even true anymore (shattered glass). however one shining moment was the skip hollandsworth story. sorry but this a fairly poor collection and the writitng isbanal and i guess that is the true crime here. the highest commendation i can give it is that it does make good toilet reading and im not being all that facetious. i think otto penzler et al need to listen for the pop. go re read a willeford or a thompson may not be real but at least theyre enagaging writers.if you want an example of some good writing and true crime mixed in with some chicago history read 'the devil in white city' ... Read more

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Un asesino en serie, metódico y concienzudo, comete varios crímenes sin que nadie sospeche su autoría. Sin embargo, la vida del asesino y la del sargento Hopkins tienen parecidos sorprendentes. Ambos están obsesionados por las mujeres y las aman, aunque cada uno a su manera. Ambos, también, fueron violados de niños. Son dos iluminados con una misión que cumplir? / A serial killer, methodical and thorough, commits several crimes without anybody suspecting his blame. However, the murderer's life and that of Sergeant Hopkins have surprising resemblances. Both are obsessed by women and they love them, although each one in his own way. Also, both of them were raped as children. ... Read more

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(Book Jacket Status: Jacketed)

One of the most popular American writers of the twentieth century, Dashiell Hammett gave us crime fiction stripped down to its most subtle and searing essentials and, at the same time, elevated to literature. The diamond-sharp prose and artfully manipulated intrigue for which he is known are on full display in the four classic short stories and two riveting novels published here in one volume.

The Continental Op, Hammett’s anonymous antihero, was the indelible prototype for generations of tough-guy detectives. Single-minded, emotionally detached, and decidedly unglamorous, he narrates the four linked stories collected here—“The House in Turk Street,” “The Girl with the Silver Eyes,” “The Big Knockover,” and “$106,000 Blood Money.” In THE DAIN CURSE, the Continental Op takes on his most bizarre case, that of a wealthy young woman who appears to be the victim of a deadly family curse. And THE GLASS KEY—Hammett’s own favorite among his works—features his most cynical and morally ambiguous hero, Ned Beaumont, caught in a hard-boiled love triangle. ... Read more

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This is nonfiction commentary. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Chapters: L.A. Quartet, Underworld USA Trilogy, My Dark Places, Lloyd Hopkins Trilogy,. Source: Wikipedia. Free updates online. Not illustrated. Excerpt: The L.A. Quartet is a sequence of four crime fiction novels by James Ellroy. The novels, set in the late 1940s through the late 1950s in Los Angeles, are: Several characters from the L.A. Quartet, most notably Dudley Smith, were introduced in Ellroy's 1983 novel Clandestine, which takes place between 1951 and 1955 and makes reference to the Black Dahlia killings and Smith's investigation into them. The Black Dahlia, the first novel in the series follows a brutal murder in the late '40s. January 15, 1947, is the date Elizabeth Short's body is discovered in a vacant lot. Officers Dwight "Bucky" Bleichert and Leland "Lee" Blanchard, partners and local celebrities from their boxing days, aid the investigation. The next novel, The Big Nowhere, takes place in the early 1950s amidst the Red Scare in Hollywood. Former LAPD detective Buzz Meeks, who now works as an enforcer for Mickey Cohen and a pimp for Howard Hughes, gets caught up in a communist investigation that has ties to a series of homosexual murders that are being investigated by a Sheriff's deputy named Danny Upshaw. The work of Meeks and Upshaw also crosses paths with the investigations of Mal Considine and Dudley Smith, who are working on a communist case of their own. The third novel, L.A. Confidential spans the length of about eight years- from early 1950 to about April 1958. The story begins in February 21, 1950, with Buzz Meeks being found at an abandoned auto court where he is hiding out. Meeks is killed by Dudley Smith, and the eighteen pounds of heroin Meeks stole from a Jack Dragna-Mickey Cohen truce meeting, is subsequently retrieved by Smith....More: http://booksllc.net/?id=6367701 ... Read more

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Kapitel: The Black Dahlia, L.a. Confidential, Street Kings, Dark Blue, Die Schwarze Dahlie, Stadt Der Teufel, Der Cop, Ein Amerikanischer Thriller, Ein Amerikanischer Albtraum, Hügel Der Selbstmörder. Aus Wikipedia. Nicht dargestellt. Auszug: Other reasons this message may be displayed: ...http://booksllc.net/?l=de ... Read more

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This digital document is an article from Epoca, published by Difusora de Informacion Periodica, S.A. (DINPESA) on April 29, 2001. The length of the article is 1107 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: James Ellroy: "Kennedy era la mujer y América, el hombre".(escritor)(TT: James Ellroy: "Kennedy was a woman, and the United States the suitor".)(TA: author)(Artículo Breve)(Entrevista)
Author: Fátima Uríbarri
Publication: Epoca (Magazine/Journal)
Date: April 29, 2001
Publisher: Difusora de Informacion Periodica, S.A. (DINPESA)
Page: 120

Article Type: Artículo Breve, Entrevista

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Les achats comprennent une adhésion à l'essai gratuite au club de livres de l'éditeur, dans lequel vous pouvez choisir parmi plus d'un million d'ouvrages, sans frais. Le livre consiste d'articles Wikipedia sur : Edgar Allan Poe, Jack Vance, James Ellroy, Fredric Brown, William Irish, Nora Roberts, Heather Graham Pozzessere, Robert Bloch, Elmore Leonard, Douglas Kennedy, Patricia Highsmith, Catherine Coulter, Chuck Palahniuk, Dennis Lehane, Richard Matheson, Patricia Cornwell, Ann Rule, Bill Pronzini, Robert Ludlum, Michael Connelly, George Pelecanos, Robin Cook, Patricia Matthews, Joseph Finder, Raymond Chandler, Dashiell Hammett, John Dickson Carr, Lilian Jackson Braun, Elizabeth George, Mary Higgins Clark, Avram Davidson, Donald E. Westlake, Tony Hillerman, James Crumley, Charlaine Harris, Carl Hiaasen, Ed Mcbain, John D. Macdonald, Jim Thompson, Mickey Spillane, Clive Cussler, Tess Gerritsen, Ron Goulart, Harlan Coben, Elizabeth Peters, Charles Williams, Edward Bunker, Joseph Hansen, Mario Puzo, Stephen Coonts, Carolyn G. Heilbrun, Laird Koenig, Lawrence Block, Alan Dershowitz, Damon Runyon, Chester Himes, Henry Kuttner, George C. Chesbro, Max Allan Collins, Rita Mae Brown, Carol O'connell, Christopher Buckley, Jerome Charyn, Jeffery Deaver, James Lee Burke, Brian Freeman, John Katzenbach, Ellery Queen, Janet Evanovich, Bruce Alexander, W. R. Burnett, Craig Rice, James M. Cain, Jeff Lindsay, Patricia Macdonald, David Morrell, Sue Grafton, Ross Thomas, Rex Stout, Walter Mosley, Martha Grimes, Donna Leon, John Sandford, Kathy Reichs, Karin Slaughter, Jonathan Kellerman, Scott Phillips, James Welch, Robert B. Parker, David Baldacci, Howard Fast, Robert Crais, James Sallis, Don Tracy, Craig Macdonald, Ira Levin, Wilson Tucker, Marc Behm, James Patterson, Craig Johnson, John Case, Donald Harstad, Thomas Harris, Lisa Lutz, Scott Smith, Carol Higgins Clark, Michael Nava, Steven Saylor, Caroline Lawrence, Steve Berry, Sandra Scoppett...http://booksllc.net/?l=fr ... Read more

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Les achats comprennent une adhésion à l'essai gratuite au club de livres de l'éditeur, dans lequel vous pouvez choisir parmi plus d'un million d'ouvrages, sans frais. Le livre consiste d'articles Wikipedia sur : L.a. Confidential, le Dahlia Noir, Au Bout de La Nuit (Film, 2008), Dark Blue. Non illustré. Mises à jour gratuites en ligne. Extrait : L.A. Confidential est un film noir ou polar américain réalisé par Curtis Hanson et sorti en 1997, adaptation du roman de James Ellroy. Los Angeles, années 1950. Alors que la ville est sujette à une vague de règlements de comptes après la chute du caïd Mickey Cohen, la police criminelle du LAPD se mobilise tout entière sur l'affaire de L'Oiseau de nuit, un massacre au cours duquel est tombé un ancien flic. Trois inspecteurs aux styles radicalement différents vont être amenés à coopérer pour démêler les fils d'une histoire plus compliquée qu'il n'y paraît. Paul Guilfoyle : Meyer Harris "Mickey" CohenMatt McCoy : Brett ChasePaolo Seganti : Johnny StompanatoSimon Baker : Matt ReynoldsDarrell Sandeen : Leland 'Buzz' Meeks Ce film d'action, est aussi un récit psychologique assez fin. En effet, le contexte social, celui de Los Angeles des années 1950, étant bien posé (comme il se devait étant donné le titre du film se référant à un journal de nouvelles locales) le récit décrit finalement l'ascension d'un des personnages dans ce milieu par un jeu politique et psychologique. La progression du policier Edmund Exley (Guy Pearce) est à bien y regarder le noyau de l'action, qu'il lance, provoque, ou relance si besoin est, par le contrôle qu'il parvient à exercer sur son entourage. À un moment du film, alors qu'Exley se trouve confronté à Lynn Bracken (Kim Basinger) jouant un sosie de Veronica Lake, il se sent d'ailleurs obligé de confirmer à celle-ci qu'il contrôle Bud White. Le poids de l'argumentation de Bracken, affirmant le contraire, est l'un des rares à inverser la balance et désorienter un i...http://booksllc.net/?l=fr ... Read more

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Purchase includes free access to book updates online and a free trial membership in the publisher's book club where you can select from more than a million books without charge. Chapters: Mario Puzo, Donald Thomas, Isaak Babel, James Ellroy, Leonardo Sciascia, Andrea Camilleri, Timothy Williams, Edwin Torres, Mark Winegardner, Michael Dibdin, Nicholas Pileggi, Don Winslow, Lorenzo Carcaterra. Excerpt:Andrea Camilleri at the Turin International Book Fair , in 2008 Andrea Camilleri (born September 6, 1925 in Porto Empedocle ) is an Italian writer . Biography Originally from Porto Empedocle , Sicily , Camilleri, began studies at the Faculty of Literature in 1944, without concluding them, meanwhile publishing poems and short stories. Around this time he joined the Italian Communist Party . From 1948 to 1950 Camilleri studied stage and film direction at the Silvio D'Amico Academy of Dramatic Arts, and began to take on work as a director and screenwriter , directing especially plays by Pirandello and Beckett . As a matter of fact, his parents knew Pirandello and were even distant friends, as he tells in his essay on Pirandello "Biography of the changed son". His most famous works, the Montalbano series show many pirandellian elements: for example, the wild olive tree that helps Montalbano think, is on stage in his late work "The giants of the mountain" With RAI , Camilleri worked on several TV productions, such as Inspector Maigret with Gino Cervi . In 1977 he returned to the Academy of Dramatic Arts, holding the chair of Movie Direction, and occupying it for 20 years. In 1978 Camilleri wrote his first novel Il Corso Delle Cose ("The Way Things Go"). This was followed by Un Filo di Fumo ("A Thread of Smoke") in 1980. Neither of these works enjoyed any significant amount of popularity. In 1992, after a long pause of 12 years, Camilleri once more took up novel-writing. A new book, La Stagione della Caccia ("The Hunting Season") turned out to be a best-seller. In 1994 C... ... Read more

Customer Reviews (1)

Don't go crazy Don't go Crazy TONIGHT
MAN!! the Reason why I bought this is I went to the concert!! it was good I loved it

my mom saw it becasue she went to!! ... Read more

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This digital document is an article from Siempre!, published by Edicional Siempre on December 5, 2004. The length of the article is 1423 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Importa más el boxeo que el terrorismo.(opinión del autor James Ellroy; incluye notas sobre otros autores)(Columna)
Author: Marco Aurelio Carballo
Publication: Siempre! (Refereed)
Date: December 5, 2004
Publisher: Edicional Siempre
Volume: 51Issue: 2686Page: 98(1)

Article Type: Columna

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