James Ellroy writes brutal crime-noir thrillers set in 1950’s Los Angeles. Dramatic, savage, soaked in gore and lust and slang, Ellroy’s books are both grimy realistic and flights of pure mythology.
L.A. Confidential – I actually have not seen the movie – is set around three cops and their role in tracking down a serial killer, in a hunt that lasts decades. More than a simple hunt for the murderer, this book is steeped in the personal psyches of its characters, the politics, culture and mythos of the L.A. PD, and the illusions and ideology and lies that lie at the heart of society.
Yes, part of the thrill is the police procedural side, the politics of crime and the interdepartmental feuding. Yes, part of the thrill is the simple backdrop of ’50s, L.A. It is Ellroy’s mastery of mystery and his ability to weave a unreadably complex web of lies, truths, stories, and theories which make for a truely epic book. Watching as three detectives slowing unravel the thread of truth and eventually put it all together at the end of the book is more than entertaining, it strikes me as a major feat of literature which I would truely despair of ever coming close to achieving.
The real hook for my is Ellroy’s ability to link the specific instance of “crime” – the murder, etc – to the larger crime of society; the instance of crime is a symptom, an expression of a deeper, larger crime. The sense that “something is rotten in the state of Denmark” and the heroes are drawn inexorably toward this core rottenness. The very characters which represent the Great and the Good are revealed to be the origin of the crime; they stand out, Cronus like, as the purveyors of the founding lies that community so often seems based on.
My only complaint is that Ellroy’s commitment to slang – especially slang that is a frankly antiquated – and his writing style which often comes very close to stream of consciousness often makes for slow, hard reading. Most of the time this adds “flavour” but every so often it results in a complete breakdown in the reading ‘flow’.
I enjoyed L.A. Confidential much more than Black Dalia. Confidential, as not based on real events, allows Ellroy to explore both the “police procedural” side and the “mythology” side a little bit better. Dalia struck me as going a little too deep into the personal pathos of its characters.