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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.
- Sales Rank: #47057 in Books
- Brand: Ellroy, James
- Published on: 2001-04-24
- Released on: 2001-04-24
- Original language: English
- Number of items: 1
- Dimensions: 7.98" h x 1.00" w x 5.18" l,
- Binding: Paperback
- 592 pages
From Publishers Weekly
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.
From Library Journal
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.
From Booklist
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
Most helpful customer reviews
1 of 2 people found the following review helpful.
The Dark Side of Kill-A-Lot
By Amazon Customer
John F. Kennedy as a Yankee Bill Clinton. J. Edgar Hoover as an American Stalin. And Jimmy Hoffa, Joe Pesci-style. You can't hate a book that gives you these images.
James Ellroy's AMERICAN TABLOID is very clever, perhaps too clever for its own good. Parts are intriguing might-have-been history; parts are ridiculously false; parts are out-and-out absurd.
And yet, the book entertains, fascinates, and resonates.
In portraying America in the Kennedy years, Ellroy chainsaws one of our sacred cows; it's almost as if Seymour Hersch decided to write gleeful trash for "The Enquirer." And yet there are enough anchors in accepted American history to keep the book (almost?) believable.
This is not to say that Ellroy has not deviated from established fact; while it's quite funny to assert that the JFK/Marilyn Monroe affair was just a spur-of-the-moment prank on the part of a disgruntled CIA op with a sense of irony, it certainly deviates from reliable scholarship. Such devices are not neccesarily bad; however, like a precocious kid chiding his mom for crying during a film, they tend to remind the reader that the book in hand is, after all, nothing more than an entertaining story.
And yet, as such, there is much to like. Ellroy's lightning-fast style is at its best here, the clipped sentences just brusque enough to paint the picture. Too, interesting characters inhabit the multi-layered plot; perhaps most interesting is the "Death Wish"-like transformation of wimp FBI agent Ward Littell into a stone-cold mob lawyer. Historical personages such as JFK, RFK, Hoffa, Hoover, Jack Ruby, and especially Howard Hughes are well-sketched; even if this isn't reality, it's the way many of us would LIKE to picture them.
Which brings to mind a might-have-been of my own: the obvious omissions. Besides blowing off Monroe, Ellroy also avoids any mention of Judith Campbell Exner, the death of JFK's infant son, and Lee Harvey Oswald (I was dying to find out how Ellroy intended to portray HIM); too, there are no enduring portraits of LBJ, Dr. Martin Luther King, Jr., or the Cuban Missile Crisis. These are things you might expect the author to have woven into the intricate plot, ESPECIALLY in a book called "American Tabloid."
And, as other reviews have mentioned, the ending falls D.O.A. flat.
Yet somehow, AMERICAN TABLOID overcomes these flaws, carves out rules of its own, and holds the reader's attention from first page to (disappointing) last, proving positively that Ellroy is not just a crackerjack crime writer; he has artistic fingers on the pulse of the mainstream as well.
5 of 6 people found the following review helpful.
Dark matter
By Daryl Anderson
People who will do anything to get what they want, if they really exist at all, are essentially invisible to us everyday folks, and we're equally invisible to them - a mundane backdrop. They are kind of like the "dark matter" that physicists say binds the universe together and either explains its eventual collapse or infinite expansion. The scientists can't find it, but their equations say it must be there.
If you've ever studied the "equations" that describe the circumstances and involved parties leading up to the first Kennedy assassination, you've probably felt like those physicists. Was it a Mafia hit? Was it rogue CIA elements? Castro? This book is Oliver Stone on PCP. It has all the characters (The Mob, CIA, Cuban exiles, Hoover, Hoffa, Castro, JFK & RFK), and all the darkest themes that have been suggested to link them together and to the events leading up to 11/22/63.
"American Tabloid" is a tightly wound fiction that says, in the end, that it was all of them, and somehow none of them. It was an inevitable intersection of individuals and institutions deranged by their own willingness to do anything to attain and hold power.
Don't read the book if you idolize JFK. Don't expect Agatha Christie dialogue. It wraps a staccato style around a collection of truly depraved individuals. It's a credit to the weird energy of that style, and to Ellroy, that he somehow draws us toward its twisted central characters. The same unwholesome urge that moves your foot to the brake when you pass a bad accident will have you staying up too late reading. What happened?
If you've always wondered how the goons who killed JFK managed to erase so much history that attempts to find "scientific" answers are shot full of holes, read this book. Once you believe that the "dark matter" in the human soul exists - and Ellroy will make you believe - you'll know how easily the erasure was accomplished
0 of 0 people found the following review helpful.
As a lifelong Angelino, I appreciate how he intertwines ...
By Amazon Customer
As a lifelong Angelino, I appreciate how he intertwines historical fact with fiction utizing the vernacular of the period. It lends a sense of authenticity to the reading.
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