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Blood's A Rover
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Produktbeschreibungen
Kurzbeschreibung
Wayne Tedrow Jr.: Vatermörder, Auftragskiller, Rauschgiftmischer, nur sich selbst loyal, reist von der Dunkelheit in die Finsternis. Dwight Holly: Vollstrecker Hoovers und höllischer Verschwörer, der auf die Selbstvernichtung zuschlingert. Don Crutchfield: noch fast ein Kind, ein Nichts, stolpert in ein verhängnisvolles Komplott, von dem sich das Land möglicherweise nie erholen wird. Alle drei kompromittiert und kurz vor der Zerstörung - und nur einer wird überleben. Der dritte und letzte Teil der Underworld Trilogie spielt zur Zeit der sozialen und politischen Unruhen von 1968 bis '72, nach den Morden an Bobby Kennedy und Martin Luther King.
Über den Autor
James Ellroy, geb. 1948 in Los Angeles, wurde mit dem Roman 'Die schwarze Dahlie' international bekannt. Ellroy hat über ein Dutzend Kriminalromane veröffentlicht und genießt weltweit Kultstatus.James Ellroy, geb. 1948 in Los Angeles, wurde mit dem Roman 'Die schwarze Dahlie' international bekannt. Ellroy hat über ein Dutzend Kriminalromane veröffentlicht und genießt weltweit Kultstatus.
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Format:Gebundene Ausgabe
Ellroy bleibt seinem Stil treu. Über 600 Seiten hält er seine harte, knappe Sprache durch und beschränkt sich weitestgehend auf die Aneinanderreihung von Subjekt-Prädikat-Objekt-Sätzen. Wahrscheinlich kann nur er das leisten und gleichzeitig Hochliteratur schaffen, die lesbar ist. Schnell könnte dieses auf die Spitze getriebene Hard-Boiled-Stilbewusstsein zur Farce werden, doch wie schon bei "The Cold Six Thousand" bleibt man auch hier bei der Stange und die knappen Sätze entwickeln ein lyrisches Eigenleben.
Im Gegensatz zu "The Cold Six Thousand" gelingt Ellroy diesmal jedoch nicht die Überhöhung seiner Noir-Fiction zum historischen Roman. Zu eng bleibt sein Fokus hier auf dem Kreis der Protagonisten mit ihren Obsessionen und gegenseitigen Abhängigkeiten, die nicht immer ganz plausibel scheinen. Der große politische Hintergrund gerät dabei aus dem Blick, die gewählten Jahre 1968-1972 bieten diesmal auch deutlich weniger Stoff für das Aufdecken von Verschwörungen. Die Kennedys und Martin Luther King sind schon tot, ihre Ermordungen waren Stoff der Vorgängerbände. In "Blood's a Rover" wird nun nur noch eine Art Postskriptum geliefert, die großen Themen sind schon abgehakt.
Dennoch ist es ein spannender und lesenswerter Roman, dessen Defizite nur ins Auge fallen, weil Ellroy so grandios vorgelegt hatte.
Im Gegensatz zu "The Cold Six Thousand" gelingt Ellroy diesmal jedoch nicht die Überhöhung seiner Noir-Fiction zum historischen Roman. Zu eng bleibt sein Fokus hier auf dem Kreis der Protagonisten mit ihren Obsessionen und gegenseitigen Abhängigkeiten, die nicht immer ganz plausibel scheinen. Der große politische Hintergrund gerät dabei aus dem Blick, die gewählten Jahre 1968-1972 bieten diesmal auch deutlich weniger Stoff für das Aufdecken von Verschwörungen. Die Kennedys und Martin Luther King sind schon tot, ihre Ermordungen waren Stoff der Vorgängerbände. In "Blood's a Rover" wird nun nur noch eine Art Postskriptum geliefert, die großen Themen sind schon abgehakt.
Dennoch ist es ein spannender und lesenswerter Roman, dessen Defizite nur ins Auge fallen, weil Ellroy so grandios vorgelegt hatte.
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Malice in Wonderland
25. September 2009
Format:Gebundene Ausgabe
The Underworld USA trilogy began in 1995 with publication of American Tabloid and covered events in the early sixties. Five years passed before readers could dig into The Cold Six Thousand. Blood's a Rover (title taken from a poem by Houseman) begins shortly after the King and Kennedy assasinations in 1968 and takes us through the Chicago riots and Nixon's elections. Like previous entries, the book delivers an alternate, underground history of the partnership between Hoover's FBI and various criminal elements. Ellroy entices us through the looking glass to demonstrate the impact of that unsavory alliance on modern political history. Characters from previous books abound (Dwight Holley, Wayne Tedrow) as well as public figures both significant (Nixon, Howard Hughes) and obscure (Sal Mineo)
Ellroy's Hoover is not much concerned with organized crime. Instead he is obsessed with student protesters, civil rights demonstrators, non-existant domestic Reds, and any politician he believes to be aligned with these groups. In this dark world, former cop Wayne Tedrow meets with mob heads after a drop off of cash to candidate Nixon and notices on the wall, a photo showing one of the gangsters playing golf with Pope Pius.
The author's style is stacatto, high-adrenaline narrative alternating with newspaper headlines and supposed excerpts from personal journals. A chapter begins: "Dwight read files. A radio spritzed the news. Nixon and Humphrey grubbed for votes and see-sawed poll-wise. Jimmy Ray and Sirhan Sirhan fermented in custody." Using this approach, Ellroy packs a great deal of action and emotional impact into a few paragraphs. Over hundreds of pages, the result can be exhausting.
I found all 3 books hugely entertaining as literature and utterly unnerving as political myth-making. The reader dismisses much of it as bizarre speculation. However, after years of journalistic revelations such as White House sanctioned Mob attempts on Castro's life, the reader finds himself asking if parts of Ellroy's story sounds more real than various official histories.
The fictional narrator begins this final nightmare volume by telling us "This book derives from stolen public files and usurped private journals. It is the sum of personal adventure and forty years of scholarship...I did what I did and I saw what I saw and learned my way through the rest of the story." Conspiracy tales such as this can be oddly comforting. They replace the horror which results from chance and the grand indifference of the universe with tragedy that is the product of the guiding hand of malice. Evil, while monstrous and frightening, can be opposed. Accident must be endured.
The immense appeal of the Underworld Trilogy derives as much from this replacement of chaos with dark design as it does from Ellroy's unique narrative gifts. It is an appeal that produces excitement if it is understandably light on comfort.
Ellroy's Hoover is not much concerned with organized crime. Instead he is obsessed with student protesters, civil rights demonstrators, non-existant domestic Reds, and any politician he believes to be aligned with these groups. In this dark world, former cop Wayne Tedrow meets with mob heads after a drop off of cash to candidate Nixon and notices on the wall, a photo showing one of the gangsters playing golf with Pope Pius.
The author's style is stacatto, high-adrenaline narrative alternating with newspaper headlines and supposed excerpts from personal journals. A chapter begins: "Dwight read files. A radio spritzed the news. Nixon and Humphrey grubbed for votes and see-sawed poll-wise. Jimmy Ray and Sirhan Sirhan fermented in custody." Using this approach, Ellroy packs a great deal of action and emotional impact into a few paragraphs. Over hundreds of pages, the result can be exhausting.
I found all 3 books hugely entertaining as literature and utterly unnerving as political myth-making. The reader dismisses much of it as bizarre speculation. However, after years of journalistic revelations such as White House sanctioned Mob attempts on Castro's life, the reader finds himself asking if parts of Ellroy's story sounds more real than various official histories.
The fictional narrator begins this final nightmare volume by telling us "This book derives from stolen public files and usurped private journals. It is the sum of personal adventure and forty years of scholarship...I did what I did and I saw what I saw and learned my way through the rest of the story." Conspiracy tales such as this can be oddly comforting. They replace the horror which results from chance and the grand indifference of the universe with tragedy that is the product of the guiding hand of malice. Evil, while monstrous and frightening, can be opposed. Accident must be endured.
The immense appeal of the Underworld Trilogy derives as much from this replacement of chaos with dark design as it does from Ellroy's unique narrative gifts. It is an appeal that produces excitement if it is understandably light on comfort.
40 von 45 Kunden fanden die folgende Rezension hilfreich
Brilliant conclusion to the trilogy plays with the reader's expectations
26. September 2009
Format:Gebundene Ausgabe
First off, I'll admit some bias here. I'm a big Ellroy fan, and American Tabloid is neck-and-neck with Tom Wolfe's Bonfire of the Vanities for my favourite novel of all time. There appear to be a couple of Ellroy haters among the reviewers so far, and fair enough, he's a love-or-hate writer. If you don't like Ellroy, you won't like Blood's a Rover. If, like me, you do like Ellroy, then this book will fulfil yet confound your every expectation.
I won't bother with outlining the plot other than to say it's as tangled and propulsive as you'd expect from Ellroy. What some may want to know is how it compares to American Tabloid and The Cold Six Thousand. It's probably closer in tone to the former, lacking the latter's highly stylised presentation. It's a smoother read, in other words, but still requires some investment on the reader's part. That investment is rewarded many times over, however, and things barrel along at a wonderful page-turning rate.
There are two main distinctions between this and Ellroy's earlier work. The first is his portrayal of women. While there are some recognisable tics, such as the younger male characters' borderline oedipal fixations on older women, and a tendency for those same women to be physically or pschologically scarred, Ellroy this time gives his female characters more room to breathe and develop. They are more than objects of obsession there to torture the male characters.
The other difference is the heart of the piece; one could argue Ellroy's work perhaps lacked emotional depth, but not so with Blood's a Rover. Oddly for an author of his vintage, this is perhaps the most mature book of his career.
It's also his most personal novel since The Black Dahlia. One character, Don Crutchfield, is ostensibly based on a real life private eye still alive and working today, but the character on the page is clearly based on Ellroy's young self. The book may also leave you questioning your idea of the author's politics. He has wilfully played up his right wing public persona, but the politics of Blood's a Rover (and when looking at the trilogy as a whole) skew left of centre.
Some might accuse Ellroy of putting style over substance, but one aspect of this novel clearly illustrates his skill as a straight-up storyteller. It's when he starts playing with your expectations of the book, turning the story on its head so that you can't even take the narrative itself at face value, that you realise why he is the greatest living crime writer. It's virtuoso stuff.
I was lucky enough to read an advance copy of this book back in April, and it has stuck with me since then. It's a brilliant conclusion to the Underworld USA trilogy, and any Ellroy fan will be seduced once again by the master of the hard word.
I won't bother with outlining the plot other than to say it's as tangled and propulsive as you'd expect from Ellroy. What some may want to know is how it compares to American Tabloid and The Cold Six Thousand. It's probably closer in tone to the former, lacking the latter's highly stylised presentation. It's a smoother read, in other words, but still requires some investment on the reader's part. That investment is rewarded many times over, however, and things barrel along at a wonderful page-turning rate.
There are two main distinctions between this and Ellroy's earlier work. The first is his portrayal of women. While there are some recognisable tics, such as the younger male characters' borderline oedipal fixations on older women, and a tendency for those same women to be physically or pschologically scarred, Ellroy this time gives his female characters more room to breathe and develop. They are more than objects of obsession there to torture the male characters.
The other difference is the heart of the piece; one could argue Ellroy's work perhaps lacked emotional depth, but not so with Blood's a Rover. Oddly for an author of his vintage, this is perhaps the most mature book of his career.
It's also his most personal novel since The Black Dahlia. One character, Don Crutchfield, is ostensibly based on a real life private eye still alive and working today, but the character on the page is clearly based on Ellroy's young self. The book may also leave you questioning your idea of the author's politics. He has wilfully played up his right wing public persona, but the politics of Blood's a Rover (and when looking at the trilogy as a whole) skew left of centre.
Some might accuse Ellroy of putting style over substance, but one aspect of this novel clearly illustrates his skill as a straight-up storyteller. It's when he starts playing with your expectations of the book, turning the story on its head so that you can't even take the narrative itself at face value, that you realise why he is the greatest living crime writer. It's virtuoso stuff.
I was lucky enough to read an advance copy of this book back in April, and it has stuck with me since then. It's a brilliant conclusion to the Underworld USA trilogy, and any Ellroy fan will be seduced once again by the master of the hard word.
31 von 38 Kunden fanden die folgende Rezension hilfreich
Third Best of the Trilogy
29. September 2009
Format:Gebundene Ausgabe
In this final installment of the "Underworld U.S.A." trilogy Wayne Tedrow, Dwight Holly and the boys are back carrying out their portion of an American history that might have been. They have their hands in the cover ups of the Robert Kennedy and Martin Luther King assassinations, Howard Hughes' purchase of Vegas casinos, and the mob's Caribbean connections. And that's just for starters.
The plot loosely centers around an armored car heist in Los Angeles involving emeralds and millions of dollars. Holly, L.A. police officer Scotty Bennett, and a young wheelman named Donald "Peeper" Crutchfield are all trying to figure out the robbery (when they are not carrying out CIA directives, mob directives, or trying to figure out the mysterious women in their lives).
I really liked "American Tabloid." I loved "The Cold Six Thousand." I cannot say the same for "Blood's A Rover." This novel just doesn't quite have the energy level of the first two. It is an amazing piece of work, but there is just so much going on and there is just too much repetition. (How many times does the reader have to be told that a character is getting amped up to read through their heist files one more time? My guess is that I saw that scene played out at least a dozen times.)
The characters even seem somewhat repetitious. Despite varying backgrounds and ethnicities, they all have the same amazingly vast vocabularies for people who are essentially self-centered, schemers who are prone to extreme violence.
Really, I wanted to like "Blood's A Rover," but it is just okay. I can only recommend this novel to those who have read AND enjoyed "American Tabloid" and "The Cold Six Thousand."
The plot loosely centers around an armored car heist in Los Angeles involving emeralds and millions of dollars. Holly, L.A. police officer Scotty Bennett, and a young wheelman named Donald "Peeper" Crutchfield are all trying to figure out the robbery (when they are not carrying out CIA directives, mob directives, or trying to figure out the mysterious women in their lives).
I really liked "American Tabloid." I loved "The Cold Six Thousand." I cannot say the same for "Blood's A Rover." This novel just doesn't quite have the energy level of the first two. It is an amazing piece of work, but there is just so much going on and there is just too much repetition. (How many times does the reader have to be told that a character is getting amped up to read through their heist files one more time? My guess is that I saw that scene played out at least a dozen times.)
The characters even seem somewhat repetitious. Despite varying backgrounds and ethnicities, they all have the same amazingly vast vocabularies for people who are essentially self-centered, schemers who are prone to extreme violence.
Really, I wanted to like "Blood's A Rover," but it is just okay. I can only recommend this novel to those who have read AND enjoyed "American Tabloid" and "The Cold Six Thousand."
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