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L.A. Noir

Ellroy, James

1.190 valoraciones por Goodreads
ISBN 10: 0892966866 / ISBN 13: 9780892966868
Editorial: U.S.A.: Warner Books, 1998
Condición: Near Fine Encuadernación de tapa dura
Librería: Limestone Books (Austin, TX, Estados Unidos de America)

Librería en AbeBooks desde: 22 de diciembre de 1998

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Descripción

NF/NF. First edition, first printing. Signed by author on title page. 644 pp. N° de ref. de la librería 18742

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Detalles bibliográficos

Título: L.A. Noir

Editorial: U.S.A.: Warner Books

Año de publicación: 1998

Encuadernación: Hardcover

Condición del libro:Near Fine

Condición de la sobrecubierta: Near Fine

Ejemplar firmado: Signed by Author(s)

Edición: 1st Edition

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Sinopsis:

James Ellroy explored modern-day L.A. in a trilogy featuring his anti-hero cop, Det. Sgt. Lloyd Hopkins. Now in one volume, here are the three original novels. Blood on the Moon. Twenty random killings of women remain unconnected in police files. But Det. Sgt. Lloyd Hopkins sees a pattern. In a shattering climax, cold, icy intelligence and white-heated madness are pitted against each other... Because the Night. Jacob Herzog, hero cop, has disappeared. A multiple murder committed with a pre-Civil War revolver remains unsolved. Are the two cases linked? As Det. Sgt. Lloyd Hopkins pieces the puzzle together, he uncovers a startling trail of arcane secrets and madness - all leading to one psychotic mastermind. Suicide Hill. Duane Rice kidnaps a bank manager's girlfriend and an orgy of violence erupts. Leading the manhunt, Det. Sgt. Lloyd Hopkins stumbles on a horrifying conspiracy of corruption and betrayal - among his own colleagues...

Review:

In the introduction to L.A. Noir, a collection of three contemporary cop thrillers originally published in the early '80s, James Ellroy confesses his desire to match the suspense and terror of Thomas Harris's groundbreaking novel Red Dragon and to create a detective as compelling and as complex as Harris's Will Graham. His attempts to fulfill that desire introduce readers to Detective Sergeant Lloyd Hopkins, a brilliantly flawed hero of sorts whom Ellroy describes as his "antidote to the sensitive candy-assed philosophizing private eye."

Written before Hannibal Lecter made his first appearance in print, before serial killer fiction had become a subgenre, Blood on the Moon, the first novel of the L.A. Noir trilogy, pits the racist, reactionary, sexually obsessed Hopkins against a sexually motivated serial killer whose intelligence and capacity for brutality match the detective's own. In Because the Night, the second book in the trilogy, Hopkins once again confronts psychotic evil, this time while investigating the possible connection between a multiple homicide and the disappearance of a fellow cop. The trilogy concludes with Suicide Hill, a manhunt-thriller in which Hopkins tracks down a kidnapper and discovers among his colleagues a complex web of power, corruption, and lies.

Suspenseful, stark, and startling, the novels of the L.A. Noir trilogy exhibit the seminal hallmarks of Ellroy's taut, haunting prose. His dark and disturbing portrait of Hopkins, a thoroughly unlikable protagonist, drives the novels with unrelenting force, taking readers down paths of they might not really want to explore. Readers seeking a protagonist they can identify with, a hero they can like, probably won't find much to recommend in L.A. Noir, but Ellroy never meant Hopkins to be a likable hero. Instead, he has created what he calls "a complex monument to a basically shitty guy," and in doing so he laid the groundwork for the novels that have earned him a seat at the table of truly great crime novelists. In all, L.A. Noir offers Ellroy's admirers a chance to look back a few years and see the primitive intimations of the style and substance that would later characterize his L.A. Quartet series, but it is no primer for beginners, who might be more readily wooed by the more refined tension and complexity of his later novels. --L.A. Smith

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