And then in my ensuing three novels, I have been more interested in enhancing the style of the book to fit a more wholesome view of humanity.
I went back to the truncated style in The Cold Six Thousand, and took it to such screaming extremes that many reviewers found the book incomprehensible. Then when I embarked on the Underworld USA trilogy, I expanded the text in the third person because I wanted to enhance the emotional content of the book. Two books after The Black Dahlia, with LA Confidential, I developed a truncated, clipped style with exposition cut down to the minimum. How do you think your writing style has changed since your breakthrough novel, The Black Dahlia, in 1987 ? It’s a love of size and scope and density and big emotion, big police investigations, big conspiracies. My intent with readers is to uproot them from their daily lives and force-feed large swathes of American history and more specifically Los Angeles history. Most often the recent past of America, this historical past, it’s what I love, it’s what I am, it’s what I do. Since my early childhood, I have always lived in the past. Why do you write in trilogies and quartets? This Storm is the second part of your second LA Quartet.
His new novel, This Storm, is set in the wake of the attack on Pearl Harbor and is a frenetic mix of intrigue, corruption and racism, featuring a cast of Nazis, communists, rogue cops and, of course, murder. His preoccupation with crime began as a child when his mother was killed in LA in what remains an unsolved murder. J ames Ellroy is a crime fiction writer, best known for books such as The Black Dahlia, LA Confidential and American Tabloid, which are often set in mid-20th-century Los Angeles.
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