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Blood's a Rover, by James Ellroy
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America's master of noir delivers his masterpiece, a rip-roaring, devilishly wild ride through the bloody end of the 1960's. It's dark baby, and hot hot hot.
Martin Luther King assassinated. Robert Kennedy assassinated. Los Angeles, 1968. Conspiracies theories are taking hold. On the horizon looms the Democratic Convention in Chicago and constant gun fire peppers south L.A. Violence, greed, and grime, are replacing free-love and everybody from Howard Hughes, Richard Nixon and J. Edgar Hoover to the right-wing assassins and left-wing revolutionaries are getting dirty. At the center of it all is a triumvirate: the president’s strong-arm goon, an ex-cop and heroine runner, and a private eye whose quarry is so dangerous she could set off the whole powder keg. With his trademark deadly staccato prose, James Ellroy holds nothing back in this wild, startling and much anticipated conclusion to his Underworld USA trilogy.
- Sales Rank: #296035 in Books
- Published on: 2010-08-24
- Released on: 2010-08-24
- Original language: English
- Number of items: 1
- Dimensions: 7.98" h x 1.05" w x 5.16" l, 1.06 pounds
- Binding: Paperback
- 633 pages
Amazon.com Review
Amazon Best of the Month, September 2009: James Ellroy's L.A. Quartet novels chronicled a cynic's take on Los Angeles cops and robbers, carving a dark and creepy nook for the author in the world of crime fiction. With Blood's a Rover, Ellroy completes his Underworld USA trilogy, an epic reinvention of American history, politics, and corruption. This book comes out firing: Ellroy's hipster prose--inimitable for its high style and spectacular energy--snaps and surges through more than 600 pages like black electricity, shocking the gentle reader from page one. Opening with a heist scene rendered as coldly violent as anything from Sam Peckinpah's most sociopathic fantasies, the story hurls itself across an improbable crazy quilt plot, including Howard Hughes's Vegas power-play, political abuses and machinations in Hoover's FBI, and the mob's ubiquitous shadow, darkening everything from JFK's assassination to Nixon's 1968 Presidential campaign. Another audacious effort from a one-of-a-kind talent, Blood's a Rover is thrilling and exhausting, a gloriously guilty pleasure. --Jon Foro
From Publishers Weekly
Starred Review. Ellroy concludes the scorching trilogy begun with 1995's American Tabloid with a crushing bravura performance. As ever, his sentences are gems of concision, and his characters—many of whom readers will remember from The Cold Six Thousand and from American history classes—are a motley crew of grotesques often marked by an off-kilter sense of honor: stone bad-asses, in other words, though the women are stronger than the men who push the plot. The violence begins with an unsolved 1964 L.A. armored car heist that will come to have major repercussions later in the novel, as its effects ripple outward from a daring robbery into national and international affairs. There's Howard Hughes's takeover of Las Vegas, helped along by Wayne Tedrow Jr., who's working for the mob. The mob, meanwhile, is scouting casino locations in Central America and the Caribbean, and working to ensure Nixon defeats Humphrey in the 1968 election. Helping out is French-Corsican mercenary Mesplede, who first appeared in Tabloid as the shooter on the grassy knoll and who now takes under his wing Donald Crutchfield, an L.A. peeping Tom/wheelman (based, curiously, on a real-life private eye). Mesplede and Crutchfield eventually set up shop in the Dominican Republic, where the mob begins casino construction and Mesplede and Crutchfield run heroin from Haiti to raise money for their rogue nocturnal assaults on Cuba. In the middle and playing all sides against one another is FBI agent Dwight Holly, who has a direct line to a rapidly deteriorating J. Edgar Hoover (the old girl) and a tormented relationship with left-wing radical Karen Sitakis, and, later, Joan Klein, whose machinations bring the massive plot together and lead to more than one death. Though the book isn't without its faults (Crutchfield discovers a significant plot element because something told him to get out and look; Wayne's late-book transformation is too rushed), it's impossible not to read it with a sense of awe. The violence is as frequent as it is extreme, the treachery is tremendous, and the blending of cold ambition and colder political maneuvering is brazen, all of it filtered through diamond-cut prose. It's a stunning and crazy book that could only have been written by the premier lunatic of American letters. (Sept.)
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From Bookmarks Magazine
With Blood's a Rover, Ellroy completes his epic of revisionist history, and critics agreed that it is a worthy finale. Action-packed scenes, narrated in Ellroy's trademark staccato prose, hurl the reader along towards a shocking conclusion, but this is no conventional thriller. Ellroy dissects people and events familiar to history buffs and reinvents them within the sordid underbelly of the mid-20th century, interspersing the narrative with invented police statements, transcripts, and FBI reports. While some critics complained of flat characters and repetitive plot twists, nearly all enjoyed this conspiracy- and carnage-filled tale of power and corruption. Ellroy's blunt language, raw depictions of violence, and relentless pessimism may not be to everyone's taste, but those with stronger stomachs will be amply rewarded.
Most helpful customer reviews
70 of 78 people found the following review helpful.
Malice in Wonderland
By The Ginger Man
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.
47 of 54 people found the following review helpful.
Brilliant conclusion to the trilogy plays with the reader's expectations
By Stuart Neville
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.
37 of 44 people found the following review helpful.
Third Best of the Trilogy
By T. Karr
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."
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