e-Book White Jazz download

e-Book White Jazz download

by James Ellroy

ISBN: 0712634126
ISBN13: 978-0712634120
Language: English
Publisher: CENTURY; First Edition ~1st Printing edition (1992)
Pages: 400
Subategory: Thriller

ePub size: 1938 kb
Fb2 size: 1306 kb
DJVU size: 1649 kb
Rating: 4.1
Votes: 400
Other Formats: docx lrf lit mbr

FREE shipping on qualifying offers. The internationally acclaimed author of the . Quartet and The Underworld USA Trilogy, James Ellroy.

FREE shipping on qualifying offers.

Book the fuckers-Newton Street Station. Rap sheet checks: nine outstanding warrants total. Missing Fingers came up a sweetheart: rape, ADW, flimflam. Shock pale, maybe dying-a medic fed him coffee and aspirin. I booked the plant gun, bet slips and money-minus Jack Woods' eleven hundred. Junior, press relations: the lieutenant owes you a story. Two hours of pure shitwork.

This conclusion to James Ellroy’s . Quartet is just as wholesome and uplifting as the previous three books with his usual cast of characters such as corrupt cops, gangsters, hustlers, blackmailers, shakedown artists, bag men, thieves, junkies, drug dealers, dog killers, whores, johns, pimps, peepers, perverts, panty sniffers, and politicians.

JAMES ELLROY was born in Los Angeles in 1948. WHITE JAZZ gives us the tortured confession of a corrupt cop going down for the count. He’s a slumlord, a killer, a parasitic exploiter

JAMES ELLROY was born in Los Angeles in 1948. He is the author of the Underworld . I’ve been writing a book for a couple of years and then they slip the chain off and I can run wild. He’s a slumlord, a killer, a parasitic exploiter. He’s a pawn in a series of police power plays and starting to see that he’s being had. He’s just met a woman.

Lee Earle "James" Ellroy (born March 4, 1948) is an American crime fiction writer and essayist. Ellroy has become known for a telegrammatic prose style in his most recent work, wherein he frequently omits connecting words and uses only short, staccato sentences, and in particular for the novels The Black Dahlia (1987), The Big Nowhere (1988), . Confidential (1990), White Jazz (1992), American Tabloid (1995), The Cold Six Thousand (2001), and Blood's a Rover (2009).

James Ellroy - White Jazz This copy is a hardcover with dust jacket in good condition Books will be wrapped in black and white striped gift wrap with a red ribbon. If desired, a gift message may be included.

James Ellroy - White Jazz This copy is a hardcover with dust jacket in good condition. Minor signs of wear to edges of jacket and pages of text, as pictured. Wear to dust jacket, boards, and text block includes: chipping, open and closed tears, rubbing, sun-fading, foxing, and areas discoloration. Books will be wrapped in black and white striped gift wrap with a red ribbon. White Jazz A Fawcett Columbine book. Издание: перепечатанное. Quartet novels The Black Dahlia, The Big Nowhere, . Confidential, and White Jazz, were international best-sellers. His novel American Tabloid was Time magazine's Best Book (fiction) of 1995; his memoir, My Dark Places, was a Time Best Book of the Year and a New York Times Notable Book for 1996.

Fierce, riveting, and honed to a razor-edge, White Jazz is crime fiction at its most shattering, and the most explosive novel yet from James Ellroy.

Author: James Ellroy. Publisher: nopf Publishing Group, New York, 2001. Fierce, riveting, and honed to a razor-edge, White Jazz is crime fiction at its most shattering, and the most explosive novel yet from James Ellroy.

White jazz : a novel. by. Ellroy, James, 1948-. Books for People with Print Disabilities. Internet Archive Books. Delaware County District Library (Ohio).

Essentially, you have been detained to aid us in a burglary investigation. A young woman known to occasionally sell her services on South Western Avenue is involved, and I need to isolate men who have purchased those services. Riegle up on stage, mug shots out.

368pages. 24x15x4cm. Relié.
A challenging read, but a good read nonetheless. His short staccato prose obfuscates at times, but occasionally, like the final group of chapters, it feels like it couldnt have been written any other way.

As always, the plot is denser than a bagmans fist and this book bruises like one. The first draft was 600+ pages, but the editor thought it too long. Instead of shaving off plot, he shaved off connecting words and other stuff. This stylist approach left out descriptions and often the innerlife of the character. Those are two mild problems that partially forgivable.

My biggest qualm in this novel is the lack of complex characterization of the female characters. The two signjfcant female characters are so minor,and really have no motivations of there and only get swept up in the klein's problems. This wasnt a problem in previous novels, but it is a huge criticism.

Overall, the book was a thrilling ride. The deeds are dastardly, and every event was horrendous. The kinda book that makes being bad look so good. Neo noir at its finest.

The good news--this time Elroy managed to pull off a first person crime novel that remains suspenseful. Too often in books like these, the important clues are waved right in front of the hero, who ignores them even as the reader is screaming at him "You idiot! The author just told you the answer!" First person holds a novel together, so this one seems unified, like "The Black Dalhia". The main problem is that the anti-hero cop is too much anti and not enough hero. He is also a bit of a cold fish, even though he has several love interests. If I were writing it, I would have considered third person, with Ed and Dudley as the other two. Ed and Dudley are much more interesting than the narrator who seems to have been created mainly as a vehicle through which to tell their story. This book wins the "Best description of the sights, sounds and smells of LA c. 1958."

I gave this one four stars instead of five, because of the weakness of the characterizations. On the other hand, Ellroy has gotten better at weaving the threads of "Big" novel. If the stories are true and this one really was much longer in its first draft, I think they ought to do a "director's cut" re-release. I would be willing to bet cold hard cash that the cut scenes (if they exist) filled in some of that missing character development, the way that the director's cut of "Stranger in a Strange Land" included more character development. Why do publishers hate character development so much? It is what readers want.

After finishing "White Jazz," which is excellent, you can see why Ellroy moved on to a larger canvas. "White Jazz" takes the revenge tragedy about as far as it can go, the telegraphic style is starting to mature, you get a little bit of wrap-up on the main figures of the LA Quartet and we're off to the sublime USA Underworld Trilogy. Love Ellroy, "White Jazz" is a little branch on a great tree.

An indescribably awesome work, culminating the quartet that began with The Black Dahlia. Elroy's writing style is distilled and refined to a fine minimalism, like the music of Anton Webern. You must read the preceding books or the density of writing will overwhelm you. Pure cop talk, sentence structure often abandoned.

Many characters from The Big Nowhere and LA Confidential, but the central character is Lieutenant Dave Klein, the sole narrator and in first person , a sharp break from the first three of the quartet.

I love this book.

White Jazz is, like the other three novels in Ellroy's "L.A. Quartet" quite an excellent read. The only snag for some readers will be that White Jazz was either written in a very different, stripped-down style than the three novels that precede it, or at least represents the most extreme form of a style that began to emerge in L.A. Confidential.

From what I read, Mr. Ellroy was asked by his publisher to severely shorten L.A. Confidential and, rather than cut out any of the existing plots or subplots, Mr. Ellroy chose instead to eliminate any words that were not absolutely necessary. While the prose in L.A. Confidential did not actually strike me as minimalist, it was immediately evident that the prose in White Jazz was flayed right down to the bone. As an example, instead of seeing dialogue such as "'Police! Stop or we'll shoot!' yelled Stemmons." or prose describing what is going on in any great detail, you get things like "Stemmons: 'Police! Stop or we'll shoot!", "Rap sheet checks: nine outstanding warrants between them," and even "Chaos: blood spray, bet slip/cash confetti."

At first it was a bit hard to get the hang of this style, and with character descriptions kept to a minimum (or sometimes not included at all) I found it harder to keep straight who was who in the story. However, it is a testament to Mr. Ellroy's skill in storytelling that once you get used to the style you become so engrossed in the storyline that you no longer notice the missing prose. Needless to say, the style itself also keeps the novel moving at a breakneck pace.

This book's style has made me very curious to move into Ellroy's later works if even just to see how it develops as he practices it more.

It was a bit hard to read at first but once I got into the book it was easier to follow. I don't usually go for books written with one person narrating the whole story. This one was not as good as L.A. Confidential or the other books in the series.

WHITE JAZZ stared at me from the shelf for two years before I cracked it open. I read a few pages and put it down, annoyed. It was confusing. I couldn't adapt to its beat. But I picked it up again and plunged in deeper. The rhythm of the staccato prose kicked in. The urgency of the plot swept me up. This stench of corruption overwhelmed me. It was intricate, complex, assured -- brilliantly freeform but always tightly structured. Late night reading led to swirling nighttime visions -- jazz that kept playing long after the pages had been slammed shut. Dangerous. Addictive. Feverish stuff.

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ISBN13: 978-8854406049
language: English
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ISBN: 0451177800
ISBN13: 978-0451177803
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