Dwight Holly is J. Edgar Hoover's pet strong-arm goon, implementing Hoover's racist designs and obsessed with a leftist shadow figure named Joan Rosen Klein. Wayne Tedrow - ex-cop and heroin runner - is building a mob gambling mecca in the Dominican Republic and quickly becoming radicalized. Don Crutchfield is a window-peeping kid private-eye within tantalizing reach of right-wing assassins, left-wing revolutionaries and the powermongers of an incendiary era. Their lives collide in pursuit of the Red Goddess Joan - and each of them will pay "a dear and savage price to live History."
Political noir as only James Ellroy can write it - our recent past razed and fully reconstructed - Blood's A Rover is a novel of astonishing depth and scope, a massive tale of corruption and retribution, of ideals at war and the extremity of love. It is the largest and greatest work of fiction from an American master.
©2009 James Ellroy; (P)2009 Random House
"Ellroy concludes the scorching trilogy begun with 1995's American Tabloid with a crushing bravura performance. As ever, his sentences are gems of concision.... It's impossible not to read Blood's A Rover with a sense of awe . . . It's a stunning and crazy book that could only have been written by the premier lunatic of American letters." (Publishers Weekly)
"Ellroy calls this third leg of 'The Underworld USA Trilogy' an historical romance, but it's also very much a gangster novel, a political novel, a tragic-comedy, a poignant love story - and remarkably entertaining no matter how you slice it.... You won't easily put it down." (Kirkus Reviews)
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The Cold Six Thousand was killer good. This is even better. The man doesn't just write, he's like a dog who bites you and then the whole world changes. You'll see.
LA Confidential and the Black Dahlia had long ago made me a James Ellroy movie fan. This book made me an Ellroy literature fan, and I have now gone back and listened to his other recorded books. The movies, as good as they are, can't do his writing justice. A unique, compelling voice meets an unbounded imagination. No wonder Michael Connelly finds ways to pay homage to Ellroy in his books. And Craig Wasson's reading is a spot-on, magnificent rendering of myriad characters. The entire production is a masterpiece.
Magnificent. Brings Cold Six Thousand to a proper conclusion. Ellroy loves Beethoven, but this is Mahler. It is certainly not for everyone, but for those it is for... wow.
Craig Wasson once again superbly narrates James Ellroy. A perfect match of narrator to writer's style. And Ellroy's trilogy -- American Tabloid, Cold Six Thousand, and now Bloods A Rover -- in its wonderfully twisted fiction, is probably the closest to the "truth" we are going to get of American political history 1950 to mid-'70s. Certainly resonates in the current environment.
An enthralling read-not for the queasy, or easily shocked. I've enjoyed all of Ellroy's period thrillers, and he's out done himself this time. The only criticism I have is that you'll find yourself rewinding to listen to certain parts again- there's so much information. Craig Wasson did an excellent job with the different accents and sexes.
I write for myself, for my own pleasure. And I want to be left alone to do it. - Salinger ^(;,;)^
"You will read with some reluctance and capitulate in the end. The following pages will force you to succumb. I am going to tell you everything.”
― James Ellroy, Blood's a Rover
This is how the 60s ends, this is how the 60s ends, not with a bang, but a peeper. James Ellroy's Underworld trilogy was fantastic, but this was my least favorite of the three books. Looking back, I think they all were amazing, but this one just dragged a bit too far and wasn't as tight or stylized as his other two. But tied all together they create an amazing (and yes depressing) portrait of the corruption and conspiracies of the JFK (American Tabloid) assassination, Bobby Kennedy & MLK (The Cold Six Thousand) assassinations, and Hoover years. Filled with CIA agents, FBI agents, rogue cops, corrupt cops, black panthers, femme fatales, voodoo, Cuba, conspiracies, intrigue, etc., these books read like the back side of some warped people's history. This isn't your mother or father's history. This is the devil's diary, the assassin's journal, the sludge and the gout of history. It is the underbelly and the corruption. Sometimes you learn as much from the worm as the eagle. This book is the worm and it is brilliant. I'm sad it is over and sad this series will never again be a shock. Reading these books seems to be as close as you can come without ingesting methamphetamine of experiencing the chalk, crystal, and ice of those years of Camelot that weren't photographed in Life magazine. The prose and the dialogue seemed to drill into my brain as I read. It was relentless. I think about the prose and the narrative and I wonder about how any writer could emerge from birthing this series without scars, wounds, and serious therapy debt. I'm glad Ellroy paid the price that we might experience this work of art.
One of the best. Densely plotted and vast in scope. I love all of the author's work. Although the LA Quartet is always going to be my favorite, I think that this book is his masterpiece.
Having heard the author read before I can tell you that Craig Wasson captures Ellroy's style perfectly. And that's good because it is a long ride. Worth every second.
loved it. could stand alone s it's own novel, but best read in the trilogy.
not as good as American Tabloid; far better than the Child Six Thousand.
easy to get lost in his slangy dialogue and large cast of characters, many who spear in other Ellroy novels.
The bombardment of slang is too much if you are not familiar with these terms. It might be a better book to read so you have time to absorb and analyze what was just said, but in this form it is just too much for me to follow without getting a headache.
The manipulation of our lives and politics that this story develops is just too far out to be believable unless you subscribe to conspiracy theorists.
I tried to attend to the short staccato sentences that didn't seem related to each other. There's no character development, just a long list of facts about a person or place. One unsavory character ran into another, without any discernment or voice change. I was also turned off by the liberal use of racial epithets and mindless lists of events. The writing was like listening to a technical manual, very dry, no emotional flavoring, except the bravado of puffed up thugs. I'd give this title a zero but that wasn't an option. I admit that I had to stop listening after two hours. That's a first for me.
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