James Ellroy
James Ellroy
Lee Earle "James" Ellroyis 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, The Big Nowhere, L.A. Confidential, White Jazz, American Tabloid, The Cold Six Thousand, and Blood's a Rover...
NationalityAmerican
ProfessionNovelist
Date of Birth4 March 1948
CountryUnited States of America
The novel is final form; it's the ultimate individual final form. Television and motion pictures never get there. You'd be fabulous to think that something you write is even going to be filmed. I give it the best shot of which I'm capable. But it's more a payday for me. And if I didn't have alimony and the full-time assistant.
When I look at Perfidia, I think, "That's a Pulitzer Prize winner. That's a National Book Award winner." It's not going to get it. It's going to be shelved in crime and it's just the way it is. I've done something that no one else has ever done; I've started out as a mystery writer, a police writer, and a crime writer, and I became something entirely different.
Periodically I just notch up. And everyone among my colleagues thinks that Perfidia - in its accessibility, its big throbbing heart - will be the biggest notch up yet. We'll see what happens. It's on my ass.
[Raymond] Chandler, I reread him, and there's a lot of bad writing there. I don't think he knew much about people.
I don't think I came out of anybody. I think I developed out of the influences I described in My Dark Places. American history, L.A. of the 1950s. I'm comfortable with that.
I'm trying to be less bombastic. I love my books. I think I've done things nobody else has done.
Joe Wambaugh's a friend. I know him only casually, but I like him a lot. I think he likes my books.
I don't think I will write anything that could be even remotely considered a genre novel from this point on. I think I've graduated.
I think the great unspoken theme in noir fiction is male self-pity. It pervades noir movies.
Noir is dead for me because historically, I think it's a simple view. I've taken it as far as it can go. I think I've expanded on it a great deal, taken it further than any other American novelist.
It was easy not to think of my future; I didn't have one.
I'm not interested in popular culture. I hate Quentin Tarantino. I rarely go to movies. I hate rock 'n' roll. I work. I think. I listen to classical music. I brood. I like sports cars.
I think I'm out of crime fiction now, and I think the dividing line is American Tabloid.
I love thinking about American history, thinking about LA history. I love brooding on crime.