Crime Wave: Reportage and Fiction from the Underside of L.A.
You wouldn't expect slickGQto perform the greatest magazine service to hard-boiled crime writing since the heyday ofBlack Mask, but the evidence is before your eyes:Crime Wave, James Ellroy's collectedGQworks circa 1993-99.ThoughCrime Wavecontains two stories in the exhilaratingly sleazy voice of the fictitious scandal ragHush-Hush, and the novella-length "Hollywood Shakedown," a tale of sex, drugs, and murder starring '50s crooner-accordionist Dick Contino, the book is predominantly nonfiction. There's one flavorful piece, "Bad Boys in Tinseltown," about the day in 1967 when Ellroy--then a speed freak who broke into fancy houses to steal stuff and sniff women's underwear--read an article by Curtis Hanson raving aboutBonnie and Clydeand was inspired. Then Ellroy flashes forward to 1996, when he visits Hanson as he directs the triumphant film version ofL.A. Confidential.GQtalked Ellroy into writing about the event that made him a maniac, and then an obsessive writer: his dissolute mother's unsolved murder in 1958, when he was 10. His investigation of her death began with the chillingGQarticle "My Mother's Killer," which grew into the bookMy Dark Places. (If you haven't heard Ellroy read it onaudiotape, you haven't shivered.) His investigation of another woman's murder, "Body Dumps," is in some ways better, because there's a suspect to eviscerate in prose. "Sex, Glitz, and Greed," written about O.J. during the trial, is an odd fit in this collection, but when Ellroy is on his own turf--L.A.'s seamy, undead past--nobody can touch him.--Tim Appelo