There is a quality in James Ellroy’s fiction that evades analysis and exceeds his popular status as a successful author in the ‘crime genre’. This quality is in part connected to his demanding narratives, which inevitably leave one with the nagging feeling that there is a great deal one has failed to understand, and which prompt (often multiple) re-readings of his novels; but it is also connected to his stylistic and structural development, an aspect of his work that is generally ignored.
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