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ePub Because the Night download

by L. J. Ganser,James Ellroy

ePub Because the Night download
L. J. Ganser,James Ellroy
Sound Library (November 2005)
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Open Road Integrated Media ebook

Open Road Integrated Media ebook. With darkness came his reward for being the Doctor’s unexpendable right arm, the one person aside from the Night Tripper who knew just how far his lonelies could be tapped, dredged, milked, and exploited. Spring was a sweet enemy, he thought. There were tortuously long bouts of sunshine to contend with, transits that made nightfall that much more satisfying.

Part of the trilogy books of legendary detective Lloyd Hopkins, James Ellroy again demonstrates why he is the preeminent writer in this genre.

Only 9 left in stock (more on the way). Part of the trilogy books of legendary detective Lloyd Hopkins, James Ellroy again demonstrates why he is the preeminent writer in this genre. Admittedly biased since I have read and collected all of his works, Because of the Night builds and defines a character so flawed and driven, and tortured by his greatness of his analytical gift. Like the rest of Ellroy's books, you won't be able to put it down. One person found this helpful.

Because the Night is a crime fiction novel written by James Ellroy. Like Blood on the Moon (first book) and Suicide Hill (third and final book), it follows Lloyd Hopkins an LAPD robbery-homicide detective in the 1980s.

James Ellroy, Because the Night. Book 2 in Ellroy's . Noir trilogy (or Lloyd Hopkins Trilogy)

James Ellroy, Because the Night. Noir trilogy (or Lloyd Hopkins Trilogy). In this book Sgt Hopkins is trying to figure out a bizarre killing AND the disappearance of an exceptional undercover cop. It all leads to a Timothy Leary/Charles Manson mashup wh "Guys with our kind of juice should f-up once in a while out of noblesse oblige. James Ellroy, Because the Night. In this book Sgt Hopkins is trying to figure out a bizarre killing AND the disappearance of an exceptional undercover.

Because the Night: A Novel. Publisher Description. Three citizens are butchered during a liquor store holdup. An unstable veteran cop vanishes without a trace. Nothing connects these events except for a nagging hunch in the back of Detective Sergeant Lloyd Hopkins' brain - a sinister foreboding that will lead him through the sin-and-sleaze playground of nighttime . on the trail of a psycho psychiatrist with a talent for terror and mind-control.

Known as the 'Alchemist,' because he could fake anything. He could be an old crippled man, a drunk marine, a fag, a low rider. You name i. Lloyd's eyes bored in. "And?"

I must take charge of the liquid fire, and storm the cities of human desire -. W. H. Auden. 1. The liquor store stood at the tail end of a long stretch of neon, where the Hollywood Freeway cut across Sunset, the dividing line between bright lights and residential darkness. The man in the yellow Toyota pulled into the bushes beside the on-ramp, twisting the wheel outward and snapping on the emergency brake in a single deft motion. Known as the 'Alchemist,' because he could fake anything. "And?" "And he's been missing for three weeks.

Ellroy piles on the lurid adjectives, using vivid over-the-top dialogue

Ellroy piles on the lurid adjectives, using vivid over-the-top dialogue. Ganser enters into the spirit of both, snarling, shrieking, and, from the sound of it, nearly spitting with the intensity of the delivery. The result is often great fun. However, at times the reading is a bit off from what the text indicates; sometimes Ganser delivers a line at normal volume only to end with a speech tag along the lines of "he shouted. Library Ed., BBC Audiobooks America, 2005.

Every cop in Southern California was shaking the trees for Thomas Goff, and he, the supervising officer and legendary big brain, did not yet have a psychological mock-up to work from.

Every cop in Southern California was shaking the trees for Thomas Goff, and he, the supervising officer and legendary big brain, did not yet have a psychological mock-up to work from se the legendary criminal shrink’s nickname as his entree, he could probably interest him in the Goff case and get him to offer his observations. It was slim, but at least it was movement. The twenty-four hours at the Center had yielded nothing but negative feedback. The New York State Police had reacted promptly to his inquiry on Thomas Goff, issuing the .

About Because the Night. A botched liquor store heist leaves three grisly dead. Ellroy sprays declarative sentences like machine-gun bullets, blasting to kingdom come all notions of justice, heroism, and simple decency. A hero cop is missing. Nobody could see a pattern in these two stray bits of information–no one except Detective Sergeant Lloyd Hopkins, a brilliant and disturbed . cop with an obsessive desire to protect the innocent. To him they lead to one horrifying conclusion–a killer is on the loose and preying on his city. Entertainment Weekly. can make the night world of sleaze and street monsters come alive on the page. St. Louis Globe-Democrat.

  • I am surprised at the reviewer that could not understand why a villain would want to collect data. The book is set in 1984. What happens in 1984? Big Brother tries to infiltrate our minds. Who is best when it comes to infiltrating our minds, stealing our private thoughts and reprogramming them? A psychiatrist, of course.

    The style of Because the Night feels very mature. I was never tempted to pick up a red editing pencil, not once. The characterizations were better, too, and Ellroy achieves a much better noir effect than he did in Blood on the Moon. No one is innocent in this book. Ellroy has ALMOST achieved the LAPD that we love to hate from Black Dahlia.

  • I fell in love with Lloyd Hopkins!


  • Blood on the moon was a decent effort from a novice novelist. Because the night is a big improvement on many levels. The plot is tighter, the psychological motivations are compelling and it never drags.

  • If I considered Book #1 dark, Because The Night takes the reader a quantum step beyond!
    But then that's James Ellroy through and through. His world is peopled with bent cops, drunks, dopers, petty criminals, whores, twisted psychopaths with an utter conviction in their own brilliance... and, of course, a protagonist continually dealing with demons of his own.

  • Second novel of the Lloyd Hopkins saga, BECAUSE OF THE NIGHT has been published in 1984. Like in BLOOD ON THE MOON, James Ellroy has adopted in this book two points of view, Lloyd's and John Havilland's, the killer.
    Even if the twists of BECAUSE OF THE NIGHT are highly improbable, the novel still stays as intense as it was when I first read it seventeen years ago (gasp!). Ellroy was then one of the first writers to introduce serial killers in his books and was already a master in describing the psychology of his characters.
    What strikes me the most now is the evident relation between the mad psychiatrist Havilland and the writer Ellroy. The symptoms of Havilland's madness are very similar to the creative process of the writer. Havilland tries to recreate traumatic scenes of his childhood by directing "live" the poor souls that have fallen in his trap. How not to recognize here the endless efforts of James Ellroy in order to exorcize his mother's murder books after books ?
    So if you have the curiosity to go beyond the main argument of BECAUSE OF THE NIGHT, you will soon find out that this book is not only a unique opportunity given to the reader to analyze Lloyd Hopkins thanks John Havilland's psychological skill but is also a terrifying trip through James Ellroy's own obsessions.
    A book to rediscover.

  • Ellroy is clearly an intellectual writer. His vocabulary, his grasp of psychological profiles and various references to culture all speak to that. His writing is blunt and honest--no touchy-feely here, and that adds impact to the novel. He crafts a solid story, that is, he remembers where he's going and where he's been (might seem obvious but lots of modern writers fail in this area). And in Hopkins he crafts an intriguing protagonist.

    The biggest problem here is the contrived plot. It's as if Ellroy tried way too hard when he didn't need to--his authorial skills don't require an over-the-top storyline. At times it goes so far as to feel like it's a script for an Austin Powers movie. Just as bad as the contrivance is the motivations for the antagonist and the flock of idiots who follow him. But the clincher for me was how Hopkins finally sees it all at once, going from not even a suspicion to a complete understanding of all that has happened.

    Another issue for me is the decision to use two points-of-view. Of course this is a very common approach by writers and with some, like Stephen King, the antagonist's POV is what draws you in. I would argue that for every novel it enhances, it detracts from several more. There is only one mystery here, and that is, how will the showdown come. We know Hopkins is a serial character and that Ellroy won't kill him off, so the suspense is completely absent. Try to imagine this book if we are only in Hopkins head and it improves instantly. I know it's fun to explore the psyche of serial killers but that should be weighed against keeping the reader titillated.

  • I once heard a bastardization of a Truman Capote comment: "Writers go through three phases: Learning their craft, writing their best work and typing for money. Try to avoid the first and third." I read Ellroy's LA Quartet first, and would recommend White Jazz, LA Confidential, American Tabloid and the Big Nowhere to anyone; all were 9s or 10s. All were written at Ellroy's peak.
    This book was a disappointment in the extreme; it was fairly mechanical; I couldn't even get through it. Rather than this book, look at his aforementioned novels; you won't get better noir writing.