The Big Nowhere - Plot

Plot

What begin in this novel as two separate tales eventually twist together into one, centered around the efforts of a LA Sheriff's Deputy to capture a brutal sex murderer while serving, somewhat reluctantly, as a decoy for a set-up to expose communists in Hollywood. This young deputy, Danny Upshaw, finds himself on a ride that will force him to confront secrets he has kept his whole life, even from himself. Two other major characters, disgraced former cop, Turner "Buzz" Meeks, now working for both Howard Hughes and Mickey Cohen, and ambitious LAPD lieutenant Malcolm "Mal" Considine, involved in a child custody case, try with varying success to do the right things in an environment of deception, paranoia and brutality.

The story begins on New Year's Eve, as 1949 turns to 1950, and creates a vivid portrait of Los Angeles during that era, from the bebop emanating from the jazz clubs on Central Avenue to the labor union battles facing the Hollywood studios. The entire story takes place in the aftermath of the notorious Sleepy Lagoon murder case and the resultant Zoot Suit Riots, an event that roiled LA for years.

While the novel mocks opportunistic Red-baiting as a scam to oust organized labor that benefited political careers and the fortunes of movie studio executives and mobsters, Ellroy is no easier on the film colony's communists and fellow travelers, many of whom he depicts as decadent hypocrites, easily compromised into "naming names" in an effort to hide their own dirty secrets. As with most of Ellroy's fiction, he liberally employs the brutal slang of the times. Gays are "fruits," "homos," "nances"; blacks are "boogies" and "jigs" and their neighborhoods are all Niggertown.

Read more about this topic:  The Big Nowhere

Famous quotes containing the word plot:

    The westward march has stopped, upon the final plains of the Pacific; and now the plot thickens ... with the change, the pause, the settlement, our people draw into closer groups, stand face to face, to know each other and be known.
    Woodrow Wilson (1856–1924)

    The plot! The plot! What kind of plot could a poet possibly provide that is not surpassed by the thinking, feeling reader? Form alone is divine.
    Franz Grillparzer (1791–1872)

    But, when to Sin our byast Nature leans,
    The careful Devil is still at hand with means;
    And providently Pimps for ill desires:
    The Good Old Cause, reviv’d, a Plot requires,
    Plots, true or false, are necessary things,
    To raise up Common-wealths and ruine Kings.
    John Dryden (1631–1700)