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The Cold Six Thousand Paperback – June 11, 2002
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With its hypnotic, staccato rhythms, and words jostling, bumping, marching forward with edgy intensity (like lemmings heading toward a cliff of their own devising), The Cold Six Thousand feels as if it's being narrated by a hopped-up Dr. Seuss who's hungrier for violence than for green eggs and ham. In spinning the threads of post-JFK-assassination cultural chaos, James Ellroy's whirlwind riff on the 1960s takes nothing for granted, except that absolute power corrupts absolutely.
Hurtling from Las Vegas to Vietnam to Cuba to Memphis and back again (and all points in between), from Dealey Plaza to opium fields to smoke-filled back rooms where the mob holds sway, the novel traces the strands of complicity, greed, and fear that connect three men to a legion of supporting characters: Ward Littell, a former Feeb whose current allegiance to the mob and to Howard Hughes can't mask his admiration for the Kennedy brothers and Martin Luther King; Pete Bondurant, a hit man and fervent anti-Communist who splits his time between Vegas casinos and CIA-sponsored heroin labs in Saigon; and Wayne Tedrow Jr., a young Vegas cop who's sent to Dallas in late November 1963 to snuff a black pimp, and who is fighting a losing battle against his predilection for violence: "Junior was a hider. Junior was a watcher. Junior lit flames. Junior torched. Junior lived in his head."
And behind these three, J. Edgar Hoover is the master puppeteer, pulling strings with visionary zeal and resolute pragmatism, the still point around whom the novel roils and tumbles. At once evil and comic, Hoover predicts that LBJ "will deplete his prestige on the home front and recoup it in Vietnam. History will judge him as a tall man with big ears who needed wretched people to love him," and feels that Cuba "appeals to hotheads and the morally impaired. It's the cuisine and the sex. Plantains and women who have intercourse with donkeys."
The Seussian comparison isn't that far-fetched: Ellroy's novel, like the children's books (and like the very decade it limns), is flexible, spontaneous, and unabashedly off-kilter. Weighing in at a hefty 700 pages, The Cold Six Thousand is a trifle bloated by the excesses of its narrative form. But what glorious excess it is, as Ellroy continues to illuminate the twin impulses toward idealism and corruption that frame American popular and political culture. He deftly puts unforgettable faces and voices to the murkiest of conspiracy theories, and simultaneously mocks our eager assumption that such knowledge will make a difference. --Kelly Flynn --This text refers to an out of print or unavailable edition of this title.
From Publishers Weekly
Dig it: Ellroy writes tight. Ellroy writes large. Ellroy vibes great lit he's the Willie S. of noir. It's easy to elbow Ellroy, but that's only because he's got his act down. His new novel is a career performance. Running from one day of infamy (11/22/63) to another (6/5/68) and a bit beyond, it limns a confluence of conspiracies beginning with the shooting of JFK in Dallas and ending with the death of his brother in L.A. In between, Ellroy depicts the takeover of Vegas by the Outfit, with Howard Hughes as its beard; the escalation of the war in Vietnam and the takeover of heroin cultivation there by the Mob; the enmity of J. Edgar Hoover toward Martin Luther King, leading to the King killing months before bullets topple Bobby K. Big names play roles huge and small: the aforementioned celebs; Bayard Rustin, an FBI blackmail target for his homosexuality; Sal Mineo, a Mob blackmail target for carving up a male trick; Oswald, Ruby, SirhanSirhan, James Earl Jones, patsies all; Sonny Liston, sliding from world champion to world-class thug; assorted "Boys," including mobster Carlos Marcellos, the spider at the center of the web. While great men pull strings, however, smaller men not only dance but sometimes tug back; a wide cast of characters mercenaries, twisted cops, thieves, financiers, pimps, whores and cons keep the conspiracies chugging while indulging in assorted vanities and vendettas. What emerges is a violent, sexually squalid, nightmare version of America in the '60s, one that, through Ellroy's insertion of telephone transcripts and FBI and other documents, gains historical credence. With Ellroy's ice-pick declarative prose (thankfully varied occasionally by those documents), plus his heart-trembling, brain-searing subject matter, readers will feel kneed, stomped upon and then kicked right up into the maw of hard truth. (On-sale date, May 8)
Copyright 2001 Cahners Business Information, Inc.--This text refers to an out of print or unavailable edition of this title.