The Big Nowhere
James Ellroy
 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. The Big Nowhere is, in fact, a feast of vernacular, and Ellroy is brilliant at capturing the nuances of dialogue that denote class, race, and mindset.