James Ellroy - Perfidia 00.nfo
General Information
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Title: Perfidia
Author: James Ellroy
Read By: Graig Wasson
Copyright: 2014
Audiobook Copyright: 2014
Genre: mystery
Publisher: Random House Audio
Abridged: No
Original Media Information
==========================
Source: Download
Condition: Good Enough
File Information
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Number of MP3s: 56
Total Duration: 27:29:19
Total MP3 Size: 378.03
Parity Archive: No
Ripped With: Soundtaxi
Encoded With: LAME
Encoded At: CBR 32 kbit/s 22050 Hz Mono
Normalize: MP3 Gain, 90.5dB
Noise Reduction: None
ID3 Tags: Set, v1.1, v2.3
Book Description
================
Review
It is December 6, 1941. America stands at the brink of World War II.
Last hopes for peace are shattered when Japanese squadrons bomb Pearl
now, war fever and race hate grip the city and the Japanese internment
begins.
The hellish murder of a Japanese family summons three men and one woman.
William H. Parker is a captain on the Los Angeles Police Department.
chemist and the only Japanese on the L.A. cop payroll. Kay Lake is a
twenty-one-year-old dilettante looking for adventure. The investigation
throws them together and rips them apart. The crime becomes a political
Perfidia is a novel of astonishments. It is World War II as you have
never seen it, and Los Angeles as James Ellroy has never written it
before. Here, he gives us the party at the edge of the abyss and the
captured. It beckons us to solve a great crime that, in its turn, explicates
the crime of war itself. It is a great American novel.
Editorial Reviews
"Perfidia is a brilliant, breakneck ride. Nobody except James Ellroy
Perfidia, Ellroy comes closer than ever to making the case that he writes
alt-histories not of the Los Angeles police but of the Los Angeles police
state. . . . [He] depicts with frightening authenticity how those innocent
again to the underbelly of American history. . . . You will dive into
style has been described as jazzlike or telegraphic; here it is insomniac,
Chandler, more operatic than Hammett, and more violent even than Cain.
in novels such as L.A. Confidential and The Cold Six Thousand, he has
been making real a secret world behind the official history of America,
where bad girls mingle with very bad men, and the designs of murderers,
cops, mobsters, movie stars and politicians can be equally callous,
equally deadly. He melds racial invective, street slang, hepcat jazz
talk, junkie jive and scandal-rag rants into prose of controlled intensity,
of LA Quartet, with its highlighting of police misdemeanours, and the
wider politico-historical concerns of his subsequent Underworld USA
return to form. . . . His character portrayals have never been more
and inflammatory vision of how the men in charge respond to the threat
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