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Type of bind: Paperback
Dewey Decimal Number: 813.54
EAN num: 9780375727405
ISBN number: 037572740X
Label: Vintage
Manufacturer: Vintage
Quantity: 1
Page Count: 688
Printing Date: June 11, 2002
Publishing house: Vintage
Release Date: June 11, 2002
Sale Popularity Level: 120306
Studio: Vintage
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Product Description:
In this savagely audacious novel, James Ellroy plants a pipe bomb under the America in the 1960s, lights the fuse, and watches the shrapnel fly. On November 22, 1963 three men converge in Dallas. Their job: to clean up the JFK hit’s loose ends and inconvenient witnesses. They are Wayne Tedrow, Jr., a Las Vegas cop with family ties to the lunatic right; Ward J. Littell, a defrocked FBI man turned underworld mouthpiece; and Pete Bondurant, a dope-runner and hit-man who serves as the mob’s emissary to the anti-Castro underground.
It goes bad from there. For the subsequent five years these night-riders run a whirlwind of plots and counter-plots: Howard Hughes’s takeover of Vegas, J. Edgar Hoover’s war against the civil rights movement, the heroin trade in Vietnam, and the murders of Martin Luther King, Jr. and Bobby Kennedy. Wilder than L. A. Confidential, more devastating than American Tabloid, The Cold Six Thousand establishes Ellroy as one of our most fearless novelists.
Amazon.com Review:
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 purple 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 grey 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
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Rated by buyers 
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The Cold Six Thousand is a daringly direct take on the biggest events in America in the 1960s - the assassinations of President John F Kennedy, civil rights leader Martin Luther King and JFK's younger brother Senator Robert F Kennedy. All this set against the very first few years of the US involvement in Vietnam, the cold war and the stand-off with Cuba, with considerable influence from such figureheads as FBI Director J Edgar Hoover, eccentric billionaire Howard Hughes and the leading dons of the US Mafia.
Officially we know who killed JFK, MLK and RFK, but after reading this sprawling novel, sequel to the even better American Tabloid, you may wonder if the author's version of events is closer to the truth. All of the 'official' guilty parties feature, including Palestinian activist Sirhan Sirhan who I believe is still in a California jail some 40 years on....but did he pull the trigger of the gun that killed Bobby Kennedy? This novel doesn't specifically and unambiguously answer that question, but Ellroy is in no doubt at all as to who was behind the presidential assassination.
If taken literally (which is difficult not to do) it's impossible not to be disgusted at the extraordinary levels of corruption, racism and political manipulation that lay behind the face of the United States in the Swinging Sixties. The Ku Klux Klan were highly influential in CIA strategy, and although the political impetus behind the US involvement in Vietnam is somewhat glossed over (Linden B Johnson barely has a talking part, unlike JFK in American Tabloid), the CIA's heroin processing 'business' is documented in great detail, as one of the three primary characters Wayne Tedrow Junior (a former policeman) becomes primarily responsible for the labs set up in Vietnam and Laos for creating a massive 'White Horse' production line which has at least two key objectives - to establish a distribution network in Las Vegas among negroes only, and to finance 'The Cause' : collaboration with the Mafia in their attempts to overthrow Castro in Cuba and repossess their casinos which they had invested so much money into.
The other two lead characters, Ward Littell and Pete Bondurant, are carried over from American Tabloid, and for me one of the best features of both books is the description of how the lives and personalities of these two men are shaped and changed by their murderous activities. These men are cold-blooded killers with soft hearts - and in Bondurant's case a rather weak one.
In a way it's amazing that so much history has been squeezed into one riveting novel; if you know nothing about the truth on which it's based it still makes compelling reading, but if (like me) you are among the many who want to know what really happened back then, this story will probably satisfy on another level, and put the whole sordid series of events into some kind of perspective.
I cannot miss this opportunity to add that there appears to be a case for an allegation of history repeating itself, with the US invading Iraq under the one context while the world was/is convinced that the real motive was to get its hands on a valuable commodity. Back in the 1960s, it was a US invasion of another country cloaked under the paranoia of Communism (as opposed to terrorism today) while the commodity of choice back then was heroin. Ellroy finished The Cold Six Thousand only a year or so before the US started the Iraq War - now his words have a sense of prophetic familiarity.
Truly a must-read.
Rated by buyers -
Vivid, vicious, hyper-masculine and uber-stylish, the novel begins on the day Kennedy is killed and follows three men tied up in his assassination through the subsequent five years, culminating with the killings of RFK and MLK. Cameos by J. Edgar Hoover, Jimmy Hoffa, Sonny Liston, Howard Hughes and others speak to the depth of research Ellroy has put into play. The word "ambitious" isn't near strong enough for this one -- it's a classic, a novel that deserves study.
Ellroy's characters are always strong symbols, and between them, the three protagonists span the gamut of American hope and horror. I particularly found Ward Littell fascinating; a brilliant lawyer who works tirelessly for the both mob and Howard Hughes, yet mollifies his conscience by skimming from both to funnel anonymous donations to Martin Luther King.
Highly recommended.
Rated by buyers 
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Dig it: James heard the cheers. James wanted more. James wanted to be a "serious" writer. He birthed a book in his brain. The train to get him there.
There you have it: The "literary" style of The Cold Six Thousand. In a nutshell.
Armed with James' knowledge of American history, I could have written this novel. So much of the book follows the same pattern: Write a sentence with few words. Write a similar sentence. Write another similar sentence. Then flip it up with a different sentence. Variation for Six-Thousand in this regard meant occasionally using three sentences instead of four. And on and on it went.
To be fair, every now and then Ellroy did have nice turns of phrase ensconced within this repetition. But it seems he got so amused with his own style that he overloads the reader with an abundance of people and places and slang and events. The story becomes muddled in the process. I'm not one to admit that reading must be easy, but come on, at least it needs to be clear. Ellroy fails in this regard.
I respect Ellroy and know he can knock it out of the park, but I feel letdown with this book. Why did he seek the recognition of literary writers to begin with? Was he not happy with his reputation as one of the hippest and most commanding voices in crime fiction? Literary fiction, in my opinion, has always been easy to write. I should know: I used to crank out the artsy product myself, and to acclaim at that. Genre writing, on the other hand, is tough business. Why did Ellroy decide to jump from the Black Diamond of fiction to the Bunny Slope? If you want a satisfying read, don't buy this book.
Rated by buyers 
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JFK, LBJ, MLK, KKK, CIA, FBI, Bobby, Hoffa, J.E. Hoover, Mafia, Vegas, 'Nam, Fidel, Sammy Davis Jr., Howard Hughes, Rock Hudson, hookers, drugs, and more are all woven through this roller coaster of a conspiracy tale that almost plausibly ties together all the crazy and tragic events that shaped American life in the 1960s and for decades after. The story begins in the moments following the assassination of JFK in Dallas and takes the reader on an almost dream-like journey that ends with Bobby's death in Los Angeles. The story told is masterful, if disturbing, and the characters are "insiders" working with the mob and shady elements within the Federal government to drive the bloody historical events of that period.
Ellroy uses an unusal writing style in this novel which relies on snippets or fragments of thought rather than full sentences to tell the story. Short two, three or four word bursts which describe the action in a way that is effective and gritty, though not necessarily smooth. The result is a read which is compelling, but not leisurely or relaxing. Despite the effort it takes to get through it at times, it is very hard to put down. When you are done, you can finally breathe a sigh of relief and head back to Amazon.com to see what else this guy has written!
Rated by buyers 
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Novels such as `The Black Dahlia', `L.A Confidential', `American Tabloid' and `White Jazz `along with his personal testimony `My Dark Places' have elevated ex-junkie drop-out James Elroy to a colossus of American literature and eminent man of letters. Or, as a currently interred bank robber acquaintance of mine recently put it, `His name should be mentioned in the same breath as Steinbeck.'
Elroy's world, littered as it is, with gangsters, pimps, hookers, movie stars, racists and politicians has basically mugged the retro-pulp of Chandler, Thompson and Spillane and run with his kill-gotten gains straight over the wild side and into the abyss of the American nightmare.
His latest `The Cold Six Thousand' is an epic journey; book-ended by the Kennedy assassinations of 63 and 68. Fact and fiction collide as father hating cop Wayne Tedrow Jnr finds himself embroiled in the JFK conspiracy and the vortex of world shaking tragedies that followed. The men that made modern America flicker before us like a scratched Super 8 of moral degeneracy and decay as Howard Hughes, J. Edgar Hoover, LBJ, The Klan, Jimmy Hoffa, The CIA, The Mob, The FBI, Fidel Castro, Sam Giancana, Sonny Liston, Martin Luther King and James Earl Ray lie, cheat, maim and kill, against an horrific tableaux on par with the hellish depictions of painter Hieronymus Bosch.
With the' The Cold Six Thousand' Elroy appears to have split his critics with its almost impenetrable staccato stylings and hipster-speak which would be more at home in the mouths of the 50's beatniks - certainly the delivery is at odds with the timbre of the books corporate gangsters and hoodlum politicians. It's almost as if Elroy was in such a hurry to tell the story that he barely had time to write it - an epileptic Jack Kerouac on an amphetamine comedown.
`The Cold Six Thousand' is, never-the-less, a terrifying thrill ride through an era which has branded world events ever since. Those five terrifying years in which the world was apparently swinging was, if this book is anything to go by, actually `Turning on, tuning in and dropping out' towards annihilation. Today's America was forged in the fires of that terrible half decade and I can hardly wait for Oliver Stone to commit it to celluloid so we can all rest easy and say... "It's only a film."
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