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Clea's Moon ***SIGNED***

Edward Wright

Published by G.P. Putnam's Sons, NY, 2003
ISBN 10: 0399150471 / ISBN 13: 9780399150470
/ Condition: As New / Hardcover
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About the Book

Bibliographic Details

Title: Clea's Moon ***SIGNED***

Publisher: G.P. Putnam's Sons, NY

Publication Date: 2003

Binding: Hard Cover

Book Condition: As New

Dust Jacket Condition: As New

Signed: Signed by Author on Full Title Page

Edition: 1st American Edition, 1st Printing.


First American Edition, First Printing with full number line. Signed, without inscription, by author on the FULL title page. Unread As New book in As New dust jacket. Signed in person on full title page. NO remainder mark, NO previous owner markings or inscriptions, NOT price clipped, NOT a Book Club Edition, NOT an Ex-Lib. Dust jacket covered in Mylar wrapper. All our books are bubble wrapped and shipped in a sturdy box. Bookseller Inventory # 001285

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Synopsis: Set in post-World War II Los Angeles, Clea's Moon introduces a complex and fascinating character, John Ray Horn. Horn is a former actor in B westerns who is now, after serving prison time for assault, collecting debts for his erstwhile American Indian sidekick. A call from an old friend leads Horn to old secrets that involve his former stepdaughter, Clea, who has recently disappeared. When his friend dies under mysterious circumstances, Horn is desperate to uncover the truth and to find Clea and bring her home.

Reminiscent of early James Ellroy, Clea's Moon explores Hollywood's dark margins at a time when Los Angeles was growing by the day and the studio system was losing its grip on the film industry. Edward Wright brilliantly captures the period in this suspenseful and richly atmospheric novel.


John Ray Horn, the character I've developed over the course of three novels, is an ex-cowboy actor who must deal with matters of life and death against the backdrop of Los Angeles in the 1940s. Several things drew me to him and his locale:

As a youngster growing up in Arkansas, I went to the Saturday afternoon matinees and was thrilled by the simple, unsophisticated heroism of the cowboy movies. Today I'm intrigued by the idea of a man who once portrayed a hero on the screen but who is now an outcast and is forced to compare himself every day with his old image.

Although I've chosen to live in the City of Angels, I'm sometimes overwhelmed by its size and pace. I look back with affection at the Los Angeles I never knew -- the young city with few tall buildings, its wide-open spaces occupied only by citrus and nut groves and bean fields, a city only dimly aware of its coming greatness.

Part of this nostalgia, of course, is fed by Hollywood itself. Many old black-and-white B-movies -- made by studios that couldn't afford expensive sets -- contain scenes shot on the streets of the real Los Angeles. Look at that city, with its great open stretches, streets running alongside endless rows of fruit trees, and you'll know that L.A. will never again look so young and raw or have so much room to breathe.

Then there's the artificial L.A., also served up by the movies. Anyone who's watched Howard Hawks' The Big Sleep, with that scene of the cottage up in Laurel Canyon and a torrential rain drenching Bogart, his car, and his trench coat, might be forgiven for thinking that it rains a lot in L.A. I thought so -- until I moved here. But this interplay between myth and reality is part of what's compelling about this town. And somewhere near that intersection, I've tried to create my own L.A., with sunshine and shadow, lemon groves and road houses, hustlers and decent people, attempts at human contact amid loneliness.

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