Title: Clea's Moon
Publisher: Putnam Adult
Publication Date: 2003
Book Condition: Fine
Dust Jacket Condition: As New
Signed: Signed by Author(s)
Edition: First Edition.
Signed by Author 0399150471 Author's first novel. This hardcover book is square and tight. The boards and spine have no wear with pristine gilt. The pages and endpages are clean, with no markings or folds. The dustjacket is As New. Original Price is intact. Not ex-lib. No remainder mark. Signed by the Author on the title page without inscription. Bookseller Inventory # 002914
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.
From the Author:
JOHN RAY HORN'S LOS ANGELES
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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