CLEA'S MOON.

Wright, Edward.

ISBN 10: 0399150471 / ISBN 13: 9780399150470

Published by Putnam, 2003

About this Item

First printing. The author's first novel, set in the late 1940s, in postwar Los Angeles, and introducing former B Western movie idol and now ex-convict John Ray Horn, who is making ends meet by collecting debts for a gambler when an old friend calls asking for help with his father's estate, where Horn finds an obscene photograph of his young stepdaughter. SIGNED on the title page. Winner of the Debut Dagger Award from the Crime Writers' Association of Great Britain (the first American author to win this award). 308 pp. Fine in fine dust jacket. Seller Inventory # 82430

Bibliographic Details

Title: CLEA'S MOON.

Publisher: Putnam

Publication Date: 2003

Binding: Hardcover

Condition: FINE

Dust Jacket Condition: Dust Jacket Included

Signed: Signed by Author(s)

Edition: 1st Edition

About this title

Synopsis:

Ex-movie idol and ex-convict John Ray Horn makes ends meet by collecting debts for a gambler when an old friend calls asking for help with his father's estate, where Horn finds an obscene photograph of his young stepdaughter.

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.