Out of all the novels in L.A. Quartet, The Big Nowhere is the one that impressed me the most.
The novel opens with a notorious wave of anti-communist witch hunting in America. This storyline, investigated by Malcolm Considine, is interesting in itself, especially once Buzz Meeks enters the picture. Still, for me, this is not the true core of the novel.
The heart of the book lies in the investigation of a serial killer, followed by Danny Upshaw. His character stood out the most. Not only because of the disturbing and brutal nature of the murders, but also because of the way his personal life slowly collapses as he becomes entangled in both the homicide case and the anti-communist purge.
Upshaw is a tragic figure. His involvement in the investigation of communist organizations only deepens his internal conflict, leading to an inevitable and devastating end. Ellroy builds his character with a sense of doom that feels unavoidable from the very beginning.
Reading James Ellroy is like stepping into a filthy bar late at night — a place filled with outcasts, criminals, corrupt policemen, and constant noise. There is no comfort, no elegance, only decay and tension. The prose is fragmented, aggressive, and relentless, pulling the reader deeper into a world where morality is blurred and violence is everywhere.
What makes The Big Nowhere effective is not just its plot, but its atmosphere. Ellroy doesn’t suggest darkness — he throws you into it. The novel is crowded with characters and subplots, but at its best, it delivers moments of pure noir intensity, especially through Upshaw’s storyline.
Even if Ellroy’s style can become exhausting, this novel shows him at his strongest: obsessive, chaotic, and completely uncompromising.
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