Best Book of the Year The Los Angeles Times • The Washington Post Los Angeles was the fastest growing city in the world, mad with oil fever, get-rich-quick schemes, and celebrity scandals. It was also rife with organized crime, with a mayor in the pocket of the syndicates and a DA taking bribes to throw trials. In A Bright and Guilty Place, Richard Rayner narrates the entwined lives of two men, Dave Clark and Leslie White, who were caught up in the crimes, murders, and swindles of the day. Over a few transformative years, as the boom times shaded into the Depression, the adventures of Clark and White would inspire pulp fiction and replace L.A.’s reckless optimism with a new cynicism. Together, theirs is the tale of how the city of sunshine went noir.

As garment workers, longshoremen, autoworkers, sharecroppers and clerks took to the streets, striking and organizing unions in the midst of the Depression, artists, writers and filmmakers joined the insurgent social movement by creating a cultural front. Disney cartoonists walked picket lines, and Billie Holiday sand 'Strange Fruit' at the left-wing cabaret, Café Society. Duke Ellington produced a radical musical, Jump for Joy, New York garment workers staged the legendary Broadway revue Pins and Needles, and Orson Welles and his Mercury players took their labor operas and anti-fascist Shakespeare to Hollywood and made Citizen Kane. A major reassessment of US cultural history, The Cultural Front is a vivid mural of this extraordinary upheaval which reshaped American culture in the twentieth century.

The life of Raymond Chandler has long been obscured by secrets and half-truths as deceptive as anything in his novel The Long Goodbye. Now, drawing on new interviews, previously unpublished letters, and archives on both sides of the Atlantic, Tom Williams casts a new light on this most mysterious of writers. The Raymond Chandler revealed is a man troubled by loneliness and desertion from an early age. Born in Chicago in 1888, his childhood was overshadowed by the collapse of his parents' marriage, his father's alcohol-fuelled violence eventually forcing the boy and his doting mother to leave for Ireland and later London. But class-bound England proved stifling, and Chandler, in his twenties and eager to forge a new life, returned to the United States where—in corruption-ridden Los Angeles—he met his one great love, Cissy Pascal, a married woman eighteen years his senior. It was only during middle age, after his alcoholism wrecked a lucrative career as an oilman, that Chandler seriously turned to crime fiction. And his legacy—the lonely, ambiguous world of Philip Marlowe—endures, compelling generations of crime writers to follow him. In this long-awaited new biography, Tom Williams shadows one of the true literary giants of the twentieth century and considers how crime writing was raised to the level of art.

When Elvis crooned "Bright light city . . . gonna set my soul on fire," he voiced and embraced the siren call of a glittering urban utopia that continues to mesmerize millions. Call it Sin City or Lost Wages, Las Vegas definitely deserves its rapturous "Viva!" Larry Gragg, however, invites readers to view Las Vegas in an entirely new way. While countless other authors have focused on its history or gaming industry or entertainment ties, Gragg considers how popular culture has depicted the city and its powerful allure over its first century. Drawing on hundreds of films, television programs, novels, and articles, Gragg identifies changing trends in the city's portraits. Until the 1940s, boosters promoted it as the "last frontier town," a place where prospectors and cowboys enjoyed liquor, women, and wide-open gambling. Then in the early 1950s commentators increasingly characterized Las Vegas as a sophisticated resort city in the desert, and ever since then journalists, filmmakers, and novelists have depicted a city largely built by organized crime and featuring non-stop entertainment, gambling, luxury, and, of course, beautiful-and available-women. In Gragg's narrative, these images form a kaleidoscope of lights, sounds, characters, and ultimately amazement about this neon oasis. In these pages, readers will meet gangsters like Bugsy Siegel, Tony Spilotro, and Lefty Rosenthal, as well as Las Vegas's most popular entertainers: Elvis Presley, Sinatra's Rat Pack, Liberace, and Wayne Newton, not to mention the Folies Bergere showgirls. And Gragg's skillful interweaving of fictional and journalistic accounts of organized crime shows just how mutually reinforcing they have become over the years. Vegas will always make people's eyes light up as bright as the Strip, witness the new TV show Vegas or the recent film The Hangover. For everyone entranced by its glitter and glamour, Bright Light City is a must read boasting color photos and bursting with insider details: an eclectic blend of stories, people, sights, and sounds that together make up this desert city's extraordinary appeal.

Unlike the more forthrightly mythic origins of other urban centers—think Rome via Romulus and Remus or Mexico City via the god Huitzilopochtli—Los Angeles emerged from a smoke-and-mirrors process that is simultaneously literal and figurative, real and imagined, material and metaphorical, physical and textual. Through penetrating analysis and personal engagement, Vincent Brook uncovers the many portraits of this ever-enticing, ever-ambivalent, and increasingly multicultural megalopolis. Divided into sections that probe Los Angeles’s checkered history and reflect on Hollywood’s own self-reflections, the book shows how the city, despite considerable remaining challenges, is finally blowing away some of the smoke of its not always proud past and rhetorically adjusting its rear-view mirrors. Part I is a review of the city’s history through the early 1900s, focusing on the seminal 1884 novel Ramona and its immediate effect, but also exploring its ongoing impact through interviews with present-day Tongva Indians, attendance at the 88th annual Ramona pageant, and analysis of its feature film adaptations. Brook deals with Hollywood as geographical site, film production center, and frame of mind in Part II. He charts the events leading up to Hollywood’s emergence as the world’s movie capital and explores subsequent developments of the film industry from its golden age through the so-called New Hollywood, citing such self-reflexive films as Sunset Blvd., Singin’ in the Rain, and The Truman Show. Part III considers LA noir, a subset of film noir that emerged alongside the classical noir cycle in the 1940s and 1950s and continues today. The city’s status as a privileged noir site is analyzed in relation to its history and through discussions of such key LA noir novels and films as Double Indemnity, Chinatown, and Crash. In Part IV, Brook examines multicultural Los Angeles. Using media texts as signposts, he maps the history and contemporary situation of the city’s major ethno-racial and other minority groups, looking at such films as Mi Familia (Latinos), Boyz N the Hood (African Americans), Charlotte Sometimes (Asians), Falling Down (Whites), and The Kids Are All Right (LGBT).

This intriguing biography recounts the life of the legendary Benjamin "Bugsy" Siegel, revealing his true role in the development of Las Vegas and debunking some of the common myths about his notoriety. This account of the life of Benjamin "Bugsy" Siegel follows his beginnings in the Lower East Side of New York to his role in the development of the famous Flamingo Hotel and Casino. Larry D. Gragg examines Siegel's image as portrayed in popular culture, dispels the myths about Siegel's contribution to the founding of Las Vegas, and reveals some of the more lurid details about his life. Unlike previous biographies, this book is the first to make use of more than 2,400 pages of FBI files on Siegel, referencing documents about the reputed gangster in the New York City Municipal Archives and reviewing the 1950–51 testimony before the Senate Committee on organized crime. Chapters cover his early involvement with gangs in New York, his emergence as a favorite among the Hollywood elite in the late 1930s, his lucrative exploits in illegal gambling and horse racing, and his opening of the "fabulous" Flamingo in 1946. The author also draws upon the recollections of Siegel's eldest daughter to reveal a side of the mobster never before studied—the nature of his family life.

Haunted. This word lurks within our deepest emotions. It’s a fear we can’t let go of, or that won’t let go of us. It’s a place we dream of going, or a place we can never leave. An LAPD detective is haunted by the case she never solved. A Century City financial advisor is haunted by the greed he cannot escape. A bridge is haunted by ghosts of despair. In a city of 10 million people, the haunted could be the man waiting to cross the street, or the memory that keeps you awake at night. Fatally Haunted, a Sisters in Crime/Los Angeles anthology, includes original stories by Julie G. Beers, Julia Bricklin, Roger Cannon, Tony Chiarchiaro, Lisa Ciarfella, Cyndra Gernet, B. J. Graf, Mark Hague, A. P. Jamison, Micheal Kelly, Alison McMahan, Peter Sexton, Gobind Tanaka, and Jennifer Younger.