plans to return to Los Angeles intending to destroy Exley's gubernatorial campaign, take revenge on Carlisle and Smith and find Glenda. Critical review The reviews for White Jazz were quite positive. "Blacker than noir... Makes most other crime novels seem naive."--Publishers Weekly. "James Ellroy's latest book WHITE JAZZ makes previous detective fiction read like Dr. Seuss."--San Francisco Examiner. "Ellroy's tenth novel burns with the memory of Rodney King in its descriptions of unimaginably cruel law officers who are not merely tainted by corruption on a vast scale but pursue conventional police work as a sideline to more lucrative illegal activities that burst into the public consciousness in violent frenzies.... An undeniably artful frenzy of violence, guilt and unappeased self-loathing. Ellroy's crime fiction represents a high mark in the genre."--New York Newsday. In the wake of the 1992 Los Angeles riots, Wendy Lesser, reviewing the novel for The New York Times wrote: What the real Los Angeles possesses, amid all its fiery disintegration, is what Mr. Ellroy's latest novel keenly lacks: a coherent narrative line. We may not have been pleased about what was happening this spring, but we knew why it was happening. In White Jazz, I was lost by page 56—the page on which the author explicitly reveals whatever plot the novel is going to have. ("Instinct—call me bait—a bad cop sent out to draw heat," Klein correctly guesses.) For the next 300 pages it was just a matter of waiting out the body count and wishing for a more interesting variety of subject-verb combinations. Mr. Ellroy, in order to pack maximo action into minimo pages, has developed what he clearly views as a whiplash telegraphic style. No doubt the violence done to the English language is meant to mirror the violence done to humanity by its fellow humanity (I'm being charitable here). But we can't really begin to care about characters who never even get to inhabit a complete sentence. Efforts at a film adaptation Various attempts at a film adaption of White Jazz have been under development since the 1990s. But as of 2009, Ellroy said that an adaptation of "White Jazz is dead. All movie adaptations of my books are dead." History Ellroy completed a draft of a 131-page screenplay on October 31, 1997. In 1998, cinematographer Robert Richardson signed on for what would have been his directorial debut with Fine Line Features distributing. They put