"My mother and I will continue on some level that I haven't determined yet. I think my mother's a great character, and I have to say that giving my mother to the world has to be the biggest thrill of my writing career"
About this Quote
Ellroy talks about his mother the way his novels talk about Los Angeles: as an obsession you can never really leave, only re-stage. The first sentence is deliberately provisional - "on some level that I haven't determined yet" - which doubles as craft talk and confession. He is admitting that the relationship is unfinished business, but he frames it in the working language of a writer outlining his next project. Grief becomes a plan. Or at least a premise.
Then he pivots to a word that lands like a provocation: "character". Not "person", not "memory", not "victim". Ellroy has spent a career converting lived trauma into hardboiled narrative fuel, and calling his mother a "great character" exposes the bargain at the center of that alchemy. It's affectionate, yes, but it's also a little ruthless: the intimacy of motherhood is being translated into something legible, sellable, replayable.
The clincher is "giving my mother to the world". It sounds generous, even noble, yet it also hints at possession. You can't "give" what you don't first claim. Ellroy's biography shadows this line heavily: his mother's murder when he was a child has haunted his work for decades, and the public knows it. He isn't just sharing her; he's authoring the version of her that will circulate, the mother-as-myth that readers can consume.
Calling it the "biggest thrill" is the final twist of the knife - a candid admission that art doesn't purify pain; it metabolizes it. The thrill is real because the stakes are real, and because turning the most private wound into public story is, for Ellroy, both exorcism and power.
Then he pivots to a word that lands like a provocation: "character". Not "person", not "memory", not "victim". Ellroy has spent a career converting lived trauma into hardboiled narrative fuel, and calling his mother a "great character" exposes the bargain at the center of that alchemy. It's affectionate, yes, but it's also a little ruthless: the intimacy of motherhood is being translated into something legible, sellable, replayable.
The clincher is "giving my mother to the world". It sounds generous, even noble, yet it also hints at possession. You can't "give" what you don't first claim. Ellroy's biography shadows this line heavily: his mother's murder when he was a child has haunted his work for decades, and the public knows it. He isn't just sharing her; he's authoring the version of her that will circulate, the mother-as-myth that readers can consume.
Calling it the "biggest thrill" is the final twist of the knife - a candid admission that art doesn't purify pain; it metabolizes it. The thrill is real because the stakes are real, and because turning the most private wound into public story is, for Ellroy, both exorcism and power.
Quote Details
| Topic | Mother |
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