Ear to the Ground

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There is a certain comfort in knowing that although the Los Angeles landscape is always in flux—1920s art deco beauties morphing into 1960s atomic stucco apartments morphing into boxy glass condo monstrosities — the low-grade threat of an earthquake leveling all our architectural mistakes is ever present. In Ear to the Ground, which originally appeared as a serial in the Los Angeles Reader in the 1990s, David L. Ulin and Paul Kolsby put that threat and worry to good use. Capitalizing on potential catastrophe is a winning game in Hollywood, and in the hilarious Ear to the Ground, Ian, a struggling screenwriter who is reminiscent of many a struggling screenwriter in many a coffee shop in the Los Angeles Basin, wins the golden ticket of a million-dollar writing deal in the midst of The Big One’s imminent arrival. The novel is a commiseration on the excess of the 1990s, when screenwriters like Joe Eszterhaus were scoring multi-million dollar deals and directors like Michael Bay and Roland Emmerich were making their stamp on Hollywood with bombastic disaster films like Armageddon and Independence Day.

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