Читаем L.A. Noir: The Struggle for the Soul of America's Most Seductive City полностью

If those weren’t constraints enough, Chief Parker set out to actively win over the Police Commission’s most important member, former Poulson campaign manager Jack Irwin. By the end of his first year in office, Irwin was routinely siding with Chief Parker over his old friend the mayor. Poulson would later blame Parker for wrecking his friendship with Irwin. Slowly, Chief Parker was gaining the upper hand.


    POULSON STRUGGLED in his dealings with the chief. Parker prided himself on his analytic approach to problems, but Poulson found him to be a volatile and unpredictable partner. At times, Parker seemed to accept that the city’s elected officials had an important role in governing the department, as in setting salaries. At other times, even the most basic attempts by Mayor Poulson to guide the department would set Parker off. In the spring of 1954, for instance, Mayor Poulson (an accountant by training) and City Administrative Officer Samuel Leask decided to take a close look at Parker’s budget request for the coming year. In doing so, Leask discovered that 750 officers were working at clerical and office tasks that seemed to require no special policing skills. Another 56 officers were guarding 200 low-risk chronic drunks at the Bouquet Valley police farm, a facility commonly known as the dude ranch. Transferring those officers to the field would dramatically increase the number of cops on the street without altering the standards Parker insisted had provided the city with the world’s greatest police force. Surely, some of the other officers could be diverted to more arduous work as well, Poulson and Leask reasoned.

But when Leask presented the idea to Parker, the chief reacted angrily. It wasn’t so much the substance of the idea that annoyed Parker. Over the course of the preceding two years, Parker himself had released 109 officers for fieldwork by hiring civilian substitutes. Rather, Parker objected to the idea that Sam Leask—a man who knew nothing about policing—could swoop in and find inefficiencies that Parker had missed. At a public meeting on the police department’s budget chaired by the mayor, Parker made no attempt to conceal his pique. The chief repeatedly interrupted Leask’s attempts to present his analysis, going so far as to inform the astonished mayor that the management and budget of the police department were “his [meaning Parker’s] own business.” Parker’s behavior was so boorish that Mayor Poulson, who was chairing the meeting, finally stepped in and asked Parker to let Leask speak.

Parker exploded, shouting, as he jabbed his finger at the city’s chief elected official, that he would not be “intimidated” by the mayor. He even threatened to resign.

Mayor Poulson was astonished.

“You talk like you’re offended and that we have no right to ask you how your department functions and how the taxpayers’ money is spent,” Poulson told Parker. “You immediately get angry. You talk like we were sticking our nose into something that wasn’t our business. It is our business and there’s no use you getting red in the face.”

It was classic Parker. The chief prided himself on being rational and fact-driven; he often described critics as “emotional” or “hysterical.” But in fact, Parker himself was a highly emotional man whose responses to “attacks” (real or perceived) were often more than a little hysterical. Eventually, Parker calmed down. However, he continued to resist the mayor’s dictates. In the years that followed, Parker allowed the percentage of civilian employees in the department to rise only incrementally, from 23.3 percent to 25 percent.

This policy of resistance came at a high cost. Tight budgets, high standards, and attrition continued to take a terrible toll on the department. In a memo to the Police Commission in the spring of 1954, Parker noted that in July 1955 the department would have 4,453 sworn personnel—roughly the same number of officers the department had when he had become chief of police in August 1950. Yet during this same period, Los Angeles had added more than 120,000 new residents. The city was growing; its police department was not.

So far, the consequences of this situation had been minimal. Despite the comparatively small size of the LAPD, Los Angeles’s crime rate remained slightly lower than in other big cities. However, crime was growing fast—faster even than the city’s population. Yet while Parker desperately wanted more officers, he rejected the idea that the police had any connection to the crime rate.

“You can blame the situation on your police if you wish,” he told the city council during an appearance in late 1953. “You can lay it in their laps, if you want to. Blame them even for social problems over which they have little control…. But let’s be practical and realistic. The police do not create crime problems…. Nothing is solved by hysteria.”

Перейти на страницу:

Похожие книги

40 градусов в тени
40 градусов в тени

«40 градусов в тени» – автобиографический роман Юрия Гинзбурга.На пике своей карьеры герой, 50-летний доктор технических наук, профессор, специалист в области автомобилей и других самоходных машин, в начале 90-х переезжает из Челябинска в Израиль – своим ходом, на старенькой «Ауди-80», в сопровождении 16-летнего сына и чистопородного добермана. После многочисленных приключений в дороге он добирается до земли обетованной, где и испытывает на себе все «прелести» эмиграции высококвалифицированного интеллигентного человека с неподходящей для страны ассимиляции специальностью. Не желая, подобно многим своим собратьям, смириться с тотальной пролетаризацией советских эмигрантов, он открывает в Израиле ряд проектов, встречается со множеством людей, работает во многих странах Америки, Европы, Азии и Африки, и об этом ему тоже есть что рассказать!Обо всём этом – о жизни и карьере в СССР, о процессе эмиграции, об истинном лице Израиля, отлакированном в книгах отказников, о трансформации идеалов в реальность, о синдроме эмигранта, об особенностях работы в разных странах, о нестандартном и спорном выходе, который в конце концов находит герой романа, – и рассказывает автор своей книге.

Юрий Владимирович Гинзбург , Юрий Гинзбург

Биографии и Мемуары / Документальное