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Philip Marlowe constantly on the move with a case involving a war scarred drunk and his nymphomaniac wife.
1. For discussion: The Long Goodbye
"The weather was hot and sticky and the acid sting of the smog had crept as far west as Beverly Hills" [p. 238]. Los Angeles becomes a virtual character in Chandler's fiction in his trenchant descriptions of its climate, streets, traffic, buildings, bars, and restaurants. What place descriptions are especially evocative, or is locale so skillfully integrated with action that only an overall impression is retained? Did any descriptions strike you as being from another Los Angeles, the one of fifty years ago? Which could apply to your impressions of Los Angeles today? What influence might growing up in England have had on Chandler's perspective of Southern California?
2. Philip Marlowe is a long way from the "infallible sleuth, " the English, Sherlock Holmes-style ancestor of the hard-boiled fictional detective. In The Long Goodbye, Marlowe lands in jail on a bum rap and gets conked over the head a few times; as for his desire to solve the case, it's hard to pin down if he's trying or not. What replaces old-fashioned sleuthing and tight plotting in terms of dramatic tension?
3. The "hackie" Marlowe hails to bring Lennox home has "stuck a magazine with a Martian on the cover behind his mirror" [p. 10]. Potent details like these belong to the short but vivid appearances of the many bit players that appear in the story. Minor characters like the Wades' burly houseboy, Candy, of the mysterious nationality that becomes a running joke are often developed beyond what the plot demands. Is this a device to heighten suspense, a distinctive Chandler style? What other minor characters stand out?
4. "There areblondes and blondes and it is almost a joke word nowadays" [p. 89] is Marlowe's acerbic observation after spotting the beautiful Eileen Wade enter a hotel bar. Marlowe often classifies people as types, which is a hallmark of genre detective fiction. Does this help or hinder the characterization of Marlowe? What other elements in The Long Goodbye identify it as genre writing? What elements transcend genre?
5. Chandler's literary agent and editor objected to the "sentimental" Marlowe found in The Long Goodbye; see Frank MacShane, editor, Selected Letters. If sentimentality is construed as an aspect of the Marlowe-Lennox relationship, what quality or qualities in Lennox would have affected Marlowe in this way? Chandler ultimately acquiesced to his critics and made a change in the ending. How does he manage to avoid sentimentality in Marlowe's final scene with Lennox?
Comparing the Hammett, Chandler, and Thompson:
1. How does the way Chandler uses Los Angeles in The Long Goodbye resemble or differ from the way Hammett uses San Francisco in The Maltese Falcon? To what extent is this the result of their individual writing styles? Does Thompson resemble either writer with his descriptions of the West Texas oil country in The Killer Inside Me? How important is setting in each of these novels?
2. Although they were brilliant innovators and stylists, Hammett and Chandler were writing for a genre that dictated resolution of the plot. Thompson, on the other hand, in The Killer Inside Me creates a plot rife with ambiguity. What element or elements of his predecessors' style does Thompson retain? Could Thompson have written The Killer Inside Me without the models of Hammett and Chandler?
3. Thompson inverts traditional crime fiction by writing from the viewpoint of the criminal instead of the detective. In the novels of Hammett and Chandler, how different is the criminal from the detective? Where do Sam Spade and Philip Marlowe fall in their respective, or mutual, attitudes toward authority and law?
4. How does the characterization of women in The Maltese Falcon compare with those in The Long Goodbye? Is Brigid O'Shaughnessy the equivalent of Eileen Wade? Is Effie Perine the equivalent of Linda Loring? What do the differences in these characters tell you about the hard-boiled style? About the authors?
6. 5. Chandler and Thompson write in the first person, and Hammett uses the third person in The Maltese Falcon. How would each of these novels have been affected--for better or worse--if the voice had been reversed? What are the inherent advantages and/or limitations of writing in the first or third person?
Anonymous
Posted August 6, 2005
Raymond Chandler is a great and unique American writer. 'The Long Goodbye' is his finest work. He is most brilliant in his wonderful use of creative metaphor. Just singular! This book hooks you within the first few pages, then takes you on a winding, devious path through a mysterious episode in private eye Phillip Marlowe's life. Just when you think the story is ending, and you've figured it out, the author takes another twist, and off you go again, toward another dramatic, fascinating turn of the story. I read five fine books over my summer vacation, but this one takes the cake. What a hoot!
1 out of 1 people found this review helpful.
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.Raymond Chandler is such an talented story teller that one can spend days in his writing and not notice the passage of time. His descriptions are vivid, his settings realistic, and his characters all too human. The range of emotions that reach out to the reader are breathtaking and well worth revisiting on a regular basis.
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.Mr_Ah_Clem
Posted July 17, 2011
A masterpiece of the genre. The hard-boiled PI archetype.
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.Okay, he did write a book after this. sort of. but this is his true final farewell. And it's one of the greatest books of the 20th century. the real 'mystery' that Chandler exposes is the brutal and barren nature of the human condition. A fierce blunt humorous and honest look at the fragile terrain of daily existence and moral absolutism.
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.Anonymous
Posted June 5, 2008
What can you say of Raymond Chandler? His dialog is still hip, his stories still taught, and his insight into human nature as profound, if not more so, than it was fifty years ago. I love this book.
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Posted June 8, 2006
this book is a great detective tale, but so much more. it contains great characters, themes, and messages about L.A. the setting is great too, and marlowe of course is an awesome character who is complex, and his words and ideas carry this book along with the plot. this is not a detective novel, it is a book about friendship, society, and success.
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Posted December 13, 2005
Great Read. Chandler uses Marlowe, the protagonist, to showcase his perception of human nature. He also does a great job with setting. I felt immersed in 1950's Los Angeles. I was impressed with the dialogue. The characters were well developed without them becoming 'preachy'. First rate.
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Posted March 13, 2000
As a huge fan, I have found this to be the best novel overall. Great plot, Marlowe at his best, and plenty of twists and turns to keep everyone gueessing are just a few of the better aspects of this book. This is a mystery book with STYLE!
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Overview
Marlowe befriends a down on his luck war veteran with the scars to prove it. Then he finds out that Terry Lennox has a very wealthy nymphomaniac wife, who he's divorced and re-married and who ends up dead. and now Lennox is on the lam and the cops and a crazy gangster are after Marlowe.From the Trade Paperback edition.
Philip Marlowe constantly on the move with a case involving a war scarred drunk and his nymphomaniac wife.