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Raymond Chandler

Raymond Thornton Chandler was an American novelist and screenwriter.

In 1932, at age forty-four, Raymond Chandler decided to become a detective fiction writer after losing his job as an oil company executive during the Depression. His first short story, "Blackmailers Don't Shoot", was published in 1933 in Black Mask, a popular pulp magazine. His first novel, The Big Sleep, was published in 1939. In addition to his short stories, Chandler published just seven full novels during his lifetime (though an eighth in progress at his death was completed by Robert B. Parker). All but Playback have been realized into motion pictures, some several times. In the year before he died, he was elected president of the Mystery Writers of America. He died on March 26, 1959, in La Jolla, California.

Chandler had an immense stylistic influence on American popular literature, and is considered by many to be a founder, along with Dashiell Hammett, James M. Cain and other Black Mask writers, of the hard-boiled school of detective fiction. Chandler's Philip Marlowe, along with Hammett's Sam Spade, are considered by some to be synonymous with "private detective," both having been played on screen by Humphrey Bogart, whom many considered to be the quintessential Marlowe.

Some of Chandler's novels are considered to be important literary works, and three are often considered to be masterpieces: Farewell, My Lovely (1940), The Little Sister (1949), and The Long Goodbye (1953). The Long Goodbye is praised within an anthology of American crime stories as "arguably the first book since Hammett's The Glass Key, published more than twenty years earlier, to qualify as a serious and significant mainstream novel that just happened to possess elements of mystery".


“Television's perfect. You turn a few knobs, a few of those mechanical adjustments at which the higher apes are so proficient, and lean back and drain your mind of all thought. And there you are watching the bubbles in the primeval ooze. You don't have to concentrate. You don't have to react. You don't have to remember. You don't miss your brain because you don't need it. Your heart and liver and lungs continue to function normally. Apart from that, all is peace and quiet. You are in the man's nirvana. And if some poor nasty minded person comes along and says you look like a fly on a can of garbage, pay him no mind. He probably hasn't got the price of a television set.”
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“To say goodbye is to die a little.”
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“Chess is as elaborate a waste of human intelligence as you can find outside an advertising agency.”
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“A city with all the personality of a paper cup. (On Los Angeles)”
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“It was a blonde. A blonde to make a bishop kick a hole in a stained-glass window.”
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“California, the department store state.”
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“I hung up. It was a good start, but it didn’t go far enough. I ought to have locked the door and hidden under the desk.”
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“I said: "Dead end - quiet, restful, like your town. I like a town like this." Marlowe (talking about Olympia) in a short story called Goldfish.”
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“Police business is a hell of a problem. It’s a good deal like politics. It asks for the highest type of men, and there’s nothing in it to attract the highest type of men. So we have to work with what we get...”
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“I looked down at the chessboard. The move with the knight was wrong. I put it back where I had moved it from. Knights had no meaning in this game. It wasn't a game for knights.”
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“There is no trap so deadly as the trap you set for yourself.”
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“Throw up into your typewriter every morning. Clean up every noon.”
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“I was neat, clean, shaved and sober and I didn't care who knew it.”
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“He looked about as inconspicuous as a tarantula on a slice of angel food cake.”
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“Dead men are heavier than broken hearts.”
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“He was a guy who talked with commas, like a heavy novel. Over the phone anyway.”
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“The girl gave him a look which ought to have stuck at least four inches out of his back.”
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“A good story cannot be devised; it has to be distilled.”
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“In everything that can be called art there is a quality of redemption. It may be pure tragedy, if it is high tragedy, and it may be pity and irony, and it may be the raucous laughter of the strong man. But down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid.The detective in this kind of story must be such a man. He is the hero; he is everything. He must be a complete man and a common man and yet an unusual man. He must be, to use a rather weathered phrase, a man of honor -- by instinct, by inevitability, without thought of it, and certainly without saying it. He must be the best man in his world and a good enough man for any world. I do not care much about his private life; he is neither a eunuch nor a satyr; I think he might seduce a duchess and I am quite sure he would not spoil a virgin; if he is a man of honor in one thing, he is that in all things.He is a relatively poor man, or he would not be a detective at all. He is a common man or he could not go among common people. He has a sense of character, or he would not know his job. He will take no man's money dishonestly and no man's insolence without due and dispassionate revenge. He is a lonely man and his pride is that you will treat him as a proud man or be very sorry you ever saw him. He talks as the man of his age talks -- that is, with rude wit, a lively sense of the grotesque, a disgust for sham, and a contempt for pettiness.The story is the man's adventure in search of a hidden truth, and it would be no adventure if it did not happen to a man fit for adventure. He has a range of awareness that startles you, but it belongs to him by right, because it belongs to the world he lives in. If there were enough like him, the world would be a very safe place to live in, without becoming too dull to be worth living in.”
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“From 30 feet away she looked like a lot of class. From 10 feet away she looked like something made up to be seen from 30 feet away.”
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“What did it matter where you lay once you were dead? In a dirty sump or in a marble tower on the top of a high hill? You were dead, you were sleeping the big sleep, you were not bothered by things like that. Oil and water were the same as wind and air to you. You just slept the big sleep, not caring about the nastiness of how you died or where you fell.”
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“I looked at Spangler. He was leaning forward so far he was almost out of his chair. He looked as if he was going to jump. I couldn't think of any reason why he should jump, so I thought he must be excited. I looked back at Breeze. He was about as excited as a hole in the wall.”
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“He snorted and hit me in the solar plexus. I bent over and took hold of the room with both hands and spun it. When I had it nicely spinning I gave it a full swing and hit myself on the back of the head with the floor.”
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“A good title is the title of a successful book.”
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“You were dead, you were sleeping the big sleep, you were not bothered by things like that, oil and water were the same as wind and air to you. You just slept the big sleep, not caring about the nastiness of how you died or where you fell. Me, I was part of the nastiness now. Far more a part of it than Rusty Regan was.”
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“As it is she will probably turn out to be one of these acid-faced virgins that sit behind little desks in public libraries and stamp dates in books.”
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“There are blondes and blondes and it is almost a joke word nowadays. All blondes have their points, except perhaps the metallic ones who are as blond as a Zulu under the bleach and as to disposition as soft as a sidewalk. There is the small cute blonde who cheeps and twitters, and the big statuesque blonde who straight-arms you with an ice-blue glare. There is the blonde who gives you the up-from-under look and smells lovely and shimmers and hangs on your arm and is always very tired when you take her home. She makes that helpless gesture and has that goddamned headache and you would like to slug her except that you are glad you found out about the headache before you invested too much time and money and hope in her. Because the headache will always be there, a weapon that never wears out and is as deadly as the bravo’s rapier or Lucrezia’s poison vial. There is the soft and willing and alcoholic blonde who doesn’t care what she wears as long as it is mink or where she goes as long as it is the Starlight Roof and there is plenty of dry champagne. There is the small perky blonde who is a little pal and wants to pay her own way and is full of sunshine and common sense and knows judo from the ground up and can toss a truck driver over her shoulder without missing more than one sentence out of the editorial in the Saturday Review. There is the pale, pale blonde with anemia of some non-fatal but incurable type. She is very languid and very shadowy and she speaks softly out of nowhere and you can’t lay a finger on her because in the first place you don’t want to and in the second place she is reading The Waste Land or Dante in the original, or Kafka or Kierkegaard or studying Provençal. She adores music and when the New York Philharmonic is playing Hindemith she can tell you which one of the six bass viols came in a quarter of a beat too late. I hear Toscanini can also. That makes two of them. And lastly there is the gorgeous show piece who will outlast three kingpin racketeers and then marry a couple of millionaires at a million a head and end up with a pale rose villa at Cap Antibes, an Alfa-Romeo town car complete with pilot and co-pilot, and a stable of shopworn aristocrats, all of whom she will treat with the affectionate absent-mindedness of an elderly duke saying goodnight to his butler.”
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“If you can get past those awful idiot faces on the bleachers outside the theater without a sense of the collapse of human intelligence, and if you can go out into the night and see half the police force of Los Angeles gathered to protect the golden ones from the mob in the free seats, but not from the awful moaning sound they give out, like destiny whistling through a hollow shell; if you can do these things and still feel the next morning that the picture business is worth the attention of one single, intelligent, artistic mind, then in the picture business you certainly belong because this sort of vulgarity, the very vulgarity from which the Oscars are made, is the inevitable price that Hollywood exacts from each of its serfs.”
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“Without magic, there is no art. Without art, there is no idealism. Without idealism, there is no integrity. Without integrity, there is nothing but production.”
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“There is no bad whiskey. There are only some whiskeys that aren't as good as others.”
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“down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid. He is the hero; he is everything. He must be a complete man and a common man and yet an unusual man. He must be, to use a rather weathered phrase, a man of honor—by instinct, by inevitability, without thought of it, and certainly without saying it. He must be the best man in his world and a good enough man for any world. “He will take no man’s money dishonestly and no man’s insolence without a due and dispassionate revenge. He is a lonely man and his pride is that you will treat him as a proud man or be very sorry you ever saw him. “The story is this man’s adventure in search of a hidden truth, and it would be no adventure if it did not happen to a man fit for adventure. If there were enough like him, the world would be a very safe place to live in, without becoming too dull to be worth living in.”
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“A really good detective never gets married.”
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“There was a desert wind blowing that night. It was one of those hot dry Santa Anas that come down through the mountain passes and curl your hair and make your nerves jump and your skin itch. On nights like that every booze party ends in a fight. Meek little wives feel the edge of the carving knife and study their husbands' necks. Anything can happen. You can even get a full glass of beer at a cocktail lounge.”
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“Hammett gave murder back to the kind of people that commit it for reasons, not just to provide a corpse; and with the means at hand, not hand-wrought dueling pistols, curare and tropical fish.”
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“Ability is what you're capable of doing. Motivation determines what you do. Attitude determines how well you do it. ”
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“It was about eleven o'clock in the morning, mid October, with the sun not shining and a look of hard wet rain in the clearness of the foothills. I was wearing my powder-blue suit, with dark blue shirt, tie and display handkerchief, black brogues, black wool socks with dark little clocks on them. I was neat, clean, shaved and sober, and I didn't care who knew it. I was everything the well-dressed private detective ought to be. I was calling on four million dollars.”
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