...
Show More
“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”--Raymond Chandler
9/1/24: Reread this time for a Detective Fiction class (see my post on my Goodreads blog for the reading list), and it was better than ever, but still, I would say The Lady of the Lake and The Long Goodbye might even be better.
Raymond Chandler decided to become a detective fiction writer after losing his job as an oil company executive during the Depression. He published some short stories in The Black Mask, among other places, honing his craft, paying particular attention to the work of his main inspiration, Dashiell Hammett, and finally made his debut; The Big Sleep was published in 1939, ten years after The Maltese Falcon, and made a huge international and justifiable name for himself. The real accomplishments include 1) clever dialogue, 2) some kinda ridiculous but wonderful noir “poetic” description and philosophizing, 3) ) a great hard-boiled detective, Philip Marlowe, and 4) what I particularly noticed in this 2024 reading with the help--again--of The Annotated Big Sleep, the way Chandler both entertainingly reinforces noir tropes, and also subverts them.
The novel is deservedly renowned, but it may best be known for a film version with Humphrey Bogart and Lauren Bacall that is almost universally loved in spite of the critical claim that its plot is (pretty much) incoherent. Almost everybody knows that Chandler disdains plot, clues, evidence, all that jazz, even disdains the need for coherence; fans are looking at and listening to Bogart and Bacall:
https://www.youtube.com/watch?v=VjJlB...
But in the book the Bacall character, Vivian Sternwood, doesn't play as much a role as in the film. Chandler creates great characters, great scenes, and great patter. So then, I won’t say much about the plot, which to my mind is not that remarkable here, except to say it is "layered"/convoluted, and sort of beside the point. Things are tight-lipped and mean and lean and fast and a lot of people die in this one, but the point is really Marlowe. I would describe him as tough and blunt, and also a wisecracker, though he is also much more, including a good shamus:
“I don’t mind if you don’t like my manners. They’re pretty bad. I grieve over them during the long winter evenings.”
One guy he describes as “hatchet-faced.”
Gangster lingo: "You big handsome brute! I oughtta throw a Buick at you."
"I leered at her politely."
“Such a lot of guns around town and so few brains. You’re the second guy I’ve met within hours who seems to think a gat in the hand means a world by the tail.”
“I was neat, clean, shaved and sober, and I didn’t care who knew it.”
"Not being bulletproof was the idea I had to get used to" (a reference to Superman, who was popular just then).
And Marlowe gets entangled with and/or fights off a few women: “She lowered her lashes until they almost cuddled her cheeks and slowly raised them again, like a theatre curtain. I was to get to know that trick. That was supposed to make me roll over on my back with all four paws in the air.”
Dames, huh? Here Chandler acknowledges the femme fatale trope but also pokes fun at (subverts) it.
“You can have a hangover from other things than alcohol. I had one from women.”
Two central women Marlowe deals with are Carmen and Vivian (played by Bacall), the rich Sternwood sisters: "Neither of them has any more sense of morals than a cat."
Vivian is also Mrs. Regan, whose husband has left her and also is missing: “I sat down on the edge of a deep soft chair and looked at Mrs. Regan. She was worth a stare. She was trouble.”
One possible alternative title the Annotated Big Sleep suggests is "Not Looking for Rusty Regan, cuz Marlowe consistently insists he is not looking for Regan, this story's McGuffin.
This is one great scene from the Bogart film:
https://www.youtube.com/watch?v=3t8H0...
And another:
https://www.youtube.com/watch?v=3t8H0...
But it’s not just detective Philip Marlow that is caustically clever; the women get their jabs in, too, as one says:
“Such a nice escort, Mr. Cobb. So attentive. You should see him sober. I should see him sober. Somebody should see him sober. I mean, just for the record. So it could become a part of history, that brief flashing moment, soon buried in time, but never forgotten—when Larry Cobb was sober”--Vivian
Some of the more “literary” writing that would more inform his writing later is already here from Chandler, who began as a kind of romantic poet:
“Under the thinning fog the surf curled and creamed, almost without sound, like a thought trying to form itself on the edge of consciousness.”
So see the film, but don’t ignore the book, both are the real deal. And it may not even be in the top three books he wrote! Oh, it probably is, I just like so many of them.
9/1/24: Reread this time for a Detective Fiction class (see my post on my Goodreads blog for the reading list), and it was better than ever, but still, I would say The Lady of the Lake and The Long Goodbye might even be better.
Raymond Chandler decided to become a detective fiction writer after losing his job as an oil company executive during the Depression. He published some short stories in The Black Mask, among other places, honing his craft, paying particular attention to the work of his main inspiration, Dashiell Hammett, and finally made his debut; The Big Sleep was published in 1939, ten years after The Maltese Falcon, and made a huge international and justifiable name for himself. The real accomplishments include 1) clever dialogue, 2) some kinda ridiculous but wonderful noir “poetic” description and philosophizing, 3) ) a great hard-boiled detective, Philip Marlowe, and 4) what I particularly noticed in this 2024 reading with the help--again--of The Annotated Big Sleep, the way Chandler both entertainingly reinforces noir tropes, and also subverts them.
The novel is deservedly renowned, but it may best be known for a film version with Humphrey Bogart and Lauren Bacall that is almost universally loved in spite of the critical claim that its plot is (pretty much) incoherent. Almost everybody knows that Chandler disdains plot, clues, evidence, all that jazz, even disdains the need for coherence; fans are looking at and listening to Bogart and Bacall:
https://www.youtube.com/watch?v=VjJlB...
But in the book the Bacall character, Vivian Sternwood, doesn't play as much a role as in the film. Chandler creates great characters, great scenes, and great patter. So then, I won’t say much about the plot, which to my mind is not that remarkable here, except to say it is "layered"/convoluted, and sort of beside the point. Things are tight-lipped and mean and lean and fast and a lot of people die in this one, but the point is really Marlowe. I would describe him as tough and blunt, and also a wisecracker, though he is also much more, including a good shamus:
“I don’t mind if you don’t like my manners. They’re pretty bad. I grieve over them during the long winter evenings.”
One guy he describes as “hatchet-faced.”
Gangster lingo: "You big handsome brute! I oughtta throw a Buick at you."
"I leered at her politely."
“Such a lot of guns around town and so few brains. You’re the second guy I’ve met within hours who seems to think a gat in the hand means a world by the tail.”
“I was neat, clean, shaved and sober, and I didn’t care who knew it.”
"Not being bulletproof was the idea I had to get used to" (a reference to Superman, who was popular just then).
And Marlowe gets entangled with and/or fights off a few women: “She lowered her lashes until they almost cuddled her cheeks and slowly raised them again, like a theatre curtain. I was to get to know that trick. That was supposed to make me roll over on my back with all four paws in the air.”
Dames, huh? Here Chandler acknowledges the femme fatale trope but also pokes fun at (subverts) it.
“You can have a hangover from other things than alcohol. I had one from women.”
Two central women Marlowe deals with are Carmen and Vivian (played by Bacall), the rich Sternwood sisters: "Neither of them has any more sense of morals than a cat."
Vivian is also Mrs. Regan, whose husband has left her and also is missing: “I sat down on the edge of a deep soft chair and looked at Mrs. Regan. She was worth a stare. She was trouble.”
One possible alternative title the Annotated Big Sleep suggests is "Not Looking for Rusty Regan, cuz Marlowe consistently insists he is not looking for Regan, this story's McGuffin.
This is one great scene from the Bogart film:
https://www.youtube.com/watch?v=3t8H0...
And another:
https://www.youtube.com/watch?v=3t8H0...
But it’s not just detective Philip Marlow that is caustically clever; the women get their jabs in, too, as one says:
“Such a nice escort, Mr. Cobb. So attentive. You should see him sober. I should see him sober. Somebody should see him sober. I mean, just for the record. So it could become a part of history, that brief flashing moment, soon buried in time, but never forgotten—when Larry Cobb was sober”--Vivian
Some of the more “literary” writing that would more inform his writing later is already here from Chandler, who began as a kind of romantic poet:
“Under the thinning fog the surf curled and creamed, almost without sound, like a thought trying to form itself on the edge of consciousness.”
So see the film, but don’t ignore the book, both are the real deal. And it may not even be in the top three books he wrote! Oh, it probably is, I just like so many of them.