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I’ve read all of Raymond Chandler’s Philip Marlowe books at least twice. Most of my questions about him were already settled. Yes, he was the single greatest master of the Noir detective tale, edging both of his close competitors, Hammett and Cain. And yes, he was a literary genius who transcended the genre ghetto, turning pulp into literary masterpieces. (Chandler is an American Dostoevsky with a more economical word count and snappier dialogue.) All that remained to be settled was whether his single greatest masterpiece was The Big Sleep or The Long Goodbye.
So this month I reread both books, my third time through each. Both are brilliant. But I no longer have a question. The Long Goodbye is Chandler’s best, and it’s not close.
The Long Goodbye focuses on the personal. It begins not with a case, but with a friendship gone sideways. The familiar noir furnishings — brutal cops, venal politicians, swaggering wise guys, the idle rich — all are here, but function to reflect Marlowe’s despair. His cracking wise, mulishness, and bravado are all the defense he has against a tainted world. “I was as hollow and empty as the space between the stars,” says Marlowe. The Long Goodbye is his Dark Night of the Soul.