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98 reviews
April 16,2025
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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.

April 16,2025
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“Time makes everything mean and shabby and wrinkled. The tragedy of life … is not that the beautiful things die young, but that they grow old and mean.”

Marlowe befriends a down-on-his-luck war hero roaming the streets of California. A few months after Marlowe cleans him up and sets him on his way, the man is standing on Marlowe’s doorstep, holding a gun and asking for a ride to Mexico. While Marlowe refuses to hear out the reason for this request, it’s revealed that the man’s wife has been murdered and it may or may not be by his new friend’s hand.

With those rather shady circumstances still hazing over his head, Marlowe is approached by a publisher asking for his assistance in figuring out just what exactly is throwing their prized writer off his rocker. Marlowe initially disagrees but before long, he’s pulled in by the author’s stunning wife. Can Marlowe narrow down the reason for the writer’s madness? Are the two cases connected? Is Marlowe in over his head?

While there’s still another novel to follow (Playback), The Long Goodbye is widely considered Raymond Chandler’s swan song to arguably literature’s greatest detective. Often cited as the gold standard in crime fiction, The Long Goodbye snapped up the Edgar Award for best novel in 1955, is listed on countless “best of” compilations and has influenced a generation of mystery and crime writers.

Chandler wrote The Long Goodbye during a very difficult time in his life. His wife was terminally ill and he was suffering from bouts of depression and alcohol abuse. It’s been noted that a few of the characters in the novel were used as a way for Chandler to clear his mind. He used them to express his innermost thoughts on the state of society, his frustrations as a writer and his internal struggle with whether or not he should commit suicide.

It’s been said before – by myself and others – that the plot in Chandler’s Marlowe novels can almost be considered secondary to the author’s writing. As usual, Chandler is in top form here as he calls out society’s apathetic trend, the hypocrisy of the police force and the power of money.

There’s so much to love about this novel and in my opinion, it’s the finest of the series. Given the circumstances surrounding its creation, it’s hard to ignore the personal nature of the writing. At heart, both Chandler and Marlowe are very cynical people and Marlowe literally offends every person he comes into contact with. I suppose that’s nothing new but it reflects Chandler’s state of mind at the time. You almost wonder if Marlowe couldn’t care less whether he lives or dies at the end of the day. He’s a solitary individual who could give a damn what you or anyone else thinks of him, all that matters is the truth. That’s a very dangerous man and that’s the best kind of detective.

Also posted @ Every Read Thing.
April 16,2025
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I've read this one two or three times and just love the prose. I'll be reading it again soon and I don't say that about many books.
April 16,2025
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"I kissed her some more. It was light, pleasant work."

This line, near the end, made me laugh in my chair, and threw into focus Chandler's mastery (as if there were any question). It's the lightest moment in the book, like a quick gulp above the turbid waters of filthy wealth, permanently scarred humans, violent boozy hazes, and crappy culture, before a quick sinking back down into Marlowe's dirty aquarium where he's one of the few fishes without illusions and a self-serving game, which might help explain his surprising reserves of compassion and tenderness.

Besides being a lazy white knuckle journey through moral quagmires, it is also an extended oblique commentary on The Love Song of J. Alfred Prufrock, though I didn't bother to tease it all out, just rode with the references as Chandler outdid himself on every page.

He is the Boris Karloff of literature.



April 16,2025
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The first time I laid eyes on Terry Lennox he was drunk in a Rolls-Royce Silver Wraith outside the terrace of The Dancers.

I’m adding this to my list of favorite opening lines. Twenty-three words that set up a story with precision and punch. This sentence is why I decided to read my first Raymond Chandler.

Chandler’s crime noir characters and images are iconic: Philip Marlowe, the embittered, enigmatic private eye; the long-limbed blonde, elegant, cunning and in need of rescue; the corrupt and brutal criminal justice system; tawdry Los Angeles, emerging from World War II to become the symbol of American excess. He, along with his contemporaries Dashiell Hammett (creator of Sam Spade) and James Cain (Double Indemnity), created a writing and thematic style as American as jazz and Route 66.

I expected heavy drinking, snappy dialogue and dames in mink stoles. I also expected a dated and a bit quaint feel to the style, story and substance of the plot. I was spot-on with the former, dead wrong with the latter. From the opening sentence, this is as fresh and cruel as any novel I have read by a contemporary writer, mystery or not. It is also deeply personal without being self-conscious, a rare quality that I can’t quite explain, but know it when I read it. Chandler’s socially relevant and self-reflective themes are woven seamlessly into the narrative instead of being called out by plot twists or caricatures. (It may be helpful to know that two characters in The Long Goodbye, a drunk writer losing his touch and a war vet losing his mind, are stand-ins for the writer himself. Chandler wrote this novel while his wife was dying. He had already succumbed to alcoholism and fought profound depression).

Marlowe’s voice is pithy, empathetic, tragic and wry. Yet Chandler works some sort of literary magic so that we see each character, not as filtered through Marlowe’s hungover eyes, but as clearly as if though we were in room for each scene, standing off stage right. We’re always in Marlowe’s head and he’s a solitary guy, but the pacing never wavers for all the time he spends alone.

It’s almost impossible to turn off my writer’s brain while reading The Long Goodbye, for its execution is sublime, but as a reader, it’s a story I couldn’t put down. It also gave me a serious jones for gimlets:
We sat in the corner bar at Victor’s and drank gimlets. “They don’t know how to make them here,” he said. “What they call a gimlet is just some lime or lemon juice and gin with a dash of sugar and bitters. A real gimlet is half gin and half Rose’s Lime Juice and nothing else. It beats martinis hollow.

I’ll be back for more. Chandler, that is. Go easy on the gin.

April 16,2025
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This appears to be the longest of Chandler's Marlowe novels, and is reputed in the author's opinion to be his best work. For me, it certainly gave itself space for a complex web of stories, and some twists and turns.

As a fan of Marlowe / Chandler, this marks one book closer to the end, which makes me kind of sad, so while it took me far less time to read than his others (only two part days - but being home from work with a cold, and no distractions allowed me this), I savoured the reading of this.
As we come to expect from Chandler, it was superbly crafted, brilliantly atmospheric, and inspired of narrative. It also offered more judgement, or social commentary than I was aware of in the previous books.

There are other reviews which examine the story line in more detail, so only a brief outline for me, then some quotes I enjoyed.

By chance Marlowe picks up a man off the pavement, sobers him up and puts him on a better pathway. Terry Lennox is his name, and his divorced from, then re-married to a wealthy wife. Suddenly Lennox needs help to disappear to Mexico, and Marlowe is in the felony tank, getting leaned on for his statement related to the murder of Lennox's wife. Unable to find it within himself to cooperate with the police, Marlowe is finally released when Lennox commits suicide leaving a written confession. Something feels off to Marlowe, but its not the only job he has on.

Quotes - here are a few example of the social commentary I mentioned:(FYI I didn't write them all out, I made the most of the quotes available on Goodreads)

n  
A man who drinks too much on occasion is still the same man as he was sober. An alcoholic, a real alcoholic, is not the same man at all. You can't predict anything about him for sure except that he will be someone you never met before.
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Twenty four hours a day somebody is running, somebody else is trying to catch him. Out there in the night of a thousand crimes, people were dying, being maimed, cut by flying glass, crushed against steering wheels or under heavy tires. People were being beaten, robbed, strangled, raped, and murdered. People were hungry, sick; bored, desperate with loneliness or remorse or fear, angry, cruel, feverish, shaken by sobs. A city no worse than others, a city rich and vigorous and full of pride, a city lost and beaten and full of emptiness. It all depends on where you sit and what your own private score is. I didn't have one. I didn't care. I finished the drink and went to bed.
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There ain't no clean way to make a hundred million bucks.... Somewhere along the line guys got pushed to the wall, nice little businesses got the ground cut out from under them... Decent people lost their jobs.... Big money is big power and big power gets used wrong. It's the system.
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Maybe it's the TV commercials. They make you hate everything they try to sell. God, they must think the public is a halfwit. Every time some jerk in a white coat with a stethoscope hanging around his neck holds up some toothpaste or a pack of cigarettes or a bottle of beer or a mouthwash or a jar of shampoo or a little box of something that makes a fat wrestler smell like mountain lilac I always make note never to buy any. Hell, I wouldn't buy the product even if I liked it.
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Let the law enforcement people do their own dirty work. Let the lawyers work it out. They write the laws for other lawyers to dissect in front of other lawyers to dissect in front of other lawyers called judges so that other judges can say the first judges were wrong and the Supreme Court can say the second lot were wrong. Sure there’s such as a thing as law. We’re up to our necks in it. About all it does is make business for lawyers. How long do you think the big-shot mobsters would last if the lawyers didn’t show them how to operate?
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"You’re a damn good cop, Bernie, but just the same you’re all wet. In one way cops are all the same. They blame the wrong things. If a guy loses his pay-cheque at a crap table, stop gambling. If he gets drunk, stop liquor. If he kills someone is a car crash, stop making automobiles. If he gets pinched with a girl in a hotel room, stop sexual intercourse. If he falls downstairs, stop building houses...
We don't have mobs and crime syndicates and goon squads because we have crooked politicians and their stooges in City Hall and the legislatures. Crime isn’t a disease, it’s a symptom. Cops are like a doctor that gives you aspirin for a brain tumor, except that the cop would rather cure it with a blackjack. We’re a big tough rich wild people and crime is the price we pay for it, and organized crime is the price we pay for organization. We’ll have it with us for a long time. Organized crime is just the dirty side of the sharp dollar."
n


These quotes are just great:

n  
I like bars just after they open for the evening. When the air inside is still cool and clean and everything is shiny and the barkeep is giving himself that last look in the mirror to see if his tie is straight and his hair is smooth. I like the neat bottles on the bar back and the lovely shining glasses and the anticipation. I like to watch the man mix the first one of the evening and put it down on a crisp mat and put the little folded napkin beside it. I like to taste it slowly. The first quiet drink of the evening in a quiet bar—that's wonderful.
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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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The French have a phrase for it. The bastards have a phrase for everything and they are always right. To say goodbye is to die a little.
n


Yeah, I got a bit carried away - tldr.

5 stars
April 16,2025
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Raymond Chandler’s The Long Goodbye is different to all his other Philip Marlowe books; it’s twice as long, semi autobiographical and it’s a platform for social criticism. While people say this book was never on the same level as The Big Sleep or Farewell, My Lovely, Chandler (and other critics) considers it his best work even though he was going through a lot of agony writing it with his wife was terminally ill and the alcoholism he was suffering.

In the book Marlowe forges an unhealthy friendship with a drunk, which lands him in a situation he could have avoided, if he wasn’t loyalty to his friends. Which leads him into a whole lot of situations that could have been avoided; but this does make for an interesting and unique story. The dialog and the situation make this book possibly the best Marlowe book written (in my opinion). It’s tight and well planned, the story is a lot less complexity, but more socially relevant.

I love this character and I’m sad to be almost at the end of all the Marlowe books, but this one will stand out more than the others for the depth and biographical nature. Don’t expect this book to be the same as all the other Hard-Boiled novels Raymond Chandler wrote, this is definitely unique.
April 16,2025
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This knocked my socks off. I've read some of his others and they were good. This one is excellent.

Not only does it get the language and mores of a certain place and time, but doubles down on the core self-identities of at least 4 different people. Philip Marlowe being just one of the soul captured. Post-war and high detachment times in both moneyed and shoddy surroundings. But despite the unstudied language and the earthy emotional and visual overloads, the pure clean regard of man to man's "essence" comes through completely. There is no trouble for that stream (despite very little truth telling) in translation between Marlowe and Lennox.

My radar surmised the perp before the book reveal, but just before.

And was this "ahead of its era" in the copper dissing mode or what! They parleyed like Dragnet in parts but they sure certainly didn't deal consequence the same. For those of you who even know what Dragnet was.

This also has layers. With the crust of high elegance covering a seeping, teeming underlay of both stale disdain and putrefying long term soggy wounds. Marlowe is also even more rude, self-involved and most often uncaring than usual in the all around, but at his most intimate to connection here at the same time. Much more than in his other escapades, IMHO. Almost like a "Band of Brothers" thing going on. I saw that a lot with the WWII and Vietnam veterans of age myself. Not often, but with such intensity that nearly all else became "the others".

Well, I am certainly going to read Little Sister and the others I'd missed now.

Whew!

Last thought that I couldn't get out of my mind all throughout the last third of the book! How the juxtaposition of today's (nearly 2018) opinion of men's sexual advance and women's role in the workplace for sexual alliances when it occurs. How that has been earthquake altered into such a crooked set of "eyes". Seeing so many women in business of all levels (from the factory warehouse line to the high Loop CEO offices)in the 1960's and 1970's myself! How they played the aggressive role, not every time for sure but quite often. (More than Joanie on Mad Men and especially in power/foreman factory positions.) How they (THE WOMEN)would do the visual overload so craftily and use the sex card to climb into "better". And how now in a kind of Roundhead Cromwell kind of calling out, the power monger is always slated as the nasty testosterone flawed man side of being the user! What blindness to a recognition in their being reverse directions to the dance. So much so as it has occurred in past reality especially, in order to obscure one and demonize the other while in the same sweep also judging and sentencing by rote while using the standards of one era for censure and outcomes in another!
April 16,2025
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I was a little underwhelmed by The Big Sleep but liked it well enough that I thought I might over the course of a few years read all the Marlowe mysteries in order. But when late last year a friend of mine read The Long Goodbye, the sixth Marlowe mystery, and gave it a rare (for him) five stars, it occurred to me that civilization might very well collapse before I got a chance to read books #2-5, and at that point the pages of The Long Goodbye would be needed as kindling to warm the intrepid band of survivors I'd no doubt be a part of. I'd known for at least a couple of years that this book was going to be great, so why not just read it?

The plot isn't quite as difficult to follow as that of The Big Sleep, and yet there's a very elusive quality to this novel. In an early passage, as Marlowe sits in a bar waiting for a client and pitilessly observing the foibles of human nature (one of his favorite hobbies), he notices a man sitting and talking the bartender's ear off:

He wanted to talk and he couldn't have stopped even if he hadn't really wanted to talk...you knew that he got up on the bottle and only let go of it when he fell asleep at night. He would be like that for the rest of his life and that was what his life was. You would never know how he got that way because even if he told you it would not be the truth. A distorted memory of the truth as he knew it. There is a sad man like that in every quiet bar in the world.


And that's the case for most of the characters in the novel, as well. Terry doesn't know if he really killed Sylvia. Roger Wade doesn't know why he can't write anymore. The reader doesn't know if Eileen was really in love with a sailor who disappeared in Norway during the war (and doesn't know if Eileen really knows), and Marlowe doesn't know why he's so fond of Terry. But even these are just the most obvious questions, the plot points that a reader expects resolution to. What contributes to the unique atmosphere of this book, I think, is that Chandler is always hinting at something deeper.

This is very much a postwar novel, as well. We always hear that the 50s were a time of optimism and affluence in America, but Marlowe is preoccupied with the portents of a new world that's coming into being, a world of mass advertising and consumerism in which organized crime is "just the dirty side of the sharp dollar", and where the wealthy enjoy "one long suntanned hangover." Terry proposes the existence of this world to Marlowe, early on:

"Randy doesn't bother. In Las Vegas he's a legitimate businessman. You look him up next time you're there. He'll be your pal."
"Not too likely. I don't like hoodlums."
"That's just a word, Marlowe. We have that kind of world. Two wars gave it to us and we are going to keep it."


I guess it's not surprising to read that Chandler started writing after he lost his job in the Depression, because he writes like someone completely disillusioned with America. Not disillusioned however because of having lost, but because of the hollowness of the game itself. Sylvia's father Harlan Potter is an especially fascinating character in this respect, Marlowe at one point flippantly summing up the man's perspective- "You don't like the way the world is going so you use what power you have to close off a private corner to live in as near as possible to the way you remember people lived fifty years ago before the age of mass production. You've got a hundred million dollars and all it has bought you is a pain in the neck"- as well as the alcoholic writer Roger Wade, who's miserable despite all the money he's made on his popular sex-and-swordplay novels.

Chandler is also one of those rare writers who's able to combine profound depth of character and theme with a truly compelling plot. As I mentioned, I didn't find it as ungraspable as that of The Big Sleep, in fact I'm pretty certain I was able to follow it (having seen the Altman movie twice definitely helped, even though there are significant differences), but its complexity and precision coexist with its ambiguity- ambiguity not so much in terms of what happens, but why it happens. The greatest mysteries lie within ourselves. Another reviewer mentioned that they found Marlowe's passivity in this novel strange. But the novel is stranger than that, it's almost as if this entire story sort of happens to Marlowe, almost as if Sylvia's killer wants to be caught.

Furthermore, if Marlowe hadn't liked Terry enough to try to help him, there might not have been any story at all. Or it wouldn't have involved Marlowe, anyway. In other words, it all hinges on an impulse that even he doesn't understand. Their friendship reminded me somewhat of The Great Gatsby, although Marlowe never envies or mythologizes Terry in the way that Nick initially does Gatsby. Some might consider it a flaw that what Marlowe sees in Terry is never made explicit. But I think we know enough to speculate. Terry lives among the wealthy, sure, but deep down he despises it and despises them; Marlowe recognizes Terry as someone who's been changed forever by the war, a "moral defeatist" who can now live in any way, under any code of morality, as long as he's comfortable. Seems to me that Marlowe is a crusader at heart (it surprised me to realize this, especially given the way Elliott Gould plays him throughout most of the movie), and he's responding to someone who could have been an ally, should have been, but who no longer has the ability to care.

That's a theory, anyway. On the other hand, sometimes friendship is a mystery. And as much as I love the Altman film, the one thing that I think it's missing, that Chandler's novel depicts so movingly, is that feeling of having a friend who's doomed, who might even have done something terrible, but still you can't help but love him. As Marlowe thinks, "He had been a man it was impossible to dislike. How many do you meet in a lifetime that you can say that about?"
April 16,2025
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I told my wife as I read this,"I'm savoring every page like a piece of fudge". I'm doing some rereads this year, and I picked this Chandler. The Long Goodbye was the 6th of Chandler's 7 Philip Marlowe novels, written in 1953. After I got back into it, I became curious and looked at the Goodreads ratings of his books - The Long Goodbye is the highest rated.

Before anything in his line of work happens, Marlowe happens to meet a very drunk Terry Lennox outside a bar, being treated very rudely by his date. While Marlowe doesn't often nurture friendships, something about Terry is appealing to him. "I'm supposed to be tough, but there was something about the guy that got me. I didn't know what it was unless it was the white hair and the scarred face and the clear voice and the politeness."

Terry tells him he was once married to the woman, and that she is filthy rich - her father is the immensely wealthy and powerful Harlan Potter, a newspaper magnate, among other things. They get remarried, but Sylvia is soon found brutally murdered, and Terry is a wanted man. He has Marlowe drive him to Mexico, and then Marlowe learns that Terry killed himself there. Then Marlowe is approached by a publisher to help figure out why one of his star writers, Roger Wade, can't finish a book. When Roger disappears, the beautiful Eileen Wade asks for his help.

One thing that I always enjoy in Chandler's novels is the way he lovingly references Los Angeles haunts. Here we have scenes in Laurel Canyon, Westwood, Sepulveda Canyon and on Cahuenga Boulevard and Mulholland Drive.

I could rhapsodize all day about Chandler's writing and his fascinating stories. I suppose it's like anything else, you either like him or you don't. And of course there's a lot to enjoy about Philip Marlowe. I do find one thing strange - he's always declining payment. I realize that is supposed to tell us that he is highly principled and operates under some strict self-imposed code. But I wonder if Chandler felt that seeing him paid would somehow cheapen his hero.
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