My initial encounter with the works of Raymond Chandler came in the guise of his renowned detective character, Philip Marlowe.

This concise anthology delves into the detective's career through four adventures that were first published in the old pulps during the 1930s.

I'm not an ardent enthusiast of this genre. However, considering Chandler's reputation and his significant influence, especially in Hollywood from the 1940s onwards, I knew I had to give it a try.

The first story was, for me, the most verbose and least appealing. It was充斥着行话 that couldn't help but deter me; in my view, it was style over substance.

The second story adopted a political tone and was an improvement, albeit still with flaws.

The third story began to captivate me with the numerous twists and turns and the engaging characterizations it contained.

And the fourth story was by far the best of the lot, offering pure enjoyment from start to finish.

Assuming the stories here were presented in chronological order, perhaps this indicates a natural progression in Chandler's career as a writer.

**Title: The Beauty of a Pure Style**

In the world of art, design, and even writing, a pure style holds a unique allure.

A pure style is characterized by simplicity, clarity, and a lack of unnecessary ornamentation. It strips away the excess and focuses on the essence of the subject.

This style allows the true beauty and meaning to shine through.

Whether it's a minimalist painting, a sleek and modern design, or a piece of writing with clean and concise language, a pure style has the power to captivate and inspire.

It has a timeless quality that transcends trends and fads.

By embracing a pure style, we can create works that are both elegant and enduring.

It forces us to be deliberate and intentional in our choices, to carefully consider each element and how it contributes to the whole.

A pure style challenges us to find beauty in the simplest of forms and to communicate our ideas with clarity and precision.

It is a style that rewards those who are willing to look beyond the surface and appreciate the true essence of things.

The edition of this anthology that I possess, which compiles Philip Marlowe's earliest adventures, with a few being rewritten stories originally featuring his first incarnation John Dalmas, contains a foreword. This foreword was written much later by Raymond Chandler, in which he reflects on his place in the history of the crime genre and its general state.

Specifically, Chandler describes how, through Dashiell Hammett before him, he saw the potential for psychological depth, social criticism, and an examination of moral grey areas in a genre that had hitherto been dismissed (not always unjustly) as mere escapist fantasy. It is also a pleasant surprise to see Chandler's humility. Unlike James Ellroy, he is not certain himself if what he writes is on the same level as that of a Dostoevsky or Flaubert.

As is typical for Chandler, it is less the "whodunit" aspect that is crucial than the hows and whys. Even here, his prose style exhibits more finesse and wit in a single story than many writers would in their entire body of work. The short story format results in a somewhat different reading experience than his full-length novels. Chandler's young age at the time is also evident in that his signature style is not quite fully developed in a couple of stories. "Finger Man," in particular, despite featuring an early version of one of "The Big Sleep"'s most famous scenes, has a style and tone that is halfway between Hammett's Continental Op stories and Chandler's own.

My personal favorite is probably "Goldfish," as it shows Philip Marlowe somewhat out of his element in the Pacific Northwest and features a rather morally complex story where the real culprits turn out to be the most sympathetic side in the central conflict. In fact, if I were to introduce someone to Chandler's oeuvre, I would probably advise that person to start with that one, as it showcases all my favorite aspects of his writing: the easy-to-imitate but difficult-to-master gutter-philosophical first-person narration; the insightful depiction of the desperate and doomed fates across very different social backgrounds, portrayed with a sense of authenticity; and the decidedly grey moral landscapes, even with Philip Marlowe's code of honor serving as a compass.

So, is that business good? It is good, it is very good!

Quintessential noir by one of the creators of the genre. Private eye Phillip Marlowe is the archetype of those that followed. This book is four (rather long) short stories, each one a masterpiece in its own right. The stories are filled with the seedy underbelly of society, complex characters, and twisting plots that keep the reader on the edge of their seat.

Marlowe is a tough and cynical detective, but also has a code of honor that he adheres to. He is not afraid to take on the powerful and the corrupt, and his investigations lead him into some very dangerous situations. The writing is sharp and atmospheric, painting a vivid picture of the noir world.

Overall, this is an excellent collection of short stories that will appeal to fans of noir fiction. It is a must-read for anyone interested in the genre and a great introduction to the work of this talented author.

This is an outstanding little compilation of four concise and impactful Marlowe stories.

It's the second time I've delved into Trouble is My Business, yet after a few years, I realized I'd retained very little. So, it still had a refreshing feel to me.

None of these novellas quite reach the pinnacle of Chandler's finest work. However, neither are their plots as perplexing. There are ample dry one-liners to amuse fans of Chandler's style.

Somehow, these four stories, presented together, offer a deeper understanding of the character of Marlowe. Perhaps it's because he seems more confident here than in the more elaborate plots of his longer novels.

When Marlowe (and the reader) isn't迷失 in some convoluted plot instigated by wealthy Los Angelinos but rather in Marlowe's own world of middlemen, hustlers, and cops, he can exert greater control and展现 a more proactive side of his personality.

Marlowe becomes less of a mystery for the world around him and more of a protagonist in his own right.

Therefore, Trouble is My Business makes an excellent starting point for readers new to Chandler. These stories place the Marlowe of The Big Sleep and The Long Goodbye in a more extensive context, and they're enjoyable to boot!

Any of the four stories here would make a great film. I just don't know who I'd cast as Marlowe though...

Of course, I have a great affection for this collection.

It consists of four short stories that were later incorporated into Chandler's novels.

However, I must admit that I wished it could have been longer.

The Simple Art of Murder contained more stories and offered a bit more variety, so I definitely have a preference for it over this one.

Nonetheless, this was still a fine selection of short stories.

Almost nothing else outside of Chandler's works has the power to make me envision scenes in my mind so vividly or to make me burst out laughing at the sarcasm.

I was practically laughing every few minutes while reading this, and I am writing this review after my second reading.

In my opinion, no other noir can compare to Chandler, and this collection is just the most perfect example of the genre.

It truly showcases Chandler's unique writing style and his ability to create engaging and memorable stories.

Despite its brevity, it leaves a lasting impression and keeps the reader hooked from start to finish.

I would highly recommend this collection to any fan of noir or anyone looking for a great read.

I presume these are earlier Marlowe stories.

When reading them, I notice a softer side to the private eye.

In these tales, he doesn't always exude the tough and invincible persona one might expect.

Instead, he seems a bit vulnerable in certain places.

There is even one scene where he comes off straight up scared.

This portrayal adds a new dimension to his character.

It makes him more relatable and human.

We see that even a seasoned private eye like Marlowe can have moments of weakness and fear.

It makes us wonder what events in his past might have led to these displays of vulnerability.

Perhaps these earlier stories are setting the stage for his growth and development as a character.

As we continue to read, we look forward to seeing how he will overcome his fears and evolve into the confident and capable detective we know him to be.

Phillip Marlowe, the tough and unyielding private detective, embarks on three captivating cases. With his unwavering determination and sharp intellect, he tackles each one with precision, just like the true professional he is.

Whether it's the search for precious lost pearls or the complex task of dealing with a pair of ruthless murderers, Marlowe adheres to his own unique brand of even-handed justice. He cuts through the chaos and deception, leaving no stone unturned in his pursuit of the truth.

The dialogues in this book are so engaging and vivid that it's almost impossible not to read them out loud, channeling the iconic Humphrey Bogart impression. The words seem to come alive, drawing the reader into Marlowe's gritty and thrilling world.

As the story unfolds, we are taken on a rollercoaster ride of mystery, danger, and intrigue, eagerly following Marlowe's every move. This book is a must-read for any fan of detective fiction, offering a masterclass in storytelling and character development.

3.5 stars.

It took me several years of living in Georgia to truly understand how deeply California is ingrained in me. I was raised as a Midwesterner, but then spent 14 crucial years, from 1995 to 2009 (ages 22 to 36), on the West Coast. I never consciously decided to identify as a Californian, but after residing in the Atlanta area for a couple of years, I suddenly realized how much my time in California had molded my personality. And now, even though I've been in the South for nearly six years, no author can transport me back to Los Angeles like Raymond Chandler. When he writes, "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," I immediately think, "I know that wind!" Even though he's writing about 1930s L.A., when I read his work, I'm instantly transported to the late-night streets of Santa Barbara, driving home after a show, with the marine layer rolling in to slick my arm hanging out the open window and create a hazy nimbus around the amber streetlights. The state still haunts me, but under Chandler's influence, it's not an unwelcome presence.

Although I firmly believe that Elmore Leonard is the undisputed master of crime fiction and, more specifically, James Ellroy has cornered the market on a certain adrenalized, bare-knuckle strain of Los Angeles noir, it's impossible not to see Chandler as the Rosetta Stone of the modern detective story. Leonard, Ellroy, Rankin, Lehane, Hiaasen, and many others all trace their lineage back to Chandler's pitch-black tales of Philip Marlowe and the street-smart women with whom he associates.

It's been a long time since I last read Chandler – probably fifteen years or more since I closed "The Long Goodbye." But the first paragraph of the title story in "Trouble Is My Business" is like sinking into a warm bath: "Anna Halsey was about two hundred and forty pounds of middle-aged putty-faced woman in a black tailor-made suit. Her eyes were shiny black shoe buttons, her cheeks were as soft as suet and about the same color. She was sitting behind a black glass desk that looked like Napoleon's tomb and she was smoking a cigarette in a black holder that was not quite as long as a rolled umbrella. She said: 'I need a man.'" For my money, there's nothing not to like about that passage, and the rest of the four stories in this collection are just as razor-sharp. If I'm being honest, though, the actual plot mechanics are almost beside the point. Chandler admits as much in a forward to the collection, where he says there's no such thing as a classic mystery story because the only thing that really matters is the denouement, where everything is revealed, and everything that comes before is just a process to get to the conclusion. So, to that end – and I'll come back to the somewhat problematic denouement theory in a moment – the stories in this collection are composed of more or less interchangeable parts: Private eye Philip Marlowe as the world-weary narrator; a con involving money (two stories) or pearls (two stories); a brassy dame with a gun; a scene where Marlowe gets hit in the back of the head with a sap; two wise-cracking bad guys, one of whom might be garrulous and charismatic, the other taciturn and sullen, and only one of them will be a good shot; the mastermind of the con who isn't nearly as smart as he thinks he is; a Los Angeles cop who reluctantly lets Marlowe go about his business; one or more scenes involving scotch or rye, which may or may not be set in a bar; rapid-fire exchanges of dialogue where Marlowe says things like, "Some days I feel like playing smooth and some days I feel like playing it like a waffle iron."

None of this is criticism, mind you. The reason Chandler is so good is that he mixes and matches all these pieces and manages to put them together in novel and exciting ways each time. In one story, it's about a guy who cheats a local mob boss out of $20,000; in another, Marlowe tracks some missing pearls to the Pacific Northwest. Even though we recognize the parts, the thrill is in seeing how Chandler repurposes them from story to story. Everything in this collection crackles with electricity. Everything, that is, except for the denouement Chandler references, the part of the story he views as most vital to its success. This is the only thing in "Trouble Is My Business" that feels antiquated: the scene where all the principal players are gathered in one room and Marlowe explains the nuts and bolts of everything that's come before. It's a variation on what Roger Ebert called The Fallacy of the Talking Killer. You know that tired scene from movies – where the bad guy has the good guy trapped and all he has to do is kill him but he spends five minutes explaining why he's so bad and then the good guy escapes. It's kind of the same thing here, where Marlowe has to explain the contortions of the plot so we'll see everything the way he sees it. It's a scene that I don't really see in modern crime fiction, and in these stories, it's always necessary (Chandler is big on convoluted plots), but it also grinds the story to a halt.

But again, I don't really mean this as criticism. It's an early hallmark of the genre Chandler essentially invented (yes, I know – Poe, Doyle, Christie, etc. I'm talking contemporary crime fiction here), and by pointing it out, I don't want to dissuade anyone from reading what is an unequivocally delightful collection of stories. It's one of those rare occasions where I don't mind substance taking a back seat to style. Chandler's not going to make me ponder the meaning of the universe, but he will dazzle me with the sheer inventiveness of his craft. And of course, take me back to California, where gravel roads disappear "around a shoulder of scrub oak and manzanita" and "plumes of pampas grass flare on the side of the hill, like jets of water." I wasn't born in California, but reading Chandler is like going home. Read all my reviews at goldstarforrobotboy.net.

First, let me emphasize how much enjoyment people have derived from parodying the title of this exquisitely crafted collection of short stories.

“Trouble is my beeswax”

“Love trouble is my business.”

“My trouble is my English”

“Mayor Hubble is in trouble”

Second, as I've previously mentioned, I'm astounded by the somewhat flamboyant nature of some of the language. A simple example being:

“He smiled with his full red lips. He was a very good-looking boy. He said: “Are you still doing business, or will you spend the next month in a hotel room drinking liquor with a couple of Headquarters boys?”

Wow. That makes me feel the need to take a shower. Someone should send a note to Lil Nas X suggesting this as a potential image for his next hit single.

And that's another aspect: the way he incorporated pop culture references that are now completely obscure but were surely eyebrow-raising in the 1930s.

“I wasn't the man she had been expecting. I could see it in her glittering kohl-rimmed eyes. She just stood and looked at me, a long, lean, hungry brunette, with rouged cheekbones, thick black hair parted in the middle, a mouth made for three-decker sandwiches, coral-and-gold pajamas - and gilded toenails. Under her earlobes a couple of miniature temple bells gonged in the breeze. She made a slow, disdainful motion with a cigarette in a holder as long as a baseball bat.

“We-el, what is it, little man? You want something? You are lost from the bee-ootiful party across the street, hein?”

Across the street, someone was experiencing delirium tremens in the front yard, and a mixed quartet shredded what remained of the night into small strips and did their best to make those strips miserable. While this was happening, the exotic brunette didn't move more than one eyelash.

She wasn't beautiful, she wasn't even pretty, but she gave the impression that things would occur wherever she was.

“Snap out of it, Nazimova. Who was he? The little guy?”

Man, what wonderful writing. And that offhand reference to Nazimova - the actress who coined the phrase “sewing circle” before the Daughters of Bilitis emerged, and whose plan for financing her retirement was to transform her estate in West Hollywood into a garden-court hotel complex called the Garden of Alla - is truly brilliant. The modern equivalent would be attempting to describe someone who resembled a roadie for the LPGA and referring to her as “Jodie.”

Not My Kind of Mystery

Mysteries come in all shapes and sizes. Some are thrilling and keep you on the edge of your seat, while others are more cerebral and require careful thought and analysis. However, there are some mysteries that just don't appeal to me at all.

For example, I'm not a big fan of mysteries that involve a lot of supernatural elements. While I can appreciate the creativity and imagination that goes into these types of stories, I often find them too far-fetched and unbelievable. I prefer mysteries that are grounded in reality and that I can relate to on a personal level.

Another type of mystery that I'm not particularly fond of is the whodunit. While these stories can be fun and engaging, I often find that they rely too much on twists and turns that are sometimes predictable. I prefer mysteries that focus more on the characters and their motives, rather than just on solving the crime.

In conclusion, while I enjoy reading mysteries, there are certain types that just aren't my cup of tea. I prefer mysteries that are realistic, character-driven, and that offer a unique and engaging storyline.

Trouble Is My Business is indeed a highly enjoyable read and a prime example of Chandler's classic style. Each story within the collection has its own distinct flow, painting a vivid and detailed picture of the 1930s/40s Los Angeles. While I may not love it as much as his full-length novels, it undoubtedly satisfies a craving that only Chandler can fulfill. His style leans more towards storytelling than pure mystery-solving, but I don't mind that in the slightest because I am completely drawn into the action. Chandler often makes me ponder the motives behind someone's actions rather than simply focusing on who did what. His wit, descriptions, and gritty portrayal of the world never fail to disappoint. He has crafted the character of Philip Marlowe, who, in my opinion, is无与伦比. This moral character navigates the complex and often unethical world, dealing with the good, the bad, and the ugly, all while enduring hardships.

I would highly recommend this collection if you have a penchant for noir, crime, and being fully immersed in a story, especially one set in the early days of Los Angeles. It offers a main character you can root for, witty dialogue, and a setting that becomes a central character in the storytelling. Additionally, the shorter stories provide a complete narrative experience. However, I would caution you if you are seeking a pure mystery, find colloquial phrases challenging to follow (as they can be at times), don't have an affinity for crime or the gritty aspects of life, or prefer a full-length novel.