"I never had a forty-five," I said. "A guy who needs that much gun ought to use a pick." (pg. 41)

After devouring all seven of the Philip Marlowe novels, I deliberately held off on reading more of Raymond Chandler's work for several years. The next on my list was Trouble is My Business, and I procrastinated because I anticipated it to be a bit of a letdown: a compilation of shorter Marlowe stories that were originally published in pulp magazines, including some material that Chandler later revised and incorporated into his novels. In truth, I should have known better, for in the world of Philip Marlowe, filled with jaded cops and feisty dames, it has always been about the essence that rises from the depths of Bay City. Chandler has always had the knack of making the most ordinary or seemingly unremarkable elements sound as enchanting as the scraping of a violin.

At first, I believed that the pleasure I was deriving from the book stemmed from the pleasant surprise of reconnecting with an old acquaintance and getting along so swimmingly that you wonder why you ever drifted apart in the first place. Sinking back into Chandler's prose rhythms was an absolute delight, with Marlowe's sharp, witty, and lyrical handling of his investigations on full display here. This is quintessential Marlowe from beginning to end. However, the opening story, the eponymous 'Trouble is My Business', also had that convoluted and somewhat sketchy plot that is a hallmark of Chandler's writing, and I thought perhaps my enjoyment was simply a case of the "absence makes the heart grow fonder" phenomenon.

Nevertheless, each of the four stories in Trouble is My Business is superior to the previous one, with the final story, 'Red Wind', being a minor masterpiece. I'm reluctant to label it as Chandler's best work, as any of The Lady in the Lake, The Little Sister, and Farewell, My Lovely might then burst into my room brandishing a gun, but it is undeniably excellent. And we are treated to a generous helping of classic Chandler, as exemplified by the following (which is by no means the only instance):

"The door swung shut. I started to rush it – from long practice in doing the wrong thing. In this case it didn't matter. The car outside let out a roar and when I got onto the sidewalk it was flicking a red smear of tail-light around the nearby corner. I got its license number the way I got my first million." (pg. 214)

Sometimes, it can be challenging to follow the twists and turns in a Chandler story, but the final three stories in this book all profit from their concise and well-structured lengths. It is some of Chandler's most lucid plotting. We never lose sight of the objective, and when combined with Chandler's keen eye for character, drama, and especially dialogue, the result is truly formidable. Far from being a collection of rejects or a cash-grabbing hodgepodge of fictional odds and ends, Trouble is My Business should be regarded as an indispensable part of the Philip Marlowe canon, and one that shines as brightly as any of its other outstanding works.

This statement seems to suggest that the work being evaluated is from an earlier stage of Chandler's career and that the person making the assessment has read other works by Chandler that they consider to be of higher quality. It could imply that Chandler's skills and abilities as a writer may have developed and improved over time. However, it's important to note that this is just one person's opinion and different readers may have different perspectives on Chandler's works at various stages of his career. Each piece of writing may have its own unique qualities and merits that can be appreciated in different ways.

Perhaps the early work being referred to has its own charm and interesting aspects that the reader may not have fully recognized or appreciated at the time. It could also be that the reader's expectations were set higher based on their experience with Chandler's later works. In any case, it's always valuable to approach each piece of literature with an open mind and consider its individual strengths and weaknesses.

Overall, while this comment indicates a certain level of dissatisfaction with the early work, it doesn't necessarily mean that the work is without value. It simply provides an opportunity for further exploration and discussion of Chandler's body of work and how it has evolved over the years.

Great stories and a bonus, but this edition isn't the best buy.

I have a deep affection for short stories and Raymond Chandler's writing is truly captivating. However, when it comes to purchasing this particular book, it may not offer the best value for your money. Between 1933 and 1941, Chandler penned over 20 detective stories, which were all published in the inexpensive men's magazines known as "the pulps." In 1939, his first successful novel, "The Big Sleep," was published. From that moment on, the majority of his focus shifted towards his novels and writing screenplays for movie studios.

Thankfully, publishers began to select his magazine short stories and compile them into collections. In 1950, two collections were printed with Chandler's approval and cooperation. The original "Trouble is my Business" included the four short stories in this one, along with an additional story, and it was released in paperback. "The Simple Art of Murder" was published in a more costly hardback edition, containing twelve short stories handpicked by Chandler as his finest, along with an introduction in which he discussed detective fiction.

The introduction is widely regarded as one of the best and undoubtedly the wittiest essay ever written on the subject. Despite spending most of his adult life in California, Chandler was raised by his mother to be an English gentleman, which perhaps obligated him to poke fun at the writing genre that had made him wealthy and famous. He does so with his characteristic style and humor.

This book is a somewhat hastily assembled work that contains four stories and the introduction from "The Simple Art of Murder." At 99 cents, it is a bargain, and I particularly love the gritty, dramatic cover art, which is taken from "Finger Man" and resembles the illustrations that accompanied detective stories in the pulps.

The introduction is a must-read classic, and all of the stories (which are really more like novellas) are excellent examples of Philip Marlowe and the Los Angeles of the pre-WWII era. There are smooth gamblers, crooked politicians, half-mad gunmen, and beautiful dames on the prowl. There are rich men trying to hold onto their money while simultaneously stealing from others. There are dim-witted playboys, honest working men, sleazy private eyes, and corrupt cops. Marlowe takes on jobs that no respectable PI would touch and persists far longer than is reasonable because he becomes curious and has to solve the mystery. Surprisingly, he never collects a penny from any client. So, how does he manage to eat and pay the rent?

In conclusion, it makes for great reading, but you can obtain these four stories, the introduction, and eight additional stories in one of the inexpensive versions of "The Simple Art of Murder." As with all purchases of cheap copies of old books, it is essential to carefully check the "Look Inside" feature, as some versions may be poorly edited. This edition is well-edited and has an interactive table of contents, which I appreciate. However, some editions of "The Simple Art of Murder" also share these qualities, and you can acquire them for a couple of dollars, getting more bang for your buck.

Ross MacDonald, a great talent in his own right, once said that Chandler "wrote like a slumming angel." This description couldn't be more apt. He created unforgettable characters and gave them dialogue that is sometimes shocking but always believable. He brought to life a City in the Sun filled with people who had come from all corners of the continent, bringing with them all their troubles. And Philip Marlowe was the man they turned to when faced with those difficulties. Sometimes he was able to assist them, and sometimes they met a tragic end, but he always did his utmost.

Once you've read about Waxnose the gunman and fat Frank Dorr the crooked political fixer (not to mention his beautiful, sharp-clawed girlfriend Toby), you'll never forget them. These are the stories I turn to when I need to escape the stress of modern life. Try to get as many of them as you can. You won't be disappointed.

Four Marlowe short stories bear a resemblance to the novels, yet they are trimmed down to the bare minimum. This clearly showcases Chandler's dominant strategy of constructing brilliant scenes and then stringing them together. Sometimes, a relatively weak plot holds these scenes together. There are great wisecracks and excellent descriptions.

In Chandler's introduction, he states, "The technical basis of the Black Mask type of story, on the other hand, was that the scene outranked the plot, in the sense that a good plot was one which made good scenes." This emphasizes the importance of the individual scenes in Chandler's work. The short stories may not have the complex and intricate plots of the novels, but they still manage to engage the reader with their vivid and memorable scenes. The wisecracks add a touch of humor and wit, while the descriptions bring the settings and characters to life. Overall, the Marlowe short stories offer a unique and enjoyable reading experience, highlighting Chandler's skill as a writer.