Annika Eisenberg *RHWKH8QLYHUVLWlW)UDQNIXUW
7KH6RXQGRI/$1RLU²/LVWHQLQJWR0DUORZH·V/RV$QJHOHVLQ5D\PRQG &KDQGOHU·VThe Long Goodbye DQG%HQMDPLQ%ODFN·V The Black-Eyed Blonde
Abstract Cities have distinct sounds. Some cities might sound alike, some may vary by subtle degrees, and RWKHUVH[KLELWVLJQLÀFDQWDFRXVWLFODQGPDUNV%XWKRZGRHVWKLVSOD\RXWIRUFLWLHVLQOLWHUDWXUH" ,QWKLVDUWLFOH$QQLND(LVHQEHUJH[SORUHVZKDW/RV$QJHOHVVRXQGVOLNHLQ5D\PRQG&KDQGOHU·V novel The Long Goodbye ZLWKWKHRFFDVLRQDOJODQFHWRZDUGVHDUOLHUDQGODWHUQRYHOV DQGKRZ&KDQGOHU·VVRQLFHYRFDWLRQRI/$PLJKWÀQGLWVHTXLYDOHQWLQWKHODWHVW3KLOLS0DUORZH novel The Black-Eyed Blonde E\%HQMDPLQ%ODFN QRPGHSOXPHRIWKH,ULVKQRYHOLVW-RKQ %DQYLOOH ZKLFKWLHVLQLQWHUWH[WXDOO\ZLWKFKDUDFWHUVDQGSORWVWUXFWXUHVIURPThe Long Goodbye.
Keywords:5D\PRQG&KDQGOHU%HQMDPLQ%ODFNQRLUVRXQGFLW\
A. Eisenberg ÀDU9RO 0D\ The Sound of L.A. Noir IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 1. Introduction
Cities have distinct sounds. Some cities might sound alike, some may vary by subtle GHJUHHVDQGRWKHUVH[KLELWVLJQLÀFDQWDFRXVWLFODQGPDUNVVXFKDV/RQGRQ·V%LJ%HQ%XWKRZ GRHVWKLVSOD\RXWIRUFLWLHVLQOLWHUDWXUH",QWKLVSDSHU,H[SORUHZKDW/RV$QJHOHVVRXQGVOLNH LQ5D\PRQG&KDQGOHU·VQRYHOThe Long Goodbye ZLWKWKHRFFDVLRQDOJODQFHWRZDUGV HDUOLHUDQGODWHUQRYHOVDQGKRZ&KDQGOHU·VVRQLFHYRFDWLRQRI/$PLJKWÀQGLWVHTXLYDOHQWLQ the latest Philip Marlowe novel The Black-Eyed Blonde E\%HQMDPLQ%ODFN QRPGHSOXPH RIWKH,ULVKQRYHOLVW-RKQ%DQYLOOH ZKLFKWLHVLQLQWHUWH[WXDOO\ZLWKFKDUDFWHUVDQGSORWVWUXFWXUHV from The Long Goodbye. Literature has a long tradition of urban novels that made the respective FLWLHVDSSHDOWRDOORIWKHVHQVHVRIWKHLUSURWDJRQLVWV DQGWKHLUUHDGHUV IURPVLJKWWRVRXQGWR WRXFKWRVPHOO5D\PRQG&KDQGOHU·V/RV$QJHOHVLVVXFKDPXOWLGLPHQVLRQDOFLW\WKDWFDQHDVLO\ MRLQWKHUDQNVRIZHOOHVWDEOLVKHGOLWHUDU\XUEDQFODVVLFVRIWKHHDUO\th century, such as Alfred '|EOLQ·V%HUOLQ-RKQ'RV3DVVRV·V1HZ
A. Eisenberg ÀDU9RO 0D\ The Sound of L.A. Noir IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 WKDWDUHFRQQHFWHGWRDQGUHSUHVHQWDWLYHRIDFLW\VFDSH7KLVOHDGVWRDUHGHÀQLWLRQDQGSUHFLVLRQRI 5D\PRQG0XUUD\6FKDIHU·VRULJLQDOFRLQDJHRIWKHWHUP¶VRXQGVFDSH·DVLQP\GHÀQLWLRQVRXQGVFDSH comprises all of those sounds which the reader of a literary work perceives to be constitutive of a PHGLDWHGH[SHULHQFHRIWKHUHVSHFWLYHFLW\VFDSH>@ ,QDÀUVWSKHQRPHQRORJLFDODSSURDFKWRDW\SRORJ\RIXUEDQVRXQGV,KDYHLGHQWLÀHGIRXU main groups of sounds that are related to their urban environment in one way or another, moving IURPWKHPRUHFRQFUHWHDQGREYLRXVXUEDQVRXQGVWRWKHPRUHDEVWUDFWDQGXQXVXDO7KHÀUVW group consists of all mechanical and technological sounds that are determined by the architectural DQGLQGXVWULDOIHDWXUHVRIWKHFLW\VXFKDVWUDIÀFDQGWUDQVSRUWDWLRQVLUHQVDQGEHOOV ERWKPRELOH DQGVWDWLRQDU\ IDFWRULHVDQGFRQVWUXFWLRQVLWHV7KHVHFRQGJURXSLVVLPLODUO\GHWHUPLQHGE\ the topography of the city. While most discourse on urban space sees this group as a distinct RSSRVLWHWRWKHFLW\WKHERXQGDULHVDUHVXUHO\QRWDVVWULFW QDWXUDODQGDQLPDOVRXQGV²UDQJLQJ from bird song, squeaking rats and barking dogs to the sounds of the sea, lakes or rivers. The WKLUGJURXSFRPSULVHVWKHPDMRUDXGLHQFHIRUDQGDWWKHVDPHWLPHSURPLQHQWSURGXFHURIXUEDQ VRXQGV KXPDQEHLQJVZKHWKHUDVPXPEOLQJFURZGVVWUHHWYHQGRUVRUWKURXJKDGLVWLQFWZD\ RIVSHDNLQJVXFKDVWKH%HUOLQGLDOHFWLQ'|EOLQ·VBerlin AlexanderplatzRUWKH.DQVDVDFFHQWLQ &KDQGOHU·VPlayback$QGÀQDOO\PXVLFFDQDOVRKDYHDJUHDWYDULHW\RIFRQQHFWLRQVWRWKHFLW\ it is performed in, originates from, or is associated with in literature. This includes vocal music DERXWWKHFLW\ZLWK)UDQN6LQDWUD·V¶1HZ
2. Listen, Marlowe
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A. Eisenberg ÀDU9RO 0D\ The Sound of L.A. Noir IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 ZDOOLQDPHDQLQJOHVVURRPLQDPHDQLQJOHVVKRXVHµ Playback ²DQGKHNHHSVDQ¶RIÀFHERWWOH· in his desk, which he turns to more often than to his mostly female clients. This narrative perspective LPSOLHVWKDWDOO/$VRXQGVUHODWHGLQWKHQRYHOVUHÁHFW0DUORZH·VUHDFWLRQWRDQGSHUFHSWLRQRI WKHPUDWKHUWKDQDQREMHFWLYHPDWWHURIIDFWGHVFULSWLRQRIXUEDQVRXQGVZKLFKDQRPQLVFLHQW QDUUDWRUPLJKWEHDEOHWRFRQYH\7KLVEHFRPHVDSSDUHQWIRUH[DPSOHZKHQ0DUORZHZDNHVXS ZLWKDKDQJRYHUDQGGLVFORVHVDQDFRXVWLFVHQVDWLRQKHZRXOGQRUPDOO\QRWSHUFHLYHFRQVFLRXVO\
Birds chirped in the shrubbery outside and the cars went up and down /DXUHO&DQ\RQ%RXOHYDUGHQGOHVVO\8VXDOO\,ZRXOGQ·WHYHQKHDUWKHP %XW,ZDVEURRGLQJDQGLUULWDEOHDQGPHDQDQGRYHUVHQVLWLYH,GHFLGHGWR NLOOWKHKDQJRYHU The Long GoodbyeI
7R DFFRXQW IRU VXFK D VSHFLÀF VHQVXDO SHUVSHFWLYH WKH GHVFULSWLYH FDWHJRU\ ´3RLQW RI $XGLWLRQµ 32$ ZDVGHYHORSHGDVDQDFRXVWLFDQDORJ\WRWKHWHUP´3RLQWRI9LHZµ7KH32$ EHFDPH HVSHFLDOO\ SURPLQHQW LQ ÀOP VWXGLHV DQG WRRN RQ D VLJQLÀFDQW UROH WR GHVFULEH WKH VXEMHFWLYHUHFHSWLRQRIVRXQGV>@$JHQXLQHO\OLWHUDU\DSSURDFKDVDOUHDG\PHQWLRQHGPRGLÀHV *HQHWWH·VFRQFHSWRIWKHIRFDOL]HULQWRWKHDXVFXOWDWRUZKLFK0HOED&XGG\.HDQHSURSRVHVDVD QDUUDWRORJLFDOFDWHJRU\>@,QJHQHUDOWKHPRVWREYLRXVLQGLFDWRUVIRUDVSHFLÀFSHUVRQDO32$RUD SURPLQHQWDXVFXOWDWRULQOLWHUDWXUHDUHWKHXVHRIYHUEVIURPWKHVHPDQWLFÀHOGRI´OLVWHQLQJµVXFKDV ¶KHDU·¶OLVWHQ·¶HDYHVGURS·¶RYHUKHDU·DQGVRRQ/RRNLQJIRUVXFKLQGLFDWLRQVDVDVWDUWLQJSRLQWIRU DVRQLFUHDGLQJRIDÀUVWSHUVRQQDUUDWLRQVHHPVSODXVLEOHDVEDVLFDOO\HYHU\SKHQRPHQRQLQWKH world may have an acoustic dimension, which – in theory – could be heard, as Toni Bernhart rightly REVHUYHV I &HUWDLQO\GHQVHO\GHVFULEHGVHQVRU\LPSUHVVLRQVRIDFLW\VFDSHDUHDEOHWRHYRNH FHUWDLQVRXQGVLQWKHUHDGHUV·PLQGVHYHQWKRXJKWKHUHPD\EHVXFKQRH[SOLFLWLQGLFDWRUVIRUWKHP %XWH[DPLQLQJVXFKDQLPSOLFLWHYRFDWLRQSRVHVDQDO\WLFDOGLIÀFXOWLHVVLQFHDQ\LQYHVWLJDWLRQRIWKLV NLQGZRXOGKDYHWRWXUQIURPDWH[WLPPLQHQWWRDUHDGHUUHVSRQVHDSSURDFK7KLVLVZK\,UHIUDLQIURP GUDZLQJRQLQGLUHFWHYRFDWLRQVRIVRXQG7KLVDSSURDFKLVVXSSRUWHGE\WKHÀUVWSHUVRQSHUVSHFWLYHV LQ&KDQGOHU·VDQG%ODFN·VQRYHOVZKHUHVLJQLÀHUVIRU0DUORZH·V32$DUHHPSOR\HGWKURXJKRXW ,GHQWLI\LQJWKHSHUFLSLHQWDJHQF\FDQRQO\EHDÀUVWVWHSKRZHYHUVLQFHLWLVHTXDOO\LPSRUWDQW to determine how these sounds are evaluated or semantisized, which metaphors or similes are FKRVHQWREHVWRZDQGFRQYH\DFHUWDLQPHDQLQJ7KLVFDQEHTXLWHREYLRXVVXFKDVZKHQ%ODFN·V 0DUORZHVWDWHV ´,OLNHWKHglug-glug-glug WKDWWKHVRGDPDNHVDVLWWXPEOHVRYHULFH LW·VDVRXQG WKDWDOZD\VFKHHUVPHXSµ The Black-Eyed BlondeRULJLQDOHPSKDVLV 7KLVLVUHPLQLVFHQW of a short scene in Farewell, My Lovely, when 0DUORZHÀQGVVKHOWHUDW$QQH5LRUGDQ·VSODFH DIWHU KH KDV EHHQ GUXJJHG DQG KHOG FDSWLYH ´VRPHZKHUH LFH FXEHV WLQNOHG DQG , FORVHG P\ H\HVDQGOLVWHQHGWRWKHVPDOOXQLPSRUWDQWVRXQGVµ 7KLVOLVWHQLQJH[SHULHQFHLVVXEWOHULQ LWVFRQQRWDWLRQWKDQ%ODFN·VSRVLWLYHDVVHUWLRQDQGDOWKRXJKWKHVRXQGVPLJKWEHGHVFULEHGDV unimportant, this short sequence points to an essential distinction between positive and negative
A. Eisenberg ÀDU9RO 0D\ The Sound of L.A. Noir IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 sounds. As a detective Marlowe often has to rely on his listening skills and his good sense of KHDULQJIRUH[DPSOHZKHQKHRSHUDWHVDWQLJKWZKLOHEHLQJEOLQGIROGHGRUZKLOHHDYHVGURSSLQJ on possible suspects – the latter he does, for instance, most remarkably by using a stethoscope RQWKHEXQJDORZZDOOWRHDYHVGURSRQWKHFRQYHUVDWLRQEHWZHHQ%HWW\0D\ÀHOGDQG/DUU\0LWFKHOO IURPQH[WGRRULQPlayback+HGHVFULEHVKLPVHOIDVD´WUDLQHGOLVWHQHUµWR7HUU\/HQQR[LQThe Long Goodbye ZKLFKDOORZVWKHLQIHUHQFHRIWZRPHDQLQJV RIEHLQJDEOHWROLVWHQSDWLHQWO\ WRVRPHRQH·VVWRU\DV0DUORZHGRHVLQWKLVLQVWDQWDQGEHLQJDVNLOOHGDQGDWWHQWLYHOLVWHQHUIRU details. This attentiveness is one of the most crucial qualities in a detective, because he needs WRDQWLFLSDWHGDQJHURXVVLWXDWLRQV KHQHHGVFRQVWDQWO\WREHRQKLVWRHVRUDVLWZHUHSULFNXS KLVHDUV7KLVTXDOLW\LVIRXQGLQ%ODFN·V0DUORZHDVZHOOZKRLVDZDUHRIDSUHFDULRXVVOLSLQ his attentiveness in The Black-Eyed BlondeZKHQKH´KDOIKHDUGYHU\IDLQWO\DFDUSXOOLQJXSLQ WKHVWUHHWRXWIURQW,WRRNQRQRWLFHRILWWKRXJK,VKRXOGKDYHµ 7KLVLQDWWHQWLYHQHVVKDV GLVDVWURXVFRQVHTXHQFHVDVVKRUWO\DIWHUWZR0H[LFDQPHQHQWHUWKHDSDUWPHQWEHDW0DUORZH unconscious, and kidnap Lynn Peterson, who was there with him. Time and again attentive OLVWHQLQJLVSRUWUD\HGDVDQHVVHQWLDOTXDOLW\IRUVXUYLYDODVIRUH[DPSOHLQWKHQRYHOPlayback, ZKHQ0DUORZHÀQGVRXWWKDWVRPHRQHLVZDLWLQJLQKLVEXQJDORZ
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$VDUHVXOW0DUORZHÀQGVPRVWFRPIRUWDQGSOHDVXUHLQVRXQGVWKDWDUHRXWVLGHRIKLV professionally trained listening scope, sounds that do not pose an imminent threat he has to GHWHFW ,W LV WKH ´VPDOO XQLPSRUWDQW VRXQGVµ KH SUHIHUV WR RWKHU SRWHQWLDOO\ WKUHDWHQLQJ VPDOO sounds such as the loading of a gun, cracking twigs in a Canyon, or the almost noiseless opening RIDGRRU+HOHQ+DQVRQSRLQWVWRDQRWKHULPSRUWDQFHRIVRXQG²RULWVDEVHQFH²LQSULYDWH LQYHVWLJDWLRQ ´WKH WHUP ¶JXPVKRH· IRU D GHWHFWLYH PRYLQJ VLOHQWO\ DQG XQQRWLFHG WKURXJK WKH FULPHZRUOGXQGHUOLQHVKRZDXGLEOHIRRWVWHSVFDQIRUPDQLQGH[WRDFKDUDFWHU·VORFDWLRQZKHUH GDUNQHVV IUXVWUDWHV DQ LQYHVWLJDWRU·V YLVXDO PDSµ ,QWHUHVWLQJO\ %ODFN LQYHUWV WKLV ZHOO NQRZQWURSHDQGKDVKLV0DUORZHVWUXJJOHZLWKPRYLQJVLOHQWO\ZKHQKHH[LWVKLVRIÀFH ´5XIXV KDGJRQHKRPHDQGWKHÁRRUKHKDGEHHQPRSSLQJKDGORQJVLQFHGULHGWKRXJKWKHVROHVRI P\VKRHVVTXHDNHGRQLWDVLILWZHUHVWLOOZHWµ The Black-Eyed Blonde 7KLVVHHPVPRUH LQOLQHZLWK&KDQGOHU·VFKDUDFWHU%HUQLH2KOVLQThe Long Goodbye, the rare representative of
A. Eisenberg ÀDU9RO 0D\ The Sound of L.A. Noir IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 DQKRQHVWSROLFHRIÀFHULQWKHFLW\ZKRVH´KHHOVKDPPHUHGGRZQWKHFRUULGRU,FRXOGVWLOOKHDU WKHPZKHQWKHSKRQHRQP\GHVNVWDUWHGWRVRXQGµ LELG ,Q&KDQGOHU·VZRUNVLWLVQRW RQO\WKH¶JXPVKRHV·ZKRDUHDEOHWRKLGHWKHLUDFRXVWLFWUDFHV WKHVXVSHFWVDQGVHHG\ÀJXUHV DUHFKDUDFWHUL]HGE\DQHTXDOFDSDFLW\ ´,OLVWHQHGEXW,GLGQ·WKHDUWKHLUVWHSVJRLQJGRZQWKH KDOO7KH\ZDONHGDVVRIWO\DVFDWVµ The Long Goodbye 0DUORZHVD\VRIJDQJVWHU0HQG\ 0HQHQGH]DQGKLVERG\JXDUGDQGWKHVKDG\¶GRSHGRFWRU·'U/HVWHU9XNDQLFK²DOWKRXJKQRW WKHPDLQVXVSHFW²´ZDONHGQRLVHOHVVO\RQFUHSHUXEEHUVROHVµ LELG %XWThe Long Goodbye HQGVZLWKWKHPRVWUHPDUNDEOHIDGLQJIRRWVWHSVWKDWDUHERXQGWROLQJHULQWKHUHDGHUV·PLQGV² DQGLQ0DUORZH·VWRRThe Long Goodbye LVWKHÀUVWQRYHOWKDWJHWV0DUORZHFORVHWRKDYLQJD UHDOIULHQGLQ7HUU\/HQQR[DQGFORVHWRDIHPDOHFRPSDQLRQZKHQ/LQGD/RULQJDVNVKLPWRPDUU\ KHUZKLFKZRXOGSXWDQHQGWR0DUORZH·VGD\VDVD´ORQHZROIµ7KLVFKDQJHEHFRPHVDSSDUHQW WRWKHUHDGHURQO\ODWHULQ0DUORZH·VXQÀQLVKHGQRYHOPoodle Springs EXWWKHQDJDLQPD\EH WKHUHLVGHVLJQLQ&KDQGOHU·VOHDYLQJWKHQRYHODIUDJPHQWVLQFH´>D@UHDOO\JRRGGHWHFWLYHQHYHU JHWVPDUULHG+HZRXOGORVHKLVGHWDFKPHQWDQGWKLVGHWDFKPHQWLVSDUWRIKLVFKDUPµ Twelve Notes on the Mystery Story ,QHYLWDEO\The Long Goodbye ends with Marlowe listening WR7HUU\/HQQR[·VIRRWVWHSVIDGLQJDZD\ ´,OLVWHQHGWRKLVVWHSVJRLQJDZD\GRZQWKHLPLWDWLRQ PDUEOHFRUULGRU$IWHUDZKLOHWKH\JRWIDLQWWKHQWKH\JRWVLOHQW,NHSWRQOLVWHQLQJDQ\ZD\Vµ 7KLVVRQLFÀJXUHVWDQGVQRWRQO\IRU0DUORZH·VGLVDSSRLQWPHQWWKDWKHKDVORVWZKDWPLJKWKDYH become his best, his only, friend, but it points to a special kind of vulnerability and frailty of human relationships in the big city. ,WVHHPVQRVXUSULVHWKHQWKDW0DUORZHGRHVQRWDFWLYHO\VHHNKXPDQFRPSDQLRQVKLSLQ WKHQRYHOV5DWKHUKHWXUQVWRDQGLGHQWLÀHVZLWKWKHDQLPDOVRIWKHFLW\ZKR²LQDVLPLODUZD\DV 0DUORZH²GRQRWEHORQJWRLWVFLW\VFDSH DVIRULQVWDQFHWUDIÀFQRLVHVGR ZKLOHQRQHWKHOHVVEHLQJ a pivotal part of it. Descriptions of singing birds are prevalent in both The Long Goodbye and The Black-Eyed Blonde&KDQGOHU·V0DUORZHSURMHFWVDORWRIKLVRZQGLVVDWLVIDFWLRQZLWKFLW\OLIHRQWR WKHVHDQLPDOVZKHQIRUH[DPSOHKHFODLPVWKDWKHFDQKHDU´>D@PRXUQLQJGRYHH[FODLP>@DJDLQVW WKHPLVHULHVRIOLIHµ The Long Goodbye +HWDNHVV\PSDWK\LQWKH´OLWWOHIDWELUGµ LELG D EDE\PRFNLQJELUGWKDWLVWU\LQJWREDODQFHLWVHOILQWKHWHFRPDLQIURQWRI0DUORZH·VDSDUWPHQWDQG 0DUORZHFRQVWDQWO\XVHVWKHSHUVRQDOSURQRXQ´KHµ´KLVµDQG´KLPVHOIµWRWDONDERXWWKHELUGLQIURQWRI KLVZLQGRZ ´,VSRWWHGKLPKDQJLQJRQWRRQHRIWKHWRSEUDQFKHVµ>LELG@´DPRFNLQJELUG>@DGPLUHG KLPVHOIEHIRUHVHWWOLQJGRZQIRUWKHQLJKWµ>LELG@RU´DELUGZDV>@WDONLQJWRKLPVHOILQORZFKLUSVµ >LELG@ ,WVHHPVWKDW0DUORZHLGHQWLÀHVZLWKWKHVHDQLPDOVDQGÀQGVFRPIRUWLQDQRWKHUNLQG RID´VPDOOXQLPSRUWDQWVRXQG´7KHELUG·VFKLUUXSLQJEHFRPHVKXPDQODQJXDJHZKHQWKHELUGLV ´WDONLQJWRKLPVHOIµ VRPHWKLQJWKHVLOHQWOLVWHQHU0DUORZHPD\UHFRJQL]HDVDIDPLOLDUKDELWDVZHOO QROHVVEHFDXVHKHLVDÀUVWSHUVRQQDUUDWRU%ODFN·V0DUORZHGRHVQRWWDNHVXFKDQLQWHUHVWLQWKH ELUGVDURXQGKLP LQ The Black-Eyed Blonde WKH\DUHPRVWO\´FU\LQJµ ´WKHJXOOVFU\LQJµ>@´WKH
A. Eisenberg ÀDU9RO 0D\ The Sound of L.A. Noir IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 RGGVHDELUGVOHHSLO\FU\LQJµ>@´QLJKWELUGVFU\LQJµ>LELG@ DQGDUHRIWHQXVHGWRFUHDWHDVHQVH RIVHFXULW\DQGFRPIRUWLQPRPHQWVRIH[WUHPHWHQVLRQZKLFKDUHVKRUWO\DIWHUUHYHDOHGDVLOOXVRU\ :KHQ0DUORZHKHDUV´DVFUHDPHHULO\WKLQDQGSLHUFLQJµLQWKHJDUGHQ The Black-Eyed Blonde LWLV&ODUHZKRKDVWRH[SODLQWRKLPWKDWWKLVZDVWKHFU\RIDSHDFRFN:KLOH&KDQGOHU·V0DUORZH FDQHDVLO\LGHQWLI\GLIIHUHQWELUGVRQJV HJ´)DUEDFNLQWKHYDOOH\,WKRXJKW,KHDUGDTXDLOµ[The Long Goodbye @ ,%ODFN·V0DUORZHGRHVQRWUHFRJQL]HWKHGLVWLQFWVRXQGWKDWDSHDFRFNPDNHV,Q %ODFNWKHH[SHFWDWLRQRILWVFU\EHFRPHVDVLQLVWHURPHQWKDW0DUORZHLVWHUULEO\DSSUHKHQVLYHDERXW ´7KHQ,FDXJKWDÁDVKRIEOXHDGHHSVKLQ\EOXHDQGWKHUHZDVDVZLVKLQJVRXQGWKDWTXLFNO\IDGHG ,WPXVWKDYHEHHQWKHSHDFRFN,KRSHGLWZRXOGQ·WGRLWVVFUHDPP\QHUYHVFRXOGQ·WKDYHERUQHLWµ The Black-Eyed Blonde :KLOH%ODFN·V0DUORZHLVDIUDLGRIWKHVRXQGWKHSHDFRFNPDNHV &KDQGOHU·V0DUORZHLVPXFKPRUHIHDUIXORIWKRVHVRXQGVOHVVDVVRFLDWHGZLWKDQLPDOOLIHDQG more with big cities.
3. The Big Angry City
0DUORZH·VWURXEOHGUHODWLRQVKLSZLWK/RV$QJHOHVKDVEHHQDQHQGOHVVVRXUFHIRUGLVFXVVLRQ >@DQGTXLWHQDWXUDOO\LWÀQGVLWVHTXLYDOHQFHLQ0DUORZH·VDXGLEOHGHVFULSWLRQRI/RV$QJHOHV $Q\ XUEDQ VRXQGV WKDW PLJKW EH SRVLWLYHO\ FRQQRWHG DUH HQWLUHO\ DEVHQW IURP &KDQGOHU·V /$ VRXQGVFDSH²DQGIURP%ODFN·VWRR,QDFUXFLDOVFHQHLQThe Long Goodbye Marlowe returns KRPHIURPWKH:DGHV·VKRXVHZKHUHKHGLVFRYHUHGWKHGHDWKRI5RJHU:DGHDQGKHJLYHVD JOLPSVHRIKLVVWDQFHRQ/$WKURXJKDQDFRXVWLFGHVFULSWLRQRILWVSURSHUWLHV
:KHQ,JRWKRPH,PL[HGDVWLIIRQHDQGVWRRGE\WKHRSHQZLQGRZLQWKH OLYLQJURRPDQGVLSSHGLWDQGOLVWHQHGWRWKHJURXQGVZHOORIWKHWUDIÀFRQ Laurel Canyon Boulevard and looked at the glare of the big angry city hanging over the shoulder of the hills through which the boulevard had EHHQFXW)DURIIWKHEDQVKHHZDLORISROLFHRUÀUHVLUHQVURVHDQGIHOO QHYHUIRUYHU\ORQJFRPSOHWHO\VLOHQW The Long Goodbye
&HDVHOHVVWUDIÀFDQGVLUHQVDUHWKHSUHGRPLQDQWVRXQGVRI/$LQGLFDWLQJWKHPRWRUL]DWLRQ and velocity of modern life as well as the corrupt and criminal environment. This negative FRQQRWDWLRQEHFRPHVDSSDUHQWWKURXJKPHWDSKRUVVXFKDVWKH´EDQVKHHZDLOµ LELG RUODWHU WKDWWKH´WUDIÀFEUDZOHGHQGOHVVO\µ LELG DQGRIFRXUVHWKURXJKWKHFKDUDFWHUL]DWLRQRIWKH FLW\DV´DQJU\µ7UDIÀFLQWHUIHUHVZLWK0DUORZH·VDELOLW\WRGUDZGHGXFWLRQVIURPWKHIHZIDFWVKH KDVDFFXPXODWHGVRIDUZKLFKLVRQHRIWKHNH\ZHDSRQVRIDSULYDWHLQYHVWLJDWRU ´7KHQRLVHRI WKHWUDIÀFRXWVLGHWKHEXLOGLQJRQWKHERXOHYDUGPDGHDQXQPXVLFDOREEOLJDWRWRP\WKLQNLQJ,W ZDVWRRORXGµ LELG ,Q&KDQGOHU·VRWKHUQRYHOVWUDIÀFLVVLPLODUO\FRQQRWHGHVSHFLDOO\ZKHQ 0DUORZHLVKXQJRYHU VHHDERYH RUUHFRYHUVIURPEHLQJGUXJJHG ´7KHQRLVHRIWUDIÀFIURPWKH
A. Eisenberg ÀDU9RO 0D\ The Sound of L.A. Noir IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 ERXOHYDUGFDPHLQZDYHVOLNHQDXVHD,IHOWORXV\µ Farewell, My Lovely $ZDNHQLQJIURPD ERXWRIGULQNLQJRURWKHULQWR[LFDWLRQVHHPVWRVKDUSHQUDWKHUWKDQGXOO0DUORZH·VKHDULQJ ,QJHQHUDOWUDIÀFLVDYHU\FRPSOH[DFRXVWLFSKHQRPHQRQWKDWPLJKWFRQVLVWRIKRQNLQJ cars, revving motors, squeaking brakes and the odd rumble and rattle of buses, trains or trucks. 6XEVXPLQJWKHVHGLIIHUHQWVRXQGVLQWRDJHQHULFWHUPDYRLGVDQDHVWKHWL]DWLRQRI/$·VWUDIÀF QRLVH ZKLFK FRXOG EH HDVLO\ H[SUHVVHG LQ OLWHUDWXUH WKURXJK GHYLFHV VXFK DV RQRPDWRSRHLD paratactic sentence structures, metaphors, and similes. This strengthens the impression that to 0DUORZH/RV$QJHOHVLVIDUIURPH[KLELWLQJZKDWPLJKWEHFDOOHGDQ´XUEDQVXEOLPHµEXWLVUDWKHUD ´QHRQOLJKWHGVOXPµ The Little Sister WKDWDIIRUGVQRSOHDVXUHRUMR\IRUWKHSULYDWHGHWHFWLYH %XW ZKDW LV PRUH /$ FDQ DFWXDOO\ WXUQ LQWR D WKUHDW ZKHQ WKH ´ELJ DQJU\ FLW\µ LV YHQWLQJ LWV UDJH,Q0DUORZH·VFDVHWKLVPHDQVUHSHDWHGO\EHLQJEHDWHQXSE\KRRGOXPVRUSROLFHRIÀFHUV as the brutal representatives of the relentless city, which often have quite a dramatic impact on 0DUORZH·VVHQVHRIKHDULQJLQ&KDQGOHU ´7KHEORZWUDYHOHGHLJKWRUWHQLQFKHVQRPRUH,WQHDUO\ WRRNP\KHDGRII%LOHVHHSHGLQWRP\PRXWK,WDVWHGEORRGPL[HGZLWKLW,KHDUGQRWKLQJEXWD URDULQJLQP\KHDGµ The Long Goodbye DQGLQ%ODFN
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The angry city manifests itself also in several car chases at a breakneck speed through /RV$QJHOHV$Q HVSHFLDOO\ PHQDFLQJ VFHQH WDNHV SODFH LQ &KDQGOHU·V QRYHO7KH /DG\ LQ WKH /DNHZKHQDSROLFHFDUIROORZV0DUORZHDQGWKHGHVFULSWLRQRIWKHFDU·VVRXQGVDOUHDG\DOOXGHV WRWKHLQWHQWLRQVRIWKHSROLFHRIÀFHUVLQLW ´7KHFDUEHKLQGPHJDLQHG>@7KHFDUFDPHXSOHYHO DQGVWDUWHGWRFXWLQ>@%HKLQGPHVRXQGHGWKHURXJKFODVKLQJRIJHDUVWKHKRZORIDQLQIXULDWHG PRWRUDQGWKHUHGVSRWOLJKWVZHSWIRUZKDWVHHPHGPLOHVRYHUWKHEULFN\DUGµ I 7KHSROLFH RIÀFHUVVWRS0DUORZHEHDWKLPXSDQGÀQHKLPIRUGUXQNGULYLQJ/DWHURQKHUHFRXQWVWR&DSWDLQ :HEEHU ´,GLGQ·WEXVW&RRQH\LQWKHQRVHXQWLODIWHUKHKDGIRUFHGPHWRGULQNZKLVNH\DQGWKHQ KLWPHLQWKHVWRPDFKZKHQ,GUDQNLWVRWKDW,ZRXOGVSLOOLWGRZQP\FRDWIURQWDQGVPHOORILW7KLV FDQ·WEHWKHÀUVWWLPH\RXKDYHKHDUGRIWKDWWULFNFDSWDLQµ LELG %ODFN·VQRYHOLVOHVVSURQH WRLQYRNLQJWUDIÀFQRLVHVWRDOOXGHWR/$DVDWURXEOHGFLW\EXW7KH%ODFN(\HG%ORQGHSLFNVXS DPRWLIWKDWLVDOVRSUHYDOHQWLQ&KDQGOHU·VVRXQGVFDSHLQSUHYLRXVQRYHOV WKHLGHDRIQDWXUH QRWDVDQRSSRVLWHWRWKHFULPLQDOXUEDQHQYLURQPHQWEXWDVEHLQJFRUUXSWHGE\LW2QHH[DPSOH PLJKWEH0DUORZH·VGHVFULSWLRQRIWKHRFHDQZKLFKLVQRWDVRXUFHRIFRPIRUWLQHLWKHU%ODFN·V RU&KDQGOHU·VQRYHOV ´GRZQDWWKHZDWHU·VHGJH>«@SHEEOHVKLVVHGLQWKHZDVKDVLIWKH\ZHUH RQWKHERLOµ 7KH%ODFN(\HG%ORQGH 0DUORZHKLPVHOIPLJKWIHHO´RQWKHERLOµZKHQWDONLQJ
A. Eisenberg ÀDU9RO 0D\ The Sound of L.A. Noir IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 WRKLVHQFKDQWLQJFOLHQW&ODUH&DYHQGLVKDWWKLVPRPHQWEXWEH\RQGWKLVH[WHUQDOL]DWLRQRIDQ LQQHUHPRWLRQDOVWDWH´WKHVRXQGRIWKHZDYHVWKHSHEEOHVKLVVLQJDQGWKHJXOOVFU\LQJµ LELG construes the ocean as a potentially dangerous place that does not provide shelter from urban criminality. This becomes further apparent for instance in the gambling ships on the ocean that Marlowe describes and visits in Farewell, My Lovely ´7KHUHZDVOLJKWRQWKHMontecito also and PXVLFÁRDWHGDFURVVWKHZHWGDUNVHDµ *DPEOLQJ VKLSV FDVLQRV VKDG\ QLJKWFOXEV DQG EDUV ² WLPH DQG DJDLQ 0DUORZH KDV WRUHWXUQWR/$·VHQWHUWDLQPHQWGLVWULFW+ROO\ZRRGZKLFKGRHVQ·WIRVWHUDIRQGQHVVIRUWKHVH HQYLURQPHQWVZLWKLQKLP,QDOORI&KDQGOHU·VQRYHOVDVRPHZKDWQDWXUDOOLDLVRQEHWZHHQSRSXODU music and criminal environments is staged, because they are part of the same infrastructures of nightclubs, casinos, bars, hotels, and theaters as their centers and hubs of activities, and all people somehow associated with the music business usually belong to the circle of suspects, such as the night club owner Steelgrave in The Little Sister RU WKH VLQJHUV 9HOPD 9DOHQWR LQ Farewell, My Lovely and Lisa Conquest in The High Window. While it is impossible to give a FRPSUHKHQVLYHRYHUYLHZRIWKHMD]]GLVFRXUVHDQGLWVLPSOLFDWLRQVLQ VDQG V$PHULFDLQ WKLVVKRUWDUWLFOHWKLVOLDLVRQFOHDUO\UHÁHFWVDFHUWDLQUDFLDOGLVFRXUVHWKDWÀQGV´EODFN´PXVLFWREH WKHLGLRPDWLFUHSUHVHQWDWLRQRIWKHXUEDQWKHVHFXODUDQGWKHGHFDGHQW>@0LNOLWVFKVXPPDUL]HV WKLVVWHUHRW\SLFDOUHFHSWLRQRIMD]]ZKHQKHVWDWHVWKDW´PDQ\ZKLWH$PHULFDQVHQWKXVLDVWLFDOO\ embraced the music because it displayed elements associated with black popular culture such DV¶VSRQWDQHLW\WUDQVJUHVVLYHQHVVDQGPRVWLPSRUWDQWO\VH[XDOLW\·µ >@7KLVPLJKWEHRQH UHDVRQZK\0DUORZHLVUDWKHUELDVHGWRZDUGVWKHSRSXODUMD]]PXVLFRIKLVWLPHZKLFKLVUHSULVHG LQ%ODFNIURPDPRUHQXDQFHGstFHQWXU\SHUVSHFWLYHZKHQ0DUORZH·VUDGLRLV´SOD\LQJDQROG QXPEHUE\WKH3DXO:KLWHPDQEDQGKRWPXVLFPDGHVDIHO\FRROIRUWKHPDVVHV,WEHDWVPHKRZ DJX\ZLWKWKHQDPH:KLWHPDQHYHUJRWXSWKHQHUYHWRSOD\MD]]µ The Black-Eyed Blonde -D]]PXVLFDVWKHSUHOXGHWRDQGVRXQGWUDFNRIFULPHUHQGHUV+ROO\ZRRGDVKDG\DQGSKRQ\ SODFH,WKDVOLWWOHWRRIIHUIRU0DUORZHDVWKHPRYLHVDUH´MXVWQRLVHVDQGELJIDFHVµWRKLP The Long Goodbye 7KDWKLVLQYHVWLJDWLRQVRIWHQOHDGKLPWR+ROO\ZRRGPXVWVHHPOLNHWKHLURQ\ RIKLVOLIH,QQXPHURXVLQVWDQFHV0DUORZHYRLFHVKLVFRQWHPSWIRU+ROO\ZRRGDQGHYHU\RQHLQLW
Real cities have something else, some individual bony structure under the PXFN/RV$QJHOHVKDV+ROO\ZRRGDQGKDWHVLW,WRXJKWWRFRQVLGHULWVHOI GDPQOXFN\:LWKRXW+ROO\ZRRGLWZRXOGEHDPDLORUGHUFLW\(YHU\WKLQJLQ WKHFDWDORJ\RXFRXOGJHWEHWWHUVRPHZKHUHHOVHµ The Little Sister
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A. Eisenberg ÀDU9RO 0D\ The Sound of L.A. Noir IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 Black-Eyed Blonde %XWLWLVQRWRQO\FURZGHG+ROO\ZRRGWKHPRYLHVDQGMD]]PXVLFWKDW0DUORZHGRHVQRW ÀQGDQ\SOHDVXUHLQ KHLVDOVRLQGLIIHUHQWWRWKH´:DOW].LQJRI5DGLRµ0DUHN:HEHUZKRVHPXVLF KHKDV´LQKLVHDUVµ The Long Goodbye ZKLOHZDLWLQJWREHVHDWHGDWDEXUJHUUHVWDXUDQW DQGKHLVQ·WWRRIRQGRIFODVVLFDOPXVLFHLWKHU7KLVGRHVQ·WLPSO\WKDW0DUORZHLVLJQRUDQWRIWKH PXVLFDODUWV2QWKHFRQWUDU\0DUORZHLVZHOOYHUVHGLQ FODVVLFDO PXVLFDQGLWVWHUPLQRORJ\ which becomes obvious in his repeated musical comparisons, for instance, when he relates the VXVSHQVHIXOVLOHQFHDIWHU(LOHHQ:DGHHQWHUVDEDUDV´OLNHMXVWDIWHUWKHFRQGXFWRUWDSVRQKLVPXVLF VWDQGDQGUDLVHVKLVDUPVDQGKROGVWKHPSRLVHGµ LELG %ODFN·V0DUORZHLVQRWSRUWUD\HGDV WKHXQGHUVWDWHGFRQQRLVVHXURIÀQHDUWVZKRLVHGXFDWHGDQGZHOOUHDG5DWKHU%ODFN·V0DUORZH HYHQRXWVKLPVHOIDVLJQRUDQWRIFODVVLFDOPXVLF ´,KHDUGWKHVRXQGRIDSLDQRDQGVWRSSHGWR OLVWHQ&KRSLQ,JXHVVHGEXW,ZDVSUREDEO\ZURQJ²WRPHHYHU\WKLQJRQWKHSLDQRVRXQGVOLNH &KRSLQµ The Black-Eyed Blonde ,QFRQWUDVW&KDQGOHU·V0DUORZHGHVFULEHVWKH´QRLVHRI WKHWUDIÀFRXWVLGHWKHEXLOGLQJRQWKHERXOHYDUGµDVDQ´XQPXVLFDOobbligatoµ The Long Goodbye DGGHGHPSKDVLV DQGWKLVSDUDGR[LFDOFRPSDULVRQSRLQWVWRKLVDPELYDOHQWUHODWLRQVKLSWR urban sounds and to music in the most subtle yet precise way. One might argue that Marlowe FRQVWUXHVPXVLFDVDQRSSRVLWHWRWKHXUEDQVRXQGVDURXQGKLPE\FDOOLQJWKHWUDIÀF´XQPXVLFDO´ DQG´WRRORXG´ LELG EXWDWWKHVDPHWLPHWKHWUDIÀFVRXQGVDUHDQ´REEOLJDWR´DQREOLJDWRU\DQG indispensable musical line in a performance, which might be seen to elevate these urban sounds to the sphere of music. As a result, the difference between the incidental chords of urban noise DQGWKHFDUHIXOFRPSRVLWLRQRIFODVVLFDOPXVLFLVWRDFHUWDLQH[WHQWUHYRNHG&KDQGOHU·V0DUORZH frequently draws on music metaphors as a means of connecting the cacophonous cityscape with the aesthetics of music, the latter of which might generally be perceived as more pleasing – all ZKLOHGHJUDGLQJPXVLFDVMXVWDQRWKHUVRXUFHRIQRLVH7KLVLVIXUWKHUHPSKDVL]HGE\0DUORZH·V GHVFULSWLRQRIDYLROLQFRQFHUWRE\$UDP.KDFKDWXU\DQZKLFKKHOLVWHQVWRZKHQKHLVXQDEOHWR VOHHS ´,ZDVZDONLQJWKHÁRRUDQGOLVWHQLQJWR.KDFKDWXU\DQZRUNLQJLQDWUDFWRUIDFWRU\+HFDOOHG LWDYLROLQFRQFHUWR,FDOOHGLWDORRVHIHQEHOWDQGWKHKHOOZLWKLWµ LELG &RQVHTXHQWO\PXVLF does not provide comfort or relief for Marlowe in the way it does, for instance, for Jessie Florian in Farewell, My LovelyZKHQVKHGHVFULEHVKHUUDGLRDV´>D@OOWKHFRPS·Q\,JRWµ ,QThe Black-Eyed Blonde, on the other hand, 0DUORZHFRXOGQRWEHOHVVLQWHUHVWHGLQKLVFDUUDGLR ´, ÁLFNHGRQWKHUDGLR,WZDVDWKLQJ,UDUHO\GLGDQGLQIDFW,IRUJRWIRUORQJSHULRGVWKDWLWZDVWKHUHµ 6RLIQHLWKHUW\SLFDOFLW\VRXQGVVXFKDVWUDIÀFQRLVHQRUPXVLFDOKDUPRQLHVDUHSOHDVLQJ WR0DUORZH·VHDUGRHVVLOHQFHGRWKHWULFNIRUHLWKHU&KDQGOHU·VRU%ODFN·V0DUORZH"
A. Eisenberg ÀDU9RO 0D\ The Sound of L.A. Noir IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 4. Silence
The most readily associated opposite to urban noise might be silence – although this can never mean complete silence as there is always something the human ear picks up, even if it LVMXVWWKHEHDWLQJRIRQH·VRZQKHDUW:KHQ0DUORZHLVDW3XPD/DNHRXWVLGHRI/RV$QJHOHV KHUHPDUNV ´7KHDLUZDVSHDFHIXODQGFDOPDQGVXQQ\DQGKHOGDTXLHW\RXGRQ·WJHWLQFLWLHV´ The Lady in the Lake 6XFKDUHODWLYHVLOHQFHLVUHVHUYHGIRU/$·VXSSHUFODVVHVZKRFDQ DIIRUG D SODFH MXVW RXWVLGH RI WKH GHQVHO\ SRSXODWHG GRZQWRZQ DUHDV FORVHU WR WKH FDQ\RQV PRXQWDLQV DQG WKH 3DFLÀF 2FHDQ WKDW SURYLGH QDWXUDO EDUULHUV WR WKH VSUDZO RI /RV$QJHOHV $OWKRXJK0DUORZHRIWHQKDVFOLHQWVIURPWKHVHSDUWVRIWRZQ²*HQHUDO6WHUQZRRGLQThe Big Sleep, Elizabeth Murdock in The High Window/LQGVD\0DUULRWWDQG0UV/HZLQ/RFNULGJH*UD\OH in Farewell, My Lovely7HUU\/HQQR[DQGWKH:DGHVLQThe Long Goodbye, Clare Cavendish in The Black-Eyed Blonde²0DUORZHGRHVQ·WOLNHWRDVVRFLDWHZLWKWKHVHFLUFOHVEHFDXVHWKH\DOO H[HPSOLI\WKHFRUUXSWDQGSKRQ\VRFLHW\WKDW0DUORZHZRXOGÀQGLQ+ROO\ZRRGDQGHYHU\VKDG\ QLJKWFOXEDVZHOO
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,Q FRQWUDVW WR WKH FLW\·V UDFNHWHHUV WKHVH ´ZHOOKHHOHG SHRSOHµ PDNH ´TXLHW PRQH\µ DV Marlowe calls it in The Long Goodbye. This attribution strengthens the connection between UHODWLYH VLOHQFHDQGZHDOWK
,NQHZDJRRGGHDODERXW,GOH9DOOH\DQG,NQHZLWKDGFKDQJHGDJUHDW deal from the days when they had the gatehouse at the entrance and the SULYDWHSROLFHIRUFHDQGWKHJDPEOLQJFDVLQRRQWKHODNHDQGWKHÀIW\ GROODUMR\JLUOV4XLHWPRQH\KDGWDNHQRYHUWKHWUDFWDIWHUWKHFDVLQRZDV FORVHGRXW4XLHWPRQH\KDGPDGHLWDVXEGLYLGHU·VGUHDP The Long Goodbye I
,QFarewell, My Lovely0DUORZHGHVFULEHVVXFK´JUHDWVLOHQWHVWDWHVµDVFRPLQJZLWK´D VSHFLDOEUDQGRIVXQVKLQHYHU\TXLHWSXWXSLQQRLVHSURRIFRQWDLQHUVMXVWIRUWKHXSSHUFODVVHVµ ,QDQDUHDWKDWKDVSOHQW\RIVXQVKLQHEXWDOVRORQJSHULRGVRIGURXJKWVUHDOZHDOWKDQG OX[XU\LVVKRZQWKURXJKDVHHPLQJO\HQGOHVVVXSSO\RIZDWHU7KXVWKHZDWHUVSULQNOHUVEHFRPH WKHGHÀQLQJVRXQGVRIWKHZHDOWKLHUSDUWVRIWRZQDVERWK&KDQGOHUDQG%ODFNFDUYHRXW ´+LJK sprinklers revolved over the big smooth lawns and the water made a swishing sound as it licked DWWKHJUDVV´ The Long Goodbye DQG´DPRQJWKHVKUXEEHU\WKHUHZDVDVRIWKXVKHGKLVVRI
A. Eisenberg ÀDU9RO 0D\ The Sound of L.A. Noir IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 ZDWHUVSULQNOHUVDWZRUN´ The Black-Eyed Blonde ,WVHHPVHVSHFLDOO\QRWHZRUWK\WKDW%ODFN·V VSULQNOHUVDUH´DWZRUNµIRUWKHULFKHVEHFDXVHWKLVZD\DQRWKHU´VPDOOVRXQGµEHFRPHVWKHDJHQW of a larger, capitalist endeavor. These kinds of single sounds that can only be heard outside of the buzzing downtown areas, their faint acoustic signals only perceptible in an empty space, DOVRDOOXGHWRDQRWKHUNLQGRIORQHOLQHVVWKDWLVRIWHQFRQIXVHGZLWKRUDWWHQGHGE\H[FOXVLYLW\ ´>,GOH9DOOH\@ZDVH[FOXVLYHLQWKHRQO\UHPDLQLQJVHQVHRIWKHZRUGWKDWGRHVQ·WPHDQPHUHO\ H[SHQVLYH´ The Long Goodbye 7KHVHVPDOOVLQJOHVRXQGVDVVXPHDQH[SOLFLWSRWHQWLDOWR highlight isolation or loneliness because they stand out as single sounds in moments of relative TXLHW$V0DUORZH·VGLVPLVVLYHGHVFULSWLRQRIWKH:DGH·VFRFNWDLOSDUW\DOUHDG\LQGLFDWHVUHDO IULHQGVKLSDQGFRPSDQLRQVKLSLVDUDUHFRPPRGLW\LQFRPPXQLWLHVZKHUHPRQH\WDONV,QDGGLWLRQ the power to silence others with money is another privilege of the rich Angelinos that distinguishes them from the equally rich mobsters around town. For instance, in order to increase their bad UHSXWDWLRQDQGVLOHQFHDQHQHP\JDQJVWHU0HQG\0HQHQGH]DQGKLVER\VEHDWXSSROLFHRIÀFHU ´>E@LJ WRXJK :LOOLH 0DJRRQ´ DV DQ ´DGYHUWLVHPHQW´ LQ The Long Goodbye ´+H JHWV ZHOO eventually and goes back to work. But from that time on something is missing – the last inch of VWHHOWKDWPDNHVDOOWKHGLIIHUHQFH+H·VDZDONLQJOHVVRQWKDWLWLVDPLVWDNHWRSXVKWKHUDFNHW ER\V WRR KDUGµ LELG 4XLWH FRQWUDU\ WR WKH OLWHUDO DQG ÀJXUDO racket boys, newspaper mogul +DUODQ3RWWHUIRUH[DPSOHLVDEOHWRVLOHQFHWKHQHZVFRYHUDJHRIKLVGDXJKWHU·VPXUGHUZLWKKLV ´TXLHWPRQH\µWRDYRLGDVFDQGDOWKDWZRXOGGDPDJHKLVUHSXWDWLRQDQGH[SRVHKLVGDXJKWHUDV WKHURWWHQDSSOHRIWKHIDPLO\%XWWKLVNLQGRI´ZHDOWK\VLOHQFHµLVQRWRQO\LPSRVHGWRGLVWLQJXLVK WKHXSSHUIURPWKHORZHUFODVVHVLWHPSKDVL]HVWKHLUSRZHUDQGSULYLOHJHWRFDQFHORXWRUMXVW as well produce noise, too. This is why prestigious status symbols are made to stand out even PRUHWKURXJKWKHLUQRLVH ZKHQ0DUORZHVLWVRXWVLGHRQWKHSDWLRLQIURQWRIWKH:DGHV·VKRXVH KHKHDUVDVSHHGERDWRQWKHDGMDFHQWODNH ´,WZDVDOPRVWIRXUR·FORFNZKHQ,KHDUGLWVGLVWDQW URDUVZHOOLQWRDQHDUVSOLWWLQJKRZORIQRLVH7KHUHRXJKWWREHDODZµ LELG /DWHURQWKLV VSHHGERDWURDUWDNHVRQDSLYRWDOUROHEHFDXVH5RJHU:DGHV·VPXUGHUHU´KDGWRSXOOWKHWULJJHU ZKHQWKDWVSHHGERDWZDVPDNLQJHQRXJKQRLVHWRGURZQWKHVKRWµ LELG 7KLVH[HPSOLÀHV how even the rich parts of L.A. are rife with crime – but they make a greater effort to conceal those bad deeds and try to keep up appearances, or more precisely, keep up the quiet. %XWDOWKRXJK0DUORZHÀQGVWKHVHSKRQ\VXUURXQGLQJVUHSXOVLYHKHÀQGVQRFRPIRUWLQ the buzzing urban center of Los Angeles either, as already discussed above. The only place for KLPWRRFFXS\WKHQLVDSRVLWLRQRIH[FOXVLRQDQGEHLQJLQEHWZHHQZKHUHKHLVQRWSDUWRIWKH accelerated urban life but equally not of the wealthy seclusion. This becomes obvious, on the one KDQGWKURXJKDGHSLFWLRQRI0DUORZH·VIUXVWUDWHGZDLWLQJDIRUFHGVWLOOQHVVDQGRQWKHRWKHU KDQGWKURXJKDFRXVWLFGHPDUFDWLRQVWKDWLQGLFDWH0DUORZH·VPRUDODQGHPRWLRQDOGLVWDQFHWR WKHFLW\KHOLYHVDQGZRUNVLQ0DUORZHRIWHQÀQGVKLPVHOILQDVWDWHRIZDLWLQJHLWKHUZKHQKLV
A. Eisenberg ÀDU9RO 0D\ The Sound of L.A. Noir IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 LQYHVWLJDWLRQVKDYHFRPHWRDGHDGHQG ´,ZDLWHGWKLQNLQJDERXWQRWKLQJ$VSHHGERDWFDPH UDFNHWLQJGRZQWKHODNHµ The Long Goodbye RULQPRPHQWVRIH[WUHPHWHQVLRQZKHQDQ RXWEXUVWRIDFWLRQLVDQWLFLSDWHGDQ\PRPHQW ´,ZDLWHGDQGOLVWHQHGFURXFKHGDJDLQVWWKHEXVK and there was nothing to listen to and nothing to wait for. Just a dark car motionless at the foot of P\UHGZRRGVWHSVZLWKWKHZLQGRZVFORVHGµ LELG %ODFNWDNHVXSWKLVFRXSOLQJRIZDLWLQJ DQGDQLQFUHDVHGVHQVLWLYLW\WRWKHVRXQGVDURXQGKLPZKHQKHKDV0DUORZHVLWWLQJLQKLVFDU´ZLWK WKHZLQGRZRSHQKHDULQJWKHGLVWDQWVRXQGRIWKHRFHDQDQGWKHRGGVHDELUGVOHHSLO\FU\LQJµ The Black-Eyed Blonde RU´OLVWHQLQJWRWKHHQJLQHWLFNLQJµ LELG ,Q%ODFNZDLWLQJLV WXUQHGLQWRDGLVWLQFWFKDUDFWHUL]DWLRQRI0DUORZHZKHQKHREVHUYHV ´,VHWWOHGGRZQWRZDLW,W·V part of the story of my life, sitting in cars late at night with stale cigarette smoke in my nostrils DQGWKHQLJKWELUGVFU\LQJµ LELG ,QDGGLWLRQPRVWRIWKHFLW\VRXQGVKHKHDUVDUHORFDWHG RXWVLGH ´2XWVLGH LQ DEXVKDPRFNLQJELUG UDQ WKURXJKDIHZWULOOVµ The Long Goodbye ´2XWVLGHRQWKHERXOHYDUGWKHWUDIÀFEUDZOHGHQGOHVVO\µ LELG ´2XWVLGHRQWKHURDG,FRXOG KHDUWKHGXOOWKXPSRIDIROGHGQHZVSDSHUKLWWKHGULYHZD\µ LELG $WWKHVDPHWLPH%ODFN adopts a language of uncertainty that leaves Marlowe equally removed from the cityscape and LWV LQKDELWDQWV ´$ PRFNLQJELUG VRPHZKHUH ZDV JRLQJ WKURXJK LWV UHSHUWRLUHµ The Black-Eyed Blonde ´)URPVRPHZKHUHQHDUE\,FRXOGKHDUWKHVOLWKHUDQGFUXQFKRIDJDUGHQHU·VVSDGH GHOYLQJLQWRZKDWVRXQGHGOLNHGU\LVKFOD\µ LELG ´$ZD\LQWKHGLVWDQFHDSROLFHVLUHQVHWXS LWVZDLOLQJµ LELG 0DUORZH·VLQDELOLW\WRORFDWHDVSHFLÀFVRXQG·VRULJLQHPSKDVL]HVWKHFLW\·V opacity and his alienation from the urban environment, and the distinct demarcation of inside and RXWVLGHSRLQWVWR0DUORZH·VVROLWDU\DQGLVRODWHGSRVLWLRQ7KXVQHLWKHUWKHKXVWOHDQGEXVWOHWKH movement and motion of the big city, nor the remote and aloof waiting as an outsider are pleasant instances for Marlowe to occupy – and his profession, ethics, and bank account balance keep him IURPMRLQLQJWKHULFKHQYLURQPHQWDVDWKLUGRSWLRQ
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At the end of Playback, Marlowe returns to his rented house on Yucca Avenue in Los $QJHOHVWKDWLVDV´VWXII\DQGGXOODQGLPSHUVRQDODVLWDOZD\VZDVµ ,WLVRQO\DIWHU/LQGD Loring has called from Paris to renew her marriage proposal to Marlowe that his perception of the OLYLQJURRPFKDQJHV ´$OPRVWLPPHGLDWHO\WKHWHOHSKRQHVWDUWHGWRULQJDJDLQ,KDUGO\KHDUGLW 7KHDLUZDVIXOORIPXVLFµ 7KLVDOPRVWFLQHPDWLF DQGPHORGUDPDWLF HQGLQJLVDZRQGHUIXO H[DPSOHRI0DUORZHDVWKHSURPLQHQWDXVFXOWDWRUKLVVXEMHFWLYHOLVWHQLQJSHUVSHFWLYHWKDWWKH UHDGHUUHWUDFHV+HLVQRWRQO\WKHRQHZKRVHHVDQGVSHDNVEXWDOVRWKHRQHZKRKHDUV$V, KDYHWULHGEULHÁ\WRRXWOLQHLQWKLVSDSHULWFDQEHDUJXHGWKDW/RV$QJHOHVLVPDGHWRVRXQGDV DQH[SUHVVLRQRI0DUORZH·VIHHOLQJVDERXWWKLVFLW\DQGLWVLQKDELWDQWV+LVLQWHUPHGLDWHSRVLWLRQ
A. Eisenberg ÀDU9RO 0D\ The Sound of L.A. Noir IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 LQWKHFLW\²DPDQJRLQJGRZQ´WKHVHPHDQVWUHHWV>«@ZKRLVQRWKLPVHOIPHDQZKRLVQHLWKHU WDUQLVKHG QRU DIUDLGµ The Simple Art of Murder I ² LV UHÁHFWHG LQ KLV KLJKO\ DPELYDOHQW wary and cynical attitude towards L.A., which is mirrored in the use and effects of sonic devices. 7UDIÀFQRLVHLVQRWDQDHVWKHWLFIHDWXUHRIDQXSOLIWLQJXUEDQH[SHULHQFHEXWDGLVUXSWLYHDQG SRWHQWLDOO\ OLIH WKUHDWHQLQJ IRUFH WKDW LV RPQLSUHVHQW LQ &KDQGOHU·V FLW\VFDSH 0DUORZH VSHQGV DFRQVLGHUDEOHDPRXQWRIWLPHLQKLVFDUVXUURXQGHGE\QRLVHKLVRIÀFHRQWKHEXV\+ROO\ZRRG %RXOHYDUGLVQRWH[DFWO\DTXLHWRDVLVLQWKHFLW\HLWKHUDQGKLVKRXVHRQ A. Eisenberg ÀDU9RO 0D\ The Sound of L.A. Noir IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 KHDUVWKHELUGVH[SUHVVWKHLUVHHPLQJO\RZQGLVFRPIRUWZLWKWKHXUEDQHQYLURQPHQW+HUH0DUORZH FDQIHHOFRPIRUWLQWKHLU´VPDOOXQLPSRUWDQWVRXQGV´ZKLFKSURYLGHWKHRQO\UHDOFRQWUDVWWRDOOWKH RWKHUQHJDWLYHO\FRQQRWHGXUEDQVRXQGVDQGVLQFHKLVIULHQGVKLSWR7HUU\/HQQR[LVQ·WPHDQWWRODVW KHPLJKWÀQGNLQGUHGVSLULWVLQELUGVDOPRVWDVLIWKH\ZHUHIULHQGVVSHDNLQJQRWRQO\WRWKHPVHOYHV EXWDOVRWRKLP0DUORZH·V¶IULHQGVKLS·ZLWKWKHELUGVHPSKDVL]HVKLVDOLHQDWLRQIURPIHOORZKXPDQ EHLQJVDQGDJDLQKLVH[LVWHQFHDVDORQHU$OOWKDWUHPDLQVIURPKLVIULHQGVKLSZLWK/HQQR[DUHKLV fading footsteps, which signify the ephemeral nature of humanity and community in the big city, and provide an equally cinematic ending to The Long Goodbye as the reader encounters in Playback, PHQWLRQHGDERYH2YHUDOOERWK&KDQGOHU·VDQG%ODFN·VVRXQGVFDSHRI/RV$QJHOHVUHÁHFWWKHJORRP\ DQGVKDG\LPSUHVVLRQRIWKLVFLW\DVSUHVHQWHGLQQRLUÀFWLRQ:KLOH%ODFN·VUHFUHDWLRQPLJKWQRWEH DIDLWKIXOUHSURGXFWLRQLWVXVHRIXUEDQVRXQGVDVDQH[SUHVVLRQRI0DUORZH·VLQQHUODQGVFDSHWLHV LQZLWKLWVRULJLQDOVRXQGWUDFNQRQHWKHOHVV$QGOLNH7HUU\/HQQR[·VIRRWVWHSVG\LQJDZD\VORZO\DQG SURPSWLQJ0DUORZHWR´>NHHS@RQOLVWHQLQJDQ\ZD\Vµ The Long Goodbye VR%ODFN·VUHFUHDWLRQ RI&KDQGOHU·VVRXQGVLQDQDOWHUQDWHZD\PD\SURPSWWKHUHDGHUWRUHWXUQWR&KDQGOHU·VZRUNVDQG WUDFHWKHRULJLQVRIVHHPLQJO\´VPDOOXQLPSRUWDQWVRXQGVµ Farewell, My Lovely A. 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Noir IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 Endnotes >@6HH6FKDIHU·VRULJLQDOGHÀQLWLRQRIVRXQGVFDSH ´7KHVRQLFHQYLURQPHQW7HFKQLFDOO\DQ\SRUWLRQRI WKH VRQLF HQYLURQPHQW UHJDUGHG DV D ÀHOG IRU VWXG\7KH WHUP PD\ UHIHU WR DFWXDO HQYLURQPHQWV RU WR abstract constructions such as musical compositions and tape montages, particularly when considered as DQHQYLURQPHQWµ >@6HH*HQHWWH·VGLVFXVVLRQRIKLVFRQFHSWRIIRFDOL]DWLRQRQSDJHV >@$OOVXEVHTXHQWO\TXRWHGZRUNVE\&KDQGOHUDUHWDNHQIURPWKH/LEUDU\RI$PHULFDHGLWLRQ VHH:RUNV &LWHG EXW,ZLOOXVHWKHUHVSHFWLYHWLWOHVRI&KDQGOHU·VQRYHOVDQGHVVD\VIRUWKHLQWH[WFLWDWLRQVWRDOORZIRU an easier and more obvious attribution of the quotes to the respective works. >@6HH6RQQHQVFKHLQDQG+DQVRQ >@6HH&XGG\.HDQH >@6HHIRUH[DPSOH%DEHQHU ´6XFKDYLVLRQ²RIDQHPSLUHEXLOWRQDVSXULRXVIRXQGDWLRQGHFNHGLQWLQVHO DQGEHJXLOHGE\LWVRZQLOOXVRU\SURPLVHV²LVFHQWUDOWRWKH/RV$QJHOHVQRYHOVRI5D\PRQG&KDQGOHUµ >@)RUDPRUHGHWDLOHGGLVFXVVLRQVHHIRUH[DPSOH.DOLQDNI >@0LNOLWVFKTXRWHV.ULQ*DQQDUG A. Eisenberg ÀDU9RO 0D\ The Sound of L.A. Noir IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661 Works Cited %DEHQHU/LDKQD.´5D\PRQG&KDQGOHU·V&LW\RI/LHVµLos Angeles in Fiction. A Collection of Original Essays(G'DYLG)LQH$OEXTXHUTXH 8RI1HZ0H[LFR3 3ULQW %HUQKDUW7RQL´6WDGWK|UHQ$XGLWLYH:DKUQHKPXQJLQBerlin AlexanderplatzYRQ$OIUHG'|EOLQµ Zeitschrift für Literaturwissenschaft und Linguistik 3ULQW %ODFN%HQMDPLQThe Black-Eyed Blonde1HZ Chandler, Raymond. Later Novels and other writings (G )UDQN 0DF6KDQH 1HZ ---. Stories and Early Novels(G)UDQN0DF6KDQH1HZ ---. Trouble Is My Business1HZ &XGG\.HDQH0HOED´9LUJLQLD:RROI6RXQG7HFKQRORJLHVDQGWKH1HZ$XUDOLW\µ9LUJLQLD:RROILQ WKH$JHRI0HFKDQLFDO5HSURGXFWLRQ 0XVLF&LQHPD3KRWRJUDSK\DQG3RSXODU&XOWXUH (G3DPHOD&DXJKLH1HZ *DUGQHU 'RURWK\ DQG .DWKHULQH :DONHU Raymond Chandler Speaking. Berkeley and Los $QJHOHV 8RI&DOLIRUQLD3 3ULQW *HQHWWH*pUDUGNarrative Discourse. An Essay in Method7UDQV-DQH(/HZLQ,WKDFD &RUQHOO 83 3ULQW +DQVRQ+HOHQ´7KH$PELHQFHRI)LOP1RLU6RXQGVFDSHV'HVLJQDQG0RRGµ A Companion to Film Noir(GV$QGUHZ6SLFHUDQG+HOHQ+DQVRQ:HVW6XVVH[ %ODFNZHOO3XEOLVKLQJ 3ULQW +LQH\ 7RP DQG )UDQN 0DF6KDQH The Raymond Chandler Papers. Selected Letters and 1RQÀFWLRQ 1HZ .DOLQDN.DWKU\QSettling the Score. Music and the Classical Hollywood Film:LVFRQVLQ 8RI :LVFRQVLQ3 3ULQW MacShane, Frank. The Life of Raymond Chandler1HZ 0LNOLWVFK5REHUW Siren City. Sound and Source Music in Classic American Noir1HZ-HUVH\ 5XWJHUV833ULQW Schafer, Raymond Murray. The Soundscape. Our Sonic Environment and the Tuning of the World. 5RFKHVWHU 'HVWLQ\%RRNV 3ULQW Sonnenschein, David. Sound Design. The Expressive Power of Music, Voice, and Sound Effects in Cinema6WXGLR&LW\ 0LFKDHO:LHVH3URGXFWLRQV3ULQW Suggested Citation: (LVHQEHUJ$QQLND´7KH6RXQGRI/$1RLU/LVWHQLQJWR0DUORZHV/RV$QJHOHVLQ5D\PRQG &KDQGOHUVThe Long GoodbyeDQG%HQMDPLQ%ODFNVThe Black-Eyed Blonde.µIRUXPIRU LQWHUDPHULFDQUHVHDUFK 0D\ $YDLODEOHDW ZZZLQWHUDPHULFDGH A. Eisenberg ÀDU9RO 0D\ The Sound of L.A. Noir IRUXPIRULQWHUDPHULFDQUHVHDUFK ,661