Hardboiled Literary History Final Version for Deposit.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Long Goodbye I 1973 Directed by Robert Altman
TCM BREAKFAST CLUB SCREENING The Long Goodbye I 1973 Directed by Robert Altman With characteristic fearlessness, director Robert Altman dared to offend the purists with his 1970s interpretation of the Raymond Chandler classic The Long Goodbye (1973). It turned out to be a triumph for both him and its star, Elliott Gould. TCM writer David Humphrey assesses the film and describes it as a fine tribute to Altman, who died on November 20 at the age of 81. Raymond Chandler devotees were perhaps entitled to feel screen, and plainly gave priority to injecting comedy into the nervous at the news that Elliot Gould had been cast as Philip persona of Chandler’s sardonic, hardbitten private detective. For Marlowe in the 1973 movie The Long Goodbye. Bogart may have Brackett it was a return to familiar territory, as he had co-written been dead for 16 years, but many believed – and still do – that the script for Chandler‘s The Big Sleep (1946) with Bogie as his Marlowe was the definitive one. Anyone else taking the role Marlowe, 27 years earlier. The tale is satisfyingly labyrinthine in of the LA gumshoe would be like Rumpole without Leo McKern, the Chandler tradition: chain-smoking private eye Marlowe they reasoned, or Flash Gordon without Buster Crabbe. They had drives a friend from Los Angeles South to the Tijuana border and not banked on two crucial components: Robert Altman being in on returning finds his apartment swarming with LAPD’s finest, the director’s chair, and Gould on the top of his not who duly announce that he’s under arrest for abetting the inconsiderable form. -
The High Window Ebook Free Download Fast-Talking, Trouble-Seeking Private Eye Philip Marlowe Is a Different Kind of Detective: a Moral Man in an Amoral World
The High Window Ebook Free Download Fast-talking, trouble-seeking private eye Philip Marlowe is a different kind of detective: a moral man in an amoral world. California in the 1940s and 1950s is as beautiful as a ripe fruit and rotten to the core, and Marlowe must struggle to retain his integrity amidst the corruption he encounters daily. In The High Window, Marlowe starts out on the trail of a single stolen coin and ends up knee-deep in bodies. His client, a dried-up husk of a woman, wants him to recover a rare gold coin called a Brasher Doubloon, missing from her late husband’s collection. That’s the simple part. But Marlowe finds that everyone who handles the coin suffers a run of very bad luck: they always end up dead. If Marlowe doesn’t wrap this one up fast, he’s going to end up in jail—or worse, in a box in the ground. Starring Toby Stephens, this thrilling dramatization by Robin Brooks retains all the wry humor of Chandler’s serpentine suspense novel.2 CDs. 1 hr 26 mins. Audio CD: 1 pages Publisher: BBC Books; Unabridged edition (October 20, 2011) Language: English ISBN-10: 1408427664 ISBN-13: 978-1408427668 Product Dimensions: 5 x 0.4 x 5.5 inches Shipping Weight: 0.8 ounces (View shipping rates and policies) Average Customer Review: 4.4 out of 5 stars  See all reviews (106 customer reviews) Best Sellers Rank: #1,427,514 in Books (See Top 100 in Books) #2 in Books > Books on CD > Authors, A-Z > ( C ) > Chandler, Raymond #2476 in Books > Books on CD > Mystery & Thrillers #5176 in Books > Books on CD > Literature & Fiction > General The High Window by Raymond Chandler The "HighWindow" begins one hot day in Pasadena, when "everythingthat grew was perfectly still in the breathless air they get overthere on what they call a nice cool day." If we don't know we arein a Philip Marlowe novel yet, we do as soon as we meet his newclient--a wealthy, obese widow named Mrs. -
The Hero Is Hardboiled
Page 1 of 3 The Hero Is Hard-Boiled 'The Big Sleep' introduced Philip Marlowe and a new kind of mystery novel By LEONARD CASSUTO August 26, 2006 Raymond Chandler was the rare mystery writer who didn't care whodunit. "The Big Sleep," his first novel, appeared in 1939 and introduced Philip Marlowe, a detective who shows at least as much talent for wisecracks as for sleuthing. Marlowe's weathered dignity set the course of American detective fiction for generations. When Leigh Brackett collaborated on the screenplay for "The Big Sleep" in 1946 with William Faulkner (yes, that William Faulkner), the two found themselves so stymied by the plot turns that they couldn't tell who had murdered the chauffeur. Director Howard Hawks sent Chandler a telegram asking him who knocks the character off. "No idea," Chandler cabled in response. A grimy story involving pornography, drugs, and a particularly nasty hired killer in the employ of organized crime, "The Big Sleep" offers none of the clean, cathartic redemption that typically ended detective stories. "Crusts and fragments of greasy newspaper" litter Chandler's Depression-era Los Angeles, along with used condoms and "oil-scummed water." Marlowe solves the murders, more or less, but the solution doesn't leach the "hidden sadism" (as Chandler later called it) from his surroundings. A sordid mystery with a plot so incoherent that you can't tell who killed whom would not appear destined for classic status. In fact, "The Big Sleep" had a rocky debut. Though issued by the prestigious publisher Alfred A. Knopf, the novel sold a meager 12,500 copies in the U.S. -
Raymond Chandler Papers, 1930-1959
http://oac.cdlib.org/findaid/ark:/13030/tf3m3nb1x3 No online items Finding Aid for the Raymond Chandler Papers, 1930-1959 Processed by UCLA Library Special Collections staff; machine-readable finding aid created by Caroline Cubé and edited by Josh Fiala. UCLA Library Special Collections UCLA Library Special Collections staff Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2005 The Regents of the University of California. All rights reserved. Finding Aid for the Raymond 638 1 Chandler Papers, 1930-1959 Descriptive Summary Title: Raymond Chandler Papers, Date (inclusive): 1930-1959 Collection number: 638 Creator: Chandler, Raymond, 1888-1959 Extent: 13 boxes (6.5 linear ft.) 1 oversize box Abstract: Raymond Thornton Chandler (1888-1959) published his first novel, The Big Sleep, to great success in 1939 and began writing screenplays in 1944. The collection consists of correspondence, books, photographs, speeches, and literary manuscripts by Raymond Chandler. Repository: University of California, Los Angeles. Library Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Advance notice required for access. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library Special Collections. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright. -
Raymond Chandler's Last Novel: Some Observations on the "Priva, Te Eye" Tradition
RAYMOND CHANDLER'S LAST NOVEL: SOME OBSERVATIONS ON THE "PRIVA, TE EYE" TRADITION HAROLD OREL At one moment in that popular "private eye" novel of 1942, The High Window, the hero refers to himself as a "cockeyed, careless, clubfooted, dissipated investigator. " Philip Marlowe knows that the odds are against him. "See me and you meet the best cops in town, " he muses. "Why despair? Why be lonely? Call Marlowe and watch the wagon come. " The frustration implicit in such name-calling of one's self is, how ever, a passing mood. Marlowe knows that he is not so hopeless as all that. He knows it because he knows who he is, and what he believes in. His ethics are consistent and an awesome thing to watch, because this cock eyed and careless investigator succeeds where the police fail, and does so because, being true to himself, he cannot then be false to any man. When he lectures a cynical Detective-Lieutenant, Jesse Breeze, his anger flares up: 'Until you guys own your own souls you don't own mine. Until you guys can be trusted every time and always, in all times and conditions, to seek the truth out and find it and let the chips fall where they may—until that time comes, I have a right to listen to my conscience, and protect my cli ent the best way I can. Until I'm sure you won't do him more harm than you'll do the truth good. Or until I'm hauled before somebody that can make me talk. -
Raymond Chandler: Breaking the Norms of the Detective Genre
Balazs Biro Raymond Chandler: Breaking the Norms of the Detective Genre My theory was that readers just thought that they cared about nothing but the action; that really although they didn’t know it, they cared very little about the action. The thing they really cared about, and that I care about, was the creation of emotion through dialogue and description.1 Raymond Chandler is revered as one of the most influential crime writers in American literature. His novels about private eye Philip Marlowe, the idealistic and lonely defender of Los Angeles of the 1930s and 1940s, broke the norms of the conventional detective and mystery story. Previous detective stories were constructed to follow the classic pattern established by Edgar Allan Poe and Sir Arthur Conan Doyle, with the application of a heroic puzzle-solving detective like Poe’s C. Auguste Dupin2 or Doyle’s Sherlock Holmes.3 Peter J. Rabinowitz, for instance, claims that “the de- tective story is a highly conventionalised genre, with specific rules which have been accepted by readers, critics and writers alike.”4 Chandler how- ever, approached his stories on another level by creating a realistic portrait of a corrupted city with perverted ideals that subsequently influenced the way the entire genre was used. He introduced a style and themes that clearly violated the norms and conventions of the genre of detective fiction and also exposed less savoury aspects of society. These concerns take Chandler out of the precise confines of the cerebral puzzle of, for example the pedantic Hercule Poirot.5 By sharply questioning people’s normative perception of the society around them, Chandler violates the rules of the detective novel on a grand scale. -
The New Wild West: the Urban Mysteries of Dashiell Hammett And
THE NEW WILD WEST: THE URBAN MYSTERIES DF DASHIELL HAMMETT AND RAYMDND CHANDLER by Pau l Ske noly BOISE STATE UNIVERSITY o BOISE. IDAHO o Boise State University Western Writen Series Number 54 7Ae llew Wil4 WeJt: 7Ae 1,(,.6I1n I1t¥Jte"ieJ cf /:)IIJltiell IIlIfttfttett IIn4 f<1I¥ftt cn4 Cltlln41e,. By Paul Skenazy University of California Santa Cruz EWton: WayIW Ot.attenoa Jamft H. Marui~ CoYer o.:.igD and tuUllfatioQ by Amy SJuno. Copyrirbt 19B! Boise State University. Boise. Idaho Copyright 198! by the Boile St a~ University Western Writen Series ALL RIGHTS RESERVED Library of Congress Card No. 8!·710'" Int<:mational Standard Book No. 0· 88430· 028· " Printed in the United Slates of America by J &. D Printing Mer idian, Idaho 7Ae l1ew Wi" We~t : 7Ae 1/1-6f111 /1I~~tel'ie~ pi ~fI~kie" 1If1/11/11ett fllld RfI~/IIP/1d CAfllldlel' 7lre llew tVil4 tVe.6t : 7lre 1(,-6411 JJt~.6t e";e.6 III ~4.6lrie" 11411llllett 4114 «4~1Il111l4 C1r41l41el' Puzzles and suspense have always been a part of storytelling. and some loyal critics of detective fiction like to say that every story has a mystery in it somewhere. They trace the roots of the detective form back to Oedipus and to the Bible. But the detective story as a genre is a product of the nineteenth century; it developed alongside the new police forces and detective agencies in the new industrial cities suc h as Paris and London, which required organized forms of municipal control and law enforcement and which used scientific methods of detection. -
Farewell, My Lovely
Raymond Chandler Farewell, My Lovely Introduction 'Where do you think I've been these last eight years?' He looked quite pleased with himself. 'Prison. Malloy's the name. Moose Malloy. The Great Bend bank job - that was me. On my own, too. Forty thousand dollars.' If anyone could rob a bank on his own, it's Moose Malloy. He's as hard as stone and as big as a bus. Now he's out of prison, and he wants two things: to know who gave his name to the police eight years ago, and to find his girlfriend. Moose means trouble, and it's the sort of trouble a private detective should stay away from. So of course Philip Marlowe runs straight into it: trouble with the police, trouble with women, trouble with almost every criminal in California . And trouble with murder. Even when he tries to walk away from it, this sort of trouble just follows him around ... Raymond Chandler is one of the greatest modern detective writers. He turned the American crime story into a kind of art. He was born in 1888 in Chicago, Illinois, but was brought up and educated in England. He worked as a reporter in London before returning, in 1912, to the USA. After fighting in France during World War I, he lived and worked in California. He lost his job in 1932. Then he started to write crime stories for magazines. His first book, The Big Sleep (1939), was about a private detective, Philip Marlowe. It was a great success, and he wrote about Marlowe in many other books, including Farewell, My Lovely (1940), The High Window (1942), The Lady in the Lake (1944) and The Long Goodbye (1953). -
The Lady in the Lake, the Little Sister, the Long Goodbye, Playback: Volume 2 Pdf
FREE THE LADY IN THE LAKE, THE LITTLE SISTER, THE LONG GOODBYE, PLAYBACK: VOLUME 2 PDF Raymond Chandler,Tom Hiney | 1008 pages | 26 Sep 2002 | Everyman | 9781857152562 | English | London, United Kingdom Everyman Classics - Everyman's Library Playback is a novel by Raymond Chandler featuring the private detective Philip Marlowe. Chandler died The Lady in the Lake following year; Playback The Lady in the Lake his last completed novel. Marlowe is faced with the choice The Little Sister turning against his client and taking up the cause of the subject he was hired to The Lady in the Lake, an attractive woman on the run with whom he eventually becomes emotionally entangled. Through intermediaries, an anonymous client hires Marlowe to find Betty Mayfield, who is traveling under the name Eleanor King. Marlowe trails Mayfield to the small coastal resort town of Esmeralda, California. During her train ride west, Mayfield had The Long Goodbye recognized by a man The Lady in the Lake then tried to blackmail her, for reasons disclosed at the end of the story. While Marlowe is poking around Esmeralda, the blackmailer is found dead on the balcony of Mayfield's hotel room. She panics and calls Marlowe for help. Marlowe encounters numerous characters with dubious motivations, including a taciturn lawyer and his smart secretary with whom Marlowe has a sexual encountera "retired" gangster, overconfident would-be tough guys of varying morals, a hired killer whose wrists Marlowe smashesdecent police officers, and an affectingly desperate example of the immigrant underclass in the United States in the s. Marlowe also has The Little Sister encounter in a hotel lobby with a reflective elderly gentleman, Henry Clarendon IV, which gives rise to an extended philosophical conversation. -
Raymond Chandler Retold by Rosalie Kerr
The Big Sleep The Big Sleep by Raymond Chandler retold by Rosalie Kerr 1 Marlowe meets the Sternwoods It was about eleven o'clock in the morning, one day in October. There was no sun, and there were rain−clouds over the distant hills. I was wearing my light blue suit with a dark blue shirt and tie, black socks and shoes. I was a nice, clean, well−dressed private detective. I was about to meet four million dollars. From the entrance hall where I was waiting I could see a lot of smooth green grass and a white garage. A young chauffeur was cleaning a dark red sports−car. Beyond the garage I could see a large greenhouse. Beyond that there were trees and then the hills. There was a large picture in the hall, with some old flags above it. The picture was of a man in army uniform. He had hot hard black eyes. Was he General Sternwood's grand− father? The uniform told me that he could not be the General himself, although I knew he was old. I also knew he had two daughters, who were still in their twenties. While I was studying the picture, a door opened. It was a girl. She was about twenty, small but tough−looking. Her golden hair was cut short, and she looked at me with cold grey eyes. When she smiled, I saw little sharp white teeth. Her face was white, too, and she didn't look healthy. `Tall, aren't you?' she said. `I apologize for growing.' She looked surprised. -
A Homage to Raymond Chandler Downloaded from by Guest on 30 September 2021
L INE BY LINE jonah raskin The Master of Nasty A homage to Raymond Chandler Downloaded from http://online.ucpress.edu/boom/article-pdf/2/4/87/381441/boom_2012_2_4_87.pdf by guest on 30 September 2021 Raymond Chandler relished finding names for his quirky characters, including Philip Marlowe, the pipe-smoking, chess-playing private eye—a literary kinsman to Sam Spade, Dashiell Hammett’s solitary sleuth—whom I first met in the pages of fiction as a teenager and whom I have known more than fifty years. Sometimes the names are dead giveaways about the morality or immorality of the character, sometimes they’re opaque, but I’ve always found them intriguing and an open invitation to try to solve the mystery myself. In his first novel, The Big Sleep (1939) Chandler calls the bellicose gangster Eddie Mars, the smut peddler Arthur Gwynn Geiger, and the top cop Captain Cronjager. In The High Window (1942), Lois Magic is the femme fatale, Linda Conquest is a torch singer, and Leslie Murdoch is the effete son of a nasty heiress who has murdered her own husband and brainwashed Merle Davis (a wholesome girl from the Midwest and a victim of sexual assault) into thinking she’s guilty of the crime. Nice people, Marlowe observes wryly. Born in Chicago in 1888, near the end of the Victorian era, raised in England among elite Edwardians, and transplanted to Los Angeles in 1913, Chandler saw California through the eyes of an English eccentric. A veteran of World War I who was wounded in action in France, and a child of Prohibition and Depression America, he recognized that crime was an industry in both boom and bust times, and a rich field for a writer. -
Raymond Chandler and His Ambiguous Relationships to Women: a Search for Hidden Meanings Within His Crime Novels
View metadata, citation and similar papers at core.ac.uk brought to you by CORE Lyuba Pervushina provided by Jagiellonian Univeristy Repository Minsk State Linguistics University Richard R. E. Kania Jacksonville State University of Alabama Raymond Chandler and His Ambiguous Relationships to Women: A Search for Hidden Meanings within His Crime Novels Raymond Chandler (1888-1959) is recognized today as one of the greats of American crime fiction. In the “hard-boiled” pattern of Dashiell Hammett, he is often described as a realistic writer of the American scene in the 1940s. And a dark vision it is, filled with betrayal and dishonesty, wherein even the protagonist is not a hero. A Chandler detective may have more integrity than the other characters in the story, but not that much more. His clients have hidden agendas and devious motives, especially the women. None are pure, some even are diabolical and evil. Chandler began writing crime fiction in his mid-forties, but had been writ ing poetry and essays since his college days in England (MacShane 1976: 23). He modeled his first crime stories on those of Dashiell Hammett, whose writing he admired, and sought to have them published in Black Mask, a very suc cessful “pulp” magazine where Hammett also published some of his fiction (MacShane 1976: 48-49). His first published short story was “Blackmailers Don’t Shoot,” which he later described as “pure pastiche” (MacShane 1976: 51). In 1939, after five years of writing short stories for various pulps, he produced his first novel, The Big Sleep (MacShane 1976: 61; Freeman 2007: 174-175,177).