Raymond Chandler Retold by Rosalie Kerr
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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 Uncanny in Howard Hawks's the Big Sleep
The uncanny in Howard Hawks’s The Big Sleep Christophe Gelly To cite this version: Christophe Gelly. The uncanny in Howard Hawks’s The Big Sleep. 2006. halshs-00494257 HAL Id: halshs-00494257 https://halshs.archives-ouvertes.fr/halshs-00494257 Preprint submitted on 22 Jun 2010 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. The uncanny in Howard Hawks’s The Big Sleep Christophe GELLY Dealing with The Big Sleep as a work fraught with uncanny representations now seems self-evident, after so many critics—whether in the field of literary or film studies— unsuccessfully strove to recapture the true development of the criminal plot unravelled by Marlowe: one piece still insists on being missing and points to the unsatisfactory closure of the text as well as the movie. It may be the mystery around Owen Taylor’s death, a minor character (but are there really minor characters in the detective genre, before the final solution supposedly sets up the characters’ roles for good?), or the main criminal protagonist in the movie, Eddie Mars, whose guilt is problematic in the plot. In other words, the disturbing, uncanny quality in the novel and the movie stems from this problematic closure and from the mystery on who did what precisely in the story—hence this quality derives from a debunking of the genre as self-contained and purely self-explanatory, an “ideal” of the text by which the text fails to abide. -
General Vertical Files Anderson Reading Room Center for Southwest Research Zimmerman Library
“A” – biographical Abiquiu, NM GUIDE TO THE GENERAL VERTICAL FILES ANDERSON READING ROOM CENTER FOR SOUTHWEST RESEARCH ZIMMERMAN LIBRARY (See UNM Archives Vertical Files http://rmoa.unm.edu/docviewer.php?docId=nmuunmverticalfiles.xml) FOLDER HEADINGS “A” – biographical Alpha folders contain clippings about various misc. individuals, artists, writers, etc, whose names begin with “A.” Alpha folders exist for most letters of the alphabet. Abbey, Edward – author Abeita, Jim – artist – Navajo Abell, Bertha M. – first Anglo born near Albuquerque Abeyta / Abeita – biographical information of people with this surname Abeyta, Tony – painter - Navajo Abiquiu, NM – General – Catholic – Christ in the Desert Monastery – Dam and Reservoir Abo Pass - history. See also Salinas National Monument Abousleman – biographical information of people with this surname Afghanistan War – NM – See also Iraq War Abousleman – biographical information of people with this surname Abrams, Jonathan – art collector Abreu, Margaret Silva – author: Hispanic, folklore, foods Abruzzo, Ben – balloonist. See also Ballooning, Albuquerque Balloon Fiesta Acequias – ditches (canoas, ground wáter, surface wáter, puming, water rights (See also Land Grants; Rio Grande Valley; Water; and Santa Fe - Acequia Madre) Acequias – Albuquerque, map 2005-2006 – ditch system in city Acequias – Colorado (San Luis) Ackerman, Mae N. – Masonic leader Acoma Pueblo - Sky City. See also Indian gaming. See also Pueblos – General; and Onate, Juan de Acuff, Mark – newspaper editor – NM Independent and -
For Irn on Schooner
'• ■ i.C; i-k'Jr: ■•rtb ' ' '•■,'■ / o ) i > /jriUrt »• ‘ • yf< . r f 11r<‘» ‘if'i'ff'!• i « I'l < t ■> j 1 v i * ' ’ ■ > ■ • '•i ' A VA AC B DAILY OmODLAflOM •for Ihii MoBtk<«f iu u w y , IMS ' ■— .... ' « ^ .......... 5> of > tbo 2 7Andlt 0 o f CtaoalotioBO. (CtaMUtod Adforllilag oa flMra U .) VOL. U L , NO. 118 . SOUTH BIAN,CHESTER, CONN., FRH)AY, FEBRUARY 1 0 ,1 9 8 8 . (8i:m EN RAGES) PRICE THREE CENt^ PRESm ENT-ELECT ROOSETVSliT VISITS BAHAMAS 18 REBELS KILLED i — ON DUTCH CRUISER a - FOR IRN ON SCHOONER Twenty-ire hjiired When HHTAlirS ENVOY M rio e e n On Stolen SAIUIDESDAY Japanese to Refuse E j ^ Men and Two W o n n Crnisor Refnse To Obey Who b d Started Ont To Ordera— Later Snrrender. Sr RonaU Unkay Will Request of League Look For Misflig Yorth, Brins Rqnrt On War Tokyo, Feb. 10.— (A P )—^An offi-^ maintaining that Japaneie-spon- A re ThemadTes Losfa Not Batavia, Java, Peb. 10.— (A P ) — dal statement that Japan wlU rei sored government in Manchuria, a EIgbteen men were killed and 25 In- ply with an emphatic "no" to a government spokesman said today Heard From For Over 40 juxod aboard the rebeDioua Dutch Debts To hreadent-HecL and that Chinese -u)verelgnty to League of Nations’ request for a Manchuria is ended forever, not cruiser de Zeven Provinden when a statement of Japan’s attitude to withstanding reports that toe b iB R — Yonth Sonfdd Ro* naval fighting plane dropped a London, Feb. -
JREV3.6FULL.Pdf
KNO ED YOUNG FM98 MONDAY thru FRIDAY 11 am to 3 pm: CHARLES M. WEISENBERG SLEEPY I STEVENSON SUNDAY 8 to 9 pm: EVERYDAY 12 midnite to 2 am: STEIN MONDAY thru SATURDAY 7 to 11 pm: KNOBVT THE CENTER OF 'He THt fM DIAL FM 98 KNOB Los Angeles F as a composite contribution of Dom Cerulli, Jack Tynan and others. What LETTERS actually happened was that Jack Tracy, then editor of Down Beat, decided the magazine needed some humor and cre• ated Out of My Head by George Crater, which he wrote himself. After several issues, he welcomed contributions from the staff, and Don Gold and I began. to contribute regularly. After Jack left, I inherited Crater's column and wrote it, with occasional contributions from Don and Jack Tynan, until I found that the well was running dry. Don and I wrote it some more and then Crater sort of passed from the scene, much like last year's favorite soloist. One other thing: I think Bill Crow will be delighted to learn that the picture of Billie Holiday he so admired on the cover of the Decca Billie Holiday memo• rial album was taken by Tony Scott. Dom Cerulli New York City PRAISE FAMOUS MEN Orville K. "Bud" Jacobson died in West Palm Beach, Florida on April 12, 1960 of a heart attack. He had been there for his heart since 1956. It was Bud who gave Frank Teschemacher his first clarinet lessons, weaning him away from violin. He was directly responsible for the Okeh recording date of Louis' Hot 5. -
Appendix I Lunar and Martian Nomenclature
APPENDIX I LUNAR AND MARTIAN NOMENCLATURE LUNAR AND MARTIAN NOMENCLATURE A large number of names of craters and other features on the Moon and Mars, were accepted by the IAU General Assemblies X (Moscow, 1958), XI (Berkeley, 1961), XII (Hamburg, 1964), XIV (Brighton, 1970), and XV (Sydney, 1973). The names were suggested by the appropriate IAU Commissions (16 and 17). In particular the Lunar names accepted at the XIVth and XVth General Assemblies were recommended by the 'Working Group on Lunar Nomenclature' under the Chairmanship of Dr D. H. Menzel. The Martian names were suggested by the 'Working Group on Martian Nomenclature' under the Chairmanship of Dr G. de Vaucouleurs. At the XVth General Assembly a new 'Working Group on Planetary System Nomenclature' was formed (Chairman: Dr P. M. Millman) comprising various Task Groups, one for each particular subject. For further references see: [AU Trans. X, 259-263, 1960; XIB, 236-238, 1962; Xlffi, 203-204, 1966; xnffi, 99-105, 1968; XIVB, 63, 129, 139, 1971; Space Sci. Rev. 12, 136-186, 1971. Because at the recent General Assemblies some small changes, or corrections, were made, the complete list of Lunar and Martian Topographic Features is published here. Table 1 Lunar Craters Abbe 58S,174E Balboa 19N,83W Abbot 6N,55E Baldet 54S, 151W Abel 34S,85E Balmer 20S,70E Abul Wafa 2N,ll7E Banachiewicz 5N,80E Adams 32S,69E Banting 26N,16E Aitken 17S,173E Barbier 248, 158E AI-Biruni 18N,93E Barnard 30S,86E Alden 24S, lllE Barringer 29S,151W Aldrin I.4N,22.1E Bartels 24N,90W Alekhin 68S,131W Becquerei -
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. -
The Contemporary Irish Detective Novel
The Contemporary Irish Detective Novel Edited by Elizabeth Mannion General Editor: Clive Bloom Crime Files Series Editor Clive Bloom Emeritus Professor of English and American Studies Middlesex University London Since its invention in the nineteenth century, detective fi ction has never been more popular. In novels, short stories, fi lms, radio, television and now in computer games, private detectives and psychopaths, poisoners and overworked cops, tommy gun gangsters and cocaine criminals are the very stuff of modern imagination, and their creators one mainstay of popular consciousness. Crime Files is a ground-breaking series offering scholars, students and discerning readers a comprehensive set of guides to the world of crime and detective fi ction. Every aspect of crime writing, detective fi ction, gangster movie, true-crime exposé, police procedural and post-colonial investigation is explored through clear and informative texts offering comprehensive coverage and theoretical sophistication. More information about this series at http://www.springer.com/series/14927 Elizabeth Mannion Editor The Contemporary Irish Detective Novel Editor Elizabeth Mannion Philadelphia , Pennsylvania , USA Crime Files ISBN 978-1-137-53939-7 ISBN 978-1-137-53940-3 (eBook) DOI 10.1057/978-1-137-53940-3 Library of Congress Control Number: 2016933996 © The Editor(s) (if applicable) and The Author(s) 2016 The author(s) has/have asserted their right(s) to be identifi ed as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifi cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfi lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or here- after developed. -
Hardboiled Literary History Final Version for Deposit.Pdf
Kent Academic Repository Full text document (pdf) Citation for published version Norman, Will (2018) Hard-Boiled Literary History: Labor and Style in Fictions of the Culture Industry. American Literature, 90 (1). pp. 27-54. ISSN 0002-9831. DOI https://doi.org/10.1215/00029831-4326391 Link to record in KAR http://kar.kent.ac.uk/61704/ Document Version Author's Accepted Manuscript Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html Hardboiled Literary History: Labor and Style in Fictions of the Culture Industry Will Norman Author accepted manuscript. This article has been accepted for publication in the journal American Literature. 1. Something from Nothing A third of the way through Raymond Chandler’s 1949 novel, The Little Sister, Philip Marlowe takes some time out from the missing person case he is working on, and drives around Southern California at night. -
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.