What a Lovely Way To Burn

By Kevin Guilfoile

The first time I laid eyes on a Raymond Chandler novel it was late at night in an old country house after my sister tried to poison me.

I was twenty-five and the whole family was back home in Cooperstown for Thanksgiving. The cozy Cape Cod in which I had grown up was overrun with toddling nieces and nephews so I was sleeping around the corner at my friend Nort's house, a beautiful 150-year-old Victorian mansion that, after we graduated, Norton's parents had converted into a stunning bed and breakfast.

Saturday night my sister Ann made lasagna and it was delicious enough that I had seconds and thirds. But she must have picked up some bad garlic at the Great American and around midnight I was sending it all back in one of the Overlook's spacious second-floor bathrooms.

After an hour or more of retching I finally returned to my room but I had the sweaty shakes and my stomach was still spinning around the uneven bars and there was no way I was going back to sleep. There was a shelf with a generous selection of old books and, surely seduced by the title, I picked up a musty hardcover of Chandler's first and most famous novel. I spent the next five or six hours until sunup transfixed and confused and awed and bewildered.

Now as even the most fervent Chandler admirer knows, his plots are a mess. If I spent the next few paragraphs telling you as plainly as I could what The Big Sleep is about (or The Long Goodbye) you would probably reread it six or seven times and then surrender with a chuckle. In fact, there's a famous story about the making of the movie The Big Sleep that I shared at a workshop Marcus and I taught at the Chicago Public Library. (I've heard several versions of the tale and don't know which one is true, but I told the most entertaining one and trust that Chandler scholars will now correct me in the comments.)

The movie starred Humphrey Bogart and Lauren Bacall and was directed by the great (Goshen, Indiana native) Howard Hawks and the screenplay was co-written by William Faulkner. During filming, Hawks realized that the screenplay never revealed who murdered General Sternwood's chauffeur and he asked Faulkner to fix that in the script. Faulkner went back to the book and couldn't figure it out so he cabled Chandler. Chandler replied angrily that it's all in the novel and Faulkner should just look it up and see. When Faulkner persisted, Chandler went back to the book and realized, to his shock, that he had just forgotten to resolve the storyline. With the book having gone through several printings, Hawks's question--Who killed Owen Taylor?--was now an unknowable mystery. In six years, no other reader or editor or critic had even noticed.

After I told that story one of the directors of the One Book, One Chicago Program approached with a grin. She told me the library had ordered hundreds of copies of The Long Goodbye in advance of the event. It turns out that due to a binding error one of the several editions sent to the CPL was missing more than thirty pages. Dozens of these inelegantly abridged books had been in circulation for weeks before anyone even noticed.

But the marvelous sting of Chandler's voice, like good whiskey on the nose, is the real reason to read him. He didn't just invent the modern detective novel, he reinvented the first-person narrator. He has been imitated so often that many of the writers influenced by Chandler have never even read him. In fact one of the pleasures of reading Chandler for the first time is how much of it seems familiar. Some sour critics have claimed this has dated the writer, that his style has been so thoroughly appropriated it's rendered his novels irrelevant. Retroactively hack. But to suggest that is to ignore the rhythm and snap of Chandler's prose. There are many authors I admire who have written terrific novels that contain not a single individual sentence that would knock you on your ass. Chandler often has two or three of those a page.

It doesn't include any of Chandler's famous one liners ("She gave me a smile I could feel in my hip pocket.") but here's perhaps my favorite passage from The Long Goodbye:

I like bars just after they open for the evening. When the air inside is still cool and clean and everything is shiny and the barkeep is giving himself that last look in the mirror to see if his tie is straight and his hair is smooth. I like the neat bottles on the bar back and the lovely shining glasses and the anticipation. I like to watch the man mix the first one of the evening and put it down on a crisp mat and put the little folded napkin beside it. I like to taste it slowly. The first quiet drink of the evening in a quiet bar--that's wonderful.

I have opened a lot of taverns in the last twenty years and I promise you no writer--certainly no Chandler imitator--has ever described five o'clock better than that. And if you're up with a bad-garlic fever and you're looking for someone to help you through a long night in an old house full of its own unknowable mysteries, Phillip Marlowe is the guy you want between covers.

If there are a few pages missing, or thirty, it won't even matter.

Chandler, "One Book, One Chicago" and The Outfit

by Libby Hellmann



Last Friday Mayor Daley held a press conference to announce the Chicago Public Library’s spring selection for the One Book,One Chicago program. For the first time since the program’s inception the choice was a crime fiction novel: Raymond Chandler’s THE LONG GOODBYE. Combined with the National Endowment of the Arts selection of THE MALTESE FALCON as their "book to read", this is a very good year for crime fiction, no?


The Outfit will take part in the THE LONG GOODBYE program by blogging about the book and Chandler for two weeks starting Monday, April 14. In addition to the seven of us, some "friends of the Outfit" will be joining us. We’re pretty excited, and we hope you’ll want to be part of the discussion too.

For now – although we’re not officially starting yet – I wanted to share with you the eloquent comments Sean Chercover made at the press conference. BTw, Sean wanted me to make sure I mentioned that Marcus and Sara contributed to the speech as well.

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On behalf of my fellow members of the Outfit Collection: Libby Fischer Hellmann, Sara Paretsky, Barbara D’Amato, Michael Allen Dymmoch, Kevin Guilfoile, and Marcus Sakey, I’d like to thank Mayor Daley, Library Commissioner Mary Dempsey, the Chicago Public Library Foundation for their strong support of the One Book, One Chicago program. And to the dedicated librarians across Chicago who works so hard to make it a reality. We are truly in your debt.

We came together as The Outfit Collective, in part, to raise awareness about Chicago’s growing reputation as a hotbed for contemporary crime fiction. So we were thrilled to learn that, for the first time, a classic crime novel has been chosen as the featured book.

I think the entire city is in for a treat.

It is often said that crime fiction has taken up the mantle once held by the Victorian Social Novel, and later the American Industrial Novel. That crime fiction offers the best opportunity for writers and readers to examine the society in which we live… to address its ills and take note of its blessings.

Raymond Chandler’s THE LONG GOODBYE was one of the first detective novels to embrace that lofty goal. Here we find the place where genre fiction and literary fiction meet. The crossroads.

Chandler owned Los Angeles like Nelson Algren owned Chicago. Long-time readers of Algren will find much to love the THE LONG GOODBYE. It is Chandler’s most ambitious, most political novel, and it has inspired generations of crime writers to boldly take on the bigger issues.

Ross MacDonald said that Chandler “wrote like a slumming angel and invested the sun-blinded streets of Los Angeles with a romantic presence.” And it’s true. Chandler’s stories resonate with a gritty kind of romanticism. And he did write like an angel. He told stories that make you think, and used language that makes you feel.

What sets this book apart, what makes it important, are the difficult truths it tells us about the world. The world then and the world now.

Chandler is at his best when he’s talking about social issues, taking on politics, society, religion, commercialism. Hypocrisy and corruption were Chandler’s favorite targets and he went after them relentlessly, no matter where he found them.

Chandler was a firebrand and his words still burn.

On America’s increased commercialism, he writes, “We make the finest packages in the world… the stuff inside is mostly junk.” He calls a situation “as elaborate a waste of human intelligence as you could find anywhere outside an advertising agency.” He writes, “There ain’t no clean way to make a hundred million bucks.:

The issues he raises, and the anger behind them, are as relevant today as they were then. Maybe more so.

Chandler came from the hard-boiled school and wrote hard-boiled stories, but he never succumbed to nihilism. He believed in things like justice and honor and loyalty. Above all, loyalty. And although those vales did not always triumph in his stories, he believed they were values worth fighting for.

In private eye Philip Marlowe, Chandler gave us a modern and complex her. A man not always heroic by society’s standards, and who sometimes fails even by his own standards. Marlowe sees what’s wrong in our world, and he forces himself – and us – to look at it squarely, even when he can’t change it. Marlowe pays a high price for this knowledge, but Chandler insists that the cost of willful blindness would be ever higher still.

Putting all the highfallutin’ stuff aside, THE LONG GOODBYE is a hell of a great read. It’s an enormous amount of fun, filled with twists and tension and action that will keep you up way past bedtime.

Over the coming months, members of the Outfit Collective will be participating in the One Book One Chicago program. We’ll be blogging, conducting workshops, and appearing at libraries across the Chicago area. We hope to share some of our passion for the work of Raymond Chandler.

So dive in, Chicago, and enjoy the ride.

Stay tuned... we'll have more in a few weeks. And Happy St. Patrick's Day, everyone.