Raymond Chandler - The Long Goodbye

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The Long Goodbye (1953) is a milestone in the genre. This novel demonstrated for the first time that hard-boiled fiction could serve as a vehicle for social comment and critique. While the apparent plot is slower paced and less metaphoric than Chandler's previous novels, the revealed plot shows him using his own life as a material, an autobiographical turn that prepared the way for Ross Macdonald.
Marlowe meets and befriends English expatriate Terry Lennox, a drunk who has been abandoned by his ex-wife Sylvia, at The Dancers Club. Months later he spots Lennox drunk again, runs him home, and sobers him up, giving him traveling money to Las Vegas. Lennox sends repayment and re-marries Sylvia, after which Marlowe shares an occasional drink with him: during one, Lennox accuses Sylvia of infidelity. He next appears at Marlowe's door in flight to Tijuana, apparently because he has killed her. Marlowe drives him there and stonewalls policemen Green and Dayton when he returns, spending time in jail. He refuses to cooperate with a lawyer sent by Sylvia's millionaire father, local magnate Harlan Potter.
Marlowe won't talk even after the D.A. says that Lennox wrote a full confession before shooting himself in Mexico. A reporter suggests to him that there is a cover-up, which is confirmed by calls from the lawyer and warnings from gangster Mendy Menendez, an old friend of Lennox, who explains that Lennox was captured by the Nazis during World War II. Marlowe gets a letter from Lennox, which waffles on his role in the murder and contains a $5,000 bill.
A second apparent plot begins when Howard Spencer, a publisher's representative, hires Marlowe to baby-sit hack novelist Roger Wade (Chandler's self-portrait). The alcoholic writer can't finish his novel and is missing, but his stunning blonde wife Eileen provides a note about "Dr. V" and details of Wade's stays at drunk farms. Marlowe gets information on these places from an old friend in a big agency and narrows his list to three suspects. None pan out except Dr. Verringer, who is about to sell out so that he can support a manic-depressive named Earl. Spying Wade through a window, Marlowe saves him from crazy Earl. For this he collects a kiss from Eileen, and he learns that she knew Sylvia Lennox, which links the two plots.
A lull follows, during which Marlowe meets Sylvia's sister Linda Loring and her insufferable doctor husband. They argue about Sylvia's murder and whether Harlan Potter wants the case closed, but a respectful friendship ensues. Marlowe sees the Lorings again at Roger Wade's cocktail party, where the doctor accuses the novelist of sleeping with his wife. A scene follows, but Wade handles the blow-up well. Marlowe, however, won't accept $1,000 to nanny the author through his novel. He doesn't like the writer's ego or his wife, who tells him her own story of true love lost.
A week later Wade calls for help, and Marlowe arrives to find him collapsed in front of his house, with Eileen sitting nearby smoking. He and the house-boy put Wade to bed, and Marlowe walks away from an opportunity with Eileen. Instead he collects Wade's drunken notes to gain insight into his problems. Then there's a shot. Marlowe finds husband and wife struggling over a gun, the novelist claiming he attempted suicide. Dosed with drugs, he finally sleeps. Eileen invites Marlowe into her bed, but he declines.
Linda Loring introduces Marlowe to Harlan Potter, who wants the Lennox murder closed. Marlowe demurs. Now information develops that Lennox used to call himself Paul Marston, and that Roger Wade had an affair with Sylvia. Marlowe, at the Wades with Eileen, finds the writer dead. His old friend Lt. Ohls treats the case as a suicide, but Eileen accuses Marlowe. More comes out about Lennox's former life: he was married to Eileen and presumed dead in World War I, so she married Wade. But then he reappeared and she panicked.
In the revealed plot, she killed both Sylvia and Roger. Lennox' name is cleared. Linda Loring divorces her obnoxious husband and asks Marlowe to marry her; he refuses to be a kept man, but does spend a night with her, the only woman Marlowe ever beds (aside from Helen Vermilyea in Chandler's better-off-forgotten swan song, Playback. There's a final detail to check and it's supplied by Senor Maioranos ("Mr. Better-years"), who is Terry Lennox in disguise. He and Marlowe talk, but the old affection is gone. As Marlowe said of Linda Loring's departure, "to say goodbye is to die a little."
As he had in the preceding The Little Sister (1949), Chandler engaged in pointed social criticism in The Long Goodbye, stretching the genre. The brunt of his attack is born by the rich: Marlowe sees their enterprises – business, the press, gambling interests, lawyers, and the courts – forming a monolith that disenfranchises the average citizen. "Money tends to have a life of its own, even a conscience of its own," says villain Harlan Potter, who is the ironic spokesman for many of Chandler's views (190-91). The roots of crime lie not with nymphomaniacs (as in The Big Sleep) or in economic climbing (Farewell's Velma Valento), but in big money's exploitation of the lowest-common-denominator effect of mass institutions and democracy. This, Chandler finally decided, rather than some inherently debilitating effect of the setting, robs immigrants to L.A. of the admirable independence that drew them there.
More interesting still is the way Chandler used the novel, which he wrote as his wife lay dying, to analyze and comment on his own life. Like Terry Lennox, Chandler was a soldier scarred by World War I, whose young days at Dabney Oil were full of big cars and illicit affairs. Like Roger Wade, he had become a middle-aged, childless, self-hating, alcoholic, celebrity writer. Like Philip Marlowe, Chandler clung in conscience to early ideals, belief in character, fidelity, and respect for creation. The novel detests the very self-pity that propels it. Can Chandler integrate the parts of his life? Marlowe's last words to Lennox are "So long, Senor Maioranos. Nice to have known you – however briefly" (311). The final answer is no. It is no accident that Terry Lennox and Roger Wade never appear together, but rather a psychological impossibility. That a woman undoes both is Chandler's old saw, but secondary here. "Your husband is a guy who can take a long hard look at himself and see what is there," says Marlowe to Eileen. "Most people go through life using up half their energy trying to protect a dignity they never had" (153). Not until Ross Macdonald would the hard-boiled novel again be exploited for autobiographical insight so sharply.

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"You have a nasty tongue, Wade. And a nasty mind."

"I have a nasty five thousand bucks too, Doc. Try and get it."

"You will write me a check," Dr. Verringer said firmly. "Now, at once. Then you will get dressed and Earl will take you home."

"A check?" Wade was almost laughing. "Sure I'll give you a check. Fine. How will you cash it?"

Dr. Vet-ringer smiled quietly. "You think you will stop payment, Mr. Wade. But you won't. I assure you that you won't."

"You fat crook!" Wade yelled at him.

Dr. Verringer shook his head. "In some things, yes. Not in all. I am a mixed character like most people. Earl will drive you home."

"Nix. That lad makes my skin crawl," Wade said.

Dr. Verringer stood up gently and reached over and patted the shoulder of the man on the bed. "To me Earl is quite harmless, Mr. Wade. I have ways of controlling him."

"Name one," a new voice said, and Earl came through the door in his Roy Rogers outfit. Dr. Vet-ringer turned smiling.

"Keep that psycho away from me," Wade yelled, showing fear for the first time.

Earl put his hands on his ornamented belt. His face was deadpan. A light whistling noise came from between his teeth. He moved slowly into the room.

"You shouldn't have said that," Dr. Verringer said quickly, and turned towards Earl. "All right, Earl. I'll handle Mr. Wade myself. I'll help him get dressed while you bring the car up here as close to the cabin as possible. Mr. Wade is quite weak."

"And he's going to be a lot weaker," Earl said in a whistling kind of voice. "Out of my way, fatso."

"Now, Earl-" he reached out and grabbed the handsome young man's arm-"you don't want to go back to Camarillo, do you? One word from me and-"

That was as far as he got. Earl jerked his arm loose and his right hand came up with a flash of metal. The armored fist crashed against Dr. Verringer's jaw. He went down as if shot through the heart. The fall shook the cabin. I stat-ted running.

I reached the door and yanked it open. Earl spun around, leaning forward a little, staring at me without recognition. There was a bubbling sound behind his lips. He started for me fast.

I jerked the gun out and showed it to him. It meant nothing. Either his own guns were not loaded or he had forgotten all about them. The brass knuckles were all he needed. He kept coming.

I fired through the open window across the bed. The crash of the gun in the small room seemed much louder than it should have been. Earl stopped dead. His head slewed around and he looked at the hole in the window screen. He looked back at me. Slowly his face came alive and he grinned.

"Wha' happen?" he asked brightly.

"Get rid of the knucks," I said, watching his eyes.

He looked surprisingly down at his hand. He slipped the mauler off and threw it casually in the corner.

"Now the gun belt," I said. "Don't touch the guns, just the buckle."

"They're not loaded," he said smiling. "Hell, they're not even guns, just stage money."

"The belt. Hurry it."

He looked at the short-barreled.32. "That a real orne? Oh sure it is. The screen. Yeah, the screen."

The man on the bed wasn't on the bed any more. He was behind Earl. He reached swiftly and pulled one of the bright guns loose. Earl didn't like this. His face showed it.

"Lay off him," I said angrily. "Put that back where you got it."

"He's right," Wade said. "They're cap guns." He backed away and put the shiny pistol on the table. "Christ, I'm as weak as a broken arm."

"Take the belt off," I said for'the third time. When you start something with a type like Earl you have to finish it. Keep it simple and don't change your mind.

He did it at last, quite amiably. Then, holding the belt, he walked over to the table and got his other gun and put it in the holster and put the belt right back on again. I let him do it. It wasn't until then that he saw Dr. Verringer crumpled on the floor against the wall. He made a sound of concern, went quickly across the room into the bathroom, and came back with a glass jug of water. He dumped the water on Dr. Verringer's head. Dr. Verringer sputtered and rolled over. Then he groaned. Then he clapped a hand.to his jaw. Then he started to get up. Earl helped him.

"Sorry, Doc. I must have just let fly without seeing who it was."

"It's all right, nothing broken," Verringer said, waving him away. "Get the car up here, Earl. And don't forget the key for the padlock down below."

"Car up here, sure. Right away. Key for the padlock. I got it. Right away, Doc."

He went out of the room whistling.

Wade was sitting on the side of the bed, looking shaky. "You the dick he was talking about?" he asked me. "How did you find me?"

"Just asking around from people who know about these things," I said. -"If you want to get home, you might get clothes on."

Dr. Vetringer was leaning against the wall, massaging his jaw. "I'll help him," he said thickly. "All I do is help people and all they do is kick me in the teeth."

"I know just how you feel," I said.

I went out and left them to work at it.

20

The car was close by when they came out, but Earl was gone. He had stopped the car, cut the lights, and walked back towards the big cabin without saying anything to me. He was still whistling, groping for some half-remembered tune.

Wade climbed carefully into the back seat and I got in beside him. Dr. Verringer drove. If his jaw hurt badly and his head ached, he didn't show it or mention it. We went over the ridge and sown to the end of the graveled drive. Earl had already been down and unlocked the gate and pulled it open. I told Verringer where my car was and he pulled up dose to it. Wade got into it and sat silent, staring at nothing. Verringer got out and went round beside him. He spoke to Wade gently.

"About my five thousand dollars, Mr. Wade. The check you promised me."

Wade slid down and rested his head on the back of the seat. "I'll think about it."

"You promised it. I need it."

"Duress, the word is, Verringer, a threat of harm. I have protection now."

"I fed and washed you," Verringer persisted. "I came in the night. I protected you, I cured you-for the time being, at least."

"Not five grand worth," Wade sneered. "You got plenty out of my pockets."

Verringer wouldn't let go. "I have a promise of a connection in Cuba, Mr. Wade. You are a rich man. You should help others in their need. I have Earl to look after. To avail myself of this opportunity I need the money. I will pay it back in full."

I began to squirm. I wanted to smoke, but I was afraid it would make Wade sick.

"Like hell you'd pay it back," Wade said wearily. "You won't live long enough. One of these nights Blue Boy will kill you in your sleep."

Verringer stepped back. I couldn't see his expression, but his voice hardened.- "There are more unpleasant ways to die," he said. "I think yours will be one of them."

He walked back to his car and got into it. He drove in through his gates and was gone. I backed and turned and headed towards the city. After a mile or two Wade muttered: "Why should I give that fat slob five thousand dollars?"

"No reason at all."

"Then why do I feel like a bastard for not giving it to him?"

"No reason at all."

He turned his head just enough to look at me. "He handled me like a baby," Wade said. "He hardly left me alone for fear Earl would come in and beat me up. He took every dime I had in my pockets."

"You probably told him to."

"You on his side?"

"Skip, it," I said. "This is just a job to me."

Silence for a couple of miles more. We went past the fringe of one of the outlying suburbs. Wade spoke again.

"Maybe I'll give it to him. He's broke. The property is foreclosed. He won't get a dime out of it. All on account of that psycho. Why does he do it?"

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