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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"That is not amusing, Mr. Marlowe. Frankly I don't know why I sit here drinking with you."

"That's easily changed, Mrs. Loring." I reached for my glass and dropped the contents down the hatch. "I thought perhaps you could tell me something about Terry that I didn't know. I'm not interested in speculating why Terry Lennox beat his wife's face to a bloody sponge."

"That's a pretty brutal way to put it," she said angrily.

"You don't like the words? Neither do I. And I wouldn't be here drinking a gimlet if I believed he did anything of the sort."

She stared. After a moment she said slowly: "He killed himself and left a full confession. What more do you want?"

"He had a gun," I said. "In Mexico that might be enough excuse for some jittery cop to pour lead into him. Plenty of American police have done their killings the same way-some of them through doors that didn't open fast enough to suit them. As for the confession, I haven't seen it."

"No doubt the Mexican police faked it," she said tartly. "They wouldn't know how, not in a little place like Otatoclán. No, the confession is probably real enough, but it doesn't prove he killed his wife. Not to me anyway. All it proves to me is that he didn't see any way out. In a spot like that a certain sort of man-you can call him weak or soft or sentimental if it amuses you-might decide to save some other people from a lot of very painful publicity."

"That's fantastic," she said. "A man doesn't kill himself or deliberately get himself killed to save a little scandal. Sylvia was already dead. As for her sister and her father- they could take care of themselves very efficiently. People with enough money, Mr. Marlowe, can always protect themselves."

"Okay, I'm wrong about the motive. Maybe I'm wrong all down the line. A minute ago you were mad at me. You want me to leave now-so you can drink your gimlet?"

Suddenly she smiled. "I'm sorry. I'm beginning to think you are sincere. What I thought then was that you were trying to justify yourself, far more than Terry. I don't think you are, somehow."

"I'm not. I did something foolish and I got the works for it. Up to a point anyway. I don't deny that his confession saved me a lot worse. If they had brought him back and tried him, I guess they would have hung one on me too. The least it would have cost me would have been far more money than I could afford."

"Not to mention your license," she said dryly.

"Maybe. There was a time when any cop with a hangover could get me busted. It's a little different now. You get a hearing before a commission of the state licensing authority. Those people are not too crazy about the city police."

She tasted her drink and said slowly: "All things considered, don't you think it was best the way it was? No trial, no sensational headlines, no mud-slinging just to sell newspapers without the slightest regard for truth or fairplay or for the feelings of innocent people."

"Didn't I just say so? And you said it was fantastic."

She leaned back and put her head against the upper curve of the padding on the back of the booth. "Fantastic that Terry Lennox should have killed himself just to achieve that. Not fantastic that it was better for all parties that there should be no trial."

"I need another drink," I said, and waved at the waiter. "I feel an icy breath on the back of my neck. Could you by any chance be related to the Potter family, Mrs. Loring?"

"Sylvia Lennox was my sister," she said simply. "I thought you would know."

The waiter drifted over and I gave him an urgent message. Mrs. Loring shook her head and said she didn't want anything more, When the waiter took off I said:

"With the hush old man Potter-excuse me, Mr. Harlan Potter-put on this affair, I would be lucky to know for sure that Terry's wife even had a sister."

"Surely you exaggerate. My father is hardly that powerful, Mr. Marlowe-and certainly not that ruthless. I'll admit he does have very old-fashioned ideas about his personal privacy. He never gives interviews even to his own newspapers. He is never photographed, he never makes speeches, he travels mostly by car or in his own plane with his own crew. But he is quite human for all that. He liked Terry. He said Terry was a gentleman twenty-four hours a day instead of for the fifteen minutes between the time the guests arrive and the time they feel their first cocktail."

"He slipped a little at the end. Terry did."

The waiter trotted up with my third gimlet. I tried it for flavor and then sat there with a finger on the edge of the round base of the glass.

"Terry's death was quite a blow to him, Mr. Marlowe. And you're getting sarcastic again. Please don't. Father knew it would all look far too neat to some- people. He would much rather Terry had just disappeared. If Terry had asked him for help, I think he would have given it."

"Oh no, Mrs. Loring. His own datighter had been murdered."

She made an irritable motion and eyed me coldly.

"This is going to sound pretty blunt, I'm afraid. Father had written my sister off long ago. When they met he barely spoke to her. If he expressed himself, which he hasn't and won't, I feel sure he would be just as doubtful about Terry as you are. But once Terry was dead, what did it matter? They could have been killed in a plane crash or a fire or a highway accident. If she had to die, it was the best possible time for her to die. In another ten years she would have been a sex-ridden hag like some of these frightful women you see at Hollywood parties, or used to a few years back. The dregs of the international set."

All of a sudden I got mad, for no good reason. I stood up and looked over the booth. The next one was still empty. In the one beyond a guy was reading a paper all by himself, quietly. I sat down with a bump, pushed my glass out of the way, and leaned across the table. I had sense enough to keep my voice down.

"For hell's sake, Mrs. Loring, what are you trying to sell me? That Harlan Potter is such a sweet lovely character he wouldn't dream of using his influence on a political D.A. to drop the blanket on a murder investigation so that the murder was never really investigated at all? That he had doubts about Terry's guilt but didn't let anyone lift a finger to find out who was really the killer? That he didn't use the political power of his newspapers and his bank account and the nine hundred guys who would trip over their chins trying to guess what he wanted done before he knew himself? That he didn't arrange it so that a tame lawyer and nobody else, nobody from the D.A.'s office or the city cops, went down to Mexico to make sure Terry actually had put a slug in his head instead of being knocked off by some Indian with a hot gun just for kicks? Your old man is worth a hundred million bucks, Mrs. Loring. I wouldn't know just -how he got it, but I know damn well he didn't get it without building himself a pretty far-reaching organization. He's no softie. He's a bard tough man, You've got to be in these days to make that kind of money. And you do business with some funny people. You may not meet them or shake hands with them, but they are there on the fringe doing business with you."

"You're a fool," she said angrily. "I've had enough of you."

"Oh sure. I don't make the kind of music you like to hear. Let me tell you something. Terry talked to your old man the night Sylvia died. What about? What did your old man say to him? 'Just run on down to Mexico and shoot yourself, old boy. Let's keep this in the family. I know my daughter is a tramp and that any one of a dozen drunken bastards might have blown his top and pushed her pretty face down her throat for her, But that's incidental, old boy. The guy will be sorry when he sobers up. You've had it soft and now is the time you pay back. What we want is to keep the fair Potter name as sweet as mountain lilac. She married you because she needed a front, She needs it worse than ever now she's dead. And you're it. If you can get lost and stay lost, fine. But if you get found, you check out. See you in the morgue.'"

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