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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I got up and walked around my chair. He eyed me with cold attention. I sat down again. I needed a little luck. Hell, I needed it in carload lots. "Okay, Mr. Potter, what goes from here?"

He wasn't listening. He was frowning at his own thoughts. "There's a peculiar thing about money," he went on. "In large quantities it tends to have a life of its own, even a conscience of its own. The power of money becomes very difficult to control. Man has always been a venal animal. The growth of populations, the huge costs of wars, the incessant pressure of confiscatory taxation-all these things make him more and more venaL The average man is tired and scared, and a tired, scared man can't afford ideals. He has to buy food for his family. In our time we have seen a shocking decline in both public and private morals. You can't expect quality from people whose lives are a subjection to a lack of quality. You can't have quality with mass production. You don't want it because it lasts too long. So you substitute styling, which is a commercial swindle intended to produce artificial obsolescence. Mass production couldn't sell its goods next year unless it made what it sold this year look unfashionable a year from now. We have the whitest kitchens and the most shining bathrooms in the world. But in the lovely white kitchen the aveitage American housewife can't produce a meal fit to eat, and the lovely shining bathroom is mostly a receptacle for deodorants, laxatives, sleeping pills, and the products of that confidence racket called the cosmetic industry. We make the finest packages in the world, Mr. Marlowe. The stuff inside is mostly junk."

He took out a large white handkerchief and touched his temples with it. I was sitting there with my mouth open, wondering what made the guy tick. He hated everything.

"It's a little too warm for me in these parts," he said. "I'm used to a cooler climate. I'm beginning to sound like an editorial that has forgotten the point it wanted to make."

"I got your point all right, Mr. Potter. You don't like the way the world is going so you use what power you have to close off a private corner to live in- as near as possible to the way you remember people lived fifty years ago before the age of mass production. You've got a hundred million dollars and all it has bought you is a pain in the neck."

He pulled the handkerchief taut by two opposite corners, then crumpled it into a ball and stuffed it in a pocket.

"And then?" he asked shortly.

"That's all there is, there isn't any more. You don't care who murdered your daughter, Mr. Potter. You wrote her off as a bad job long ago. Even if Terry Lennox didn't kill her, and the real murderer is still walking around free, you don't care. You wouldn't want him caught, because that would revive the scandal and there would have to be a trial and his defense would blow your privacy as high as the Empire State Building. Unless, of course, he was obliging enough to commit suicide, before there was any trial. Preferably in Tahiti or Guatemala or the middle of the Sahara Desert. Anywhere where the County would hate the expense of sending a man to verify what had happened."

He smiled suddenly, a big rugged smile with a reasonable amount of friendliness in it.

"What do you want from me, Marlowe?"

"If you mean how much money, nothing. I didn't ask myself here. I was brought. I 'told the truth about how I met Roger Wade. But he did know your daughter and he does have a record of violence, although I haven't seen any of it. Last night the guy tried to shoot himself. He's a haunted man. He has a massive guilt complex. If I happened to be looking for a good suspect, he might do. I realize he's only one of many, but he happens to be the only one I've met."

He stood up and standing up he was really big. Tough too. He came over and stood in front of me.

"A telephone call, Mr. Marlowe, would deprive you of your license. Don't fence with me. I won't put up with it."

"Two telephone calls and I'd wake up kissing the gutter-with the back of my head missing."

He laughed harshly. "I don't operate that way. I suppose in your quaint line of business it is natural for you to think so. I've given you too much of my time. I'll ring for the butler to show you out."

"Not necessary," I said, and stood up myself. "I came here and got told. Thanks for the time."

He held his hand out. "Thank you for coming. I think you're a pretty honest sort of fellow. Don't be a hero, young man. There's no percentage in it."

I shook hands with him. He had a grip like a pipe wrench. He smiled at me benignantly now. He was Mr. Big, the winner, everything under control.

"One of these days I might be able to throw some business your way," he said. "And don't go away thinking that I buy politicians or law enforcement officers. I don't have to. Goodbye, Mr. Marlowe. And thank you again for coming."

He stood there and watched me out of the room. I had my hand on the front door when Linda Lori-ng popped out of a shadow somewhere.

"Well?" she asked me quietly. "How did you get on with Father?"

"Fine. He explained civilization to me. I mean how it looks to him. He's going to let it go on for a little while longer. But it better be careful and not interfere with his private life. If it does, he's apt to make a phone call to God and cancel the order."

"You're hopeless," she said.

"Me? I'm hopeless? Lady, take a look at your old man. Compared with him I'm a blue-eyed baby with a brand new rattle."

I went on out and Amos had the Caddy there waiting. He4drove me back to Hollywood. I offered him a buck but he wouldn't take it. I offered to buy him the poems of T. S. Eliot. He said he already had them.

33

A week went by and I heard nothing from the Wades. The weather was hot and sticky and the acid sting of the smog had crept as far west as Beverly Hills. From the top of Mulholland Drive you could see it leveled out all over the city like a ground mist. When you were in it you could taste it and smell it and it made your eyes smart. Everybody was griping about it. In Pasadena, where the stuffy millionaires holed up after Beverly Hills was spoiled for them by the movie crowd, the city fathers screamed with rage. Everything was the fault of the smog. If the canary wouldn't sing, if the milkman was late, if the Pekinese had fleas, if an old coot in a starched collar had a heart' attack on the way to church, that was the smog. Where I lived it was usually clear in the early morning and nearly always at night. Once in a while a whole day would be dear, nobody quite knew why.

It was on a day like that-it happened to be a Thursday- that Roger Wade called me up. "How are you? This is Wade." He sounded fine.

"Fine, and you?"

"Sober, I'm afraid. Scratching a hard buck. We ought to have a talk. And I think I owe you some dough."

"Nope."

"Well, how about lunch today? Could you make it here somewhere around one?"

"I guess so. How's Candy?"

"Candy?" He sounded puzzled. He must have blacked out plenty that night. "Oh, he helped you put me to bed that night."

"Yeah. He's a helpful little guy-in spots. And Mrs. Wade?"

"She's fine too. She's in town shopping today."

We hung up and I sat and rocked in my swivel chair. I ought to have asked him how the book was going. Maybe you always ought to ask a writer how the book is going. And then again maybe he gets damned tired of that question.

I had another call in a little while, a strange voice.

"This is Roy Ashterfelt. George Peters told me to call you up, Marlowe."

"Oh yes, thanks. You're the fellow that knew Terry Lennox in New York. Called himself- Marston then."

"That's right. He was sure on the sauce. But it's the same guy all right. You couldn't very well mistake him. Out here I saw him in Chasen's one night with his wife. I was with a client. The client knew them. Can't tell you the client's name, I'm afraid."

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