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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"There's a Dr. Losing outside, Lieutenant. Says he was called. He's the lady's doctor."

"Let him in."

The dick went back and Dr. Loring came in with his neat black bag. He was cool and elegant in a tropical worsted suit. He went past me without looking at me.

"Upstairs?" he asked Ohls.

"Yeah-in her room." Ohls stood up. "What you give her that demerol for, Doc?"

Dr. Loring frowned at him. "I prescribe for my patient as I think proper," he said coldly. "I am not required to explain why. Who says I gave Mrs. Wade demerol?"

"I do. The bottle's up there with your name on it. She's got a regular drugstore in herThathroom. Maybe you don't know it, Doc, but we have a pretty complete exhibit of the little pills downtown. Bluejays, redbirds, yellow jackets, goofballs, and all the rest of the list. Demerol's about the worst of the lot. That's the stuff Goering lived on, I heard somewhere. Took eighteen a day when they caught him. Took the army doctors three months to cut him down."

"I don't know what those words mean," Dr. Loring said frigidly.

"You don't? Pity. Bluejays are sodium amytal. Redbirds are seconal. Yellow jackets are nembutal. Goofballs are one of the barbiturates laced with benzedrine. Demerol is a synthetic narcotic that is very habit forming. You just hand 'em out, huh? Is the lady suffering from something serious?"

"A drunken husband can be a very serious complaint indeed for a sensitive woman," Dr. Losing said.

"You didn't get around to him, huh? Pity. Mrs. Wade's upstairs, Doc. Thanks for the time."

"You are impertinent, sir. I shall report you."

"Yeah, do that," Ohls said. "But before you report me, do something else. Keep the lady dear in her head. I've got çuestions to ask."

"I shall do exactly what I think best for her condition. Do you know who I am, by any chance? And just to make matters dear, Mr. Wade was not my patient. I don't treat alcoholics."

"Just their wives, huh?" Ohls snarled at him. "Yeah, I know who you are, Doc. I'm bleeding internally. My name is Ohls. Lieutenant Ohls."

Dr. Losing went on up the stairs. Obis sat down again and grinned at me.

"You got to be diplomatic with this kind of people," he said.

A man came out of the study and came up to Ohls. A thin serious-looking man with glasses and a brainy forehead.

"Lieutenant."

"Shoot."

"The wound is contact, typically, suicidal, with a good deal of distention from gas pressure. The eyes are exophthalmic from the same cause. I don't think there will be any' prints on the outside of the gun. It's been bled on too freely."

"Could it be homicide if the guy was asleep or passed out drunk?" Ohls asked him.

"Of course, but there's no indication of it. The gun's a Webley Hammerless. Typically, this gun takes a very stiff pull to cock it, but a very light pull to discharge it. The recoil explains the position of the gun. I see nothing against suicide so far. I expect a high figure on alcoholic concentration. If it's high enough-" the man stopped and shrugged meaningly- "I might be inclined to doubt suicide."

"Thanks. Somebody call the coroner?"

The man nodded and went away, Ohls yawned and looked at his watch. Then he looked at me.

"You want to blow?"

"Sure, if you'll let me. I thought I was a suspect."

"We might oblige you later on. Stick around where you can be found, that's all. You were a dick once, you know how they go. Some you got to work fast before the evidence gets away from you, This one is just the opposite. If it was a homicide, who wanted him dead? His wife? She wasn't here. You? Fine, you had the house to yourself and knew where the gun was. A perfect setup, Everything but a motive, and we might perhaps give some weight to your experience. I figure if you wanted to kill a guy, you could maybe do it a little less obviously."

"Thahks, Bernie. I could at that."

"The help wasn't here. They're out. So it must have been somebody that just happened to drop by. That somebody had to know where Wade's gun was, had to find him drunk enough to be asleep or passed out, and had to pull the trigger when that speedboat was making enough noise to drown the shot, and had to get away before you came back into the house. That I don't buy on any knowledge I have now. The only person who had the means and opportunity was the one guy who wouldn't have used them-for the simple reason he was the one guy who had them."

I stood up to go. "Okay, Bernie. I'll be home all evening."

"There's just one thing," Ohls said musingly. "This man Wade was a big time writer. Lots of dough, lots of reputation. I don't go for his sort of crap myself. You might find nicer people than his characters in a whorehouse. That's a matter of taste and none of my business as a cop. With all this money he had a beautiful home in one of the best places to live in in the county. He had a beautiful wife, lots of friends, and no troubles at all. What I want to know is what made all that so tough that he had to pull a trigger? Sure as hell something did. If you know, you better get ready to lay it on the line. See you."

I went to the door. The man on the door looked back at Ohls, got the sign, and let me out. I got into my car and had to edge over on the lawn to get around the various official cars that jammed the driveway. At the gate another deputy looked me over but didn't say anything. I slipped my dark glasses on and drove back towards the main highway. The road was empty and peacefuL The afternoon sun beat down on the manicured lawns and the large roomy expensive houses behind them.

A man not unknown to the world had died in a pool of blood in a house in Idle Valley, but the lazy quiet had not been disturbed. So far as the newspapers were concerned it might have happened in Tibet. At a turn of the road the walls of two estates came down to the shoulder and a dark green sheriff's car was parked there. A deputy got out and held up his hand. I stopped. He came to the window.

"May I see your driver's license, please?"

I took out my wallet and handed it to him open.

"Just the license, please, I'm not allowed to touch your wallet."

I took it out and gave it to him. "What's the trouble?"

He glanced into my car and handed me back my license.

"No trouble," he said. "Just a routine check. Sorry to have troubled you."

He waved me on and went back to the parked car. Just like a cop. They never tell you why they are doing anything. That way you don't find out they don't know themselves.

I drove home, bought myself a couple of cold drinks, went out to dinner, came back, opened the windows and my shirt and waited for something to happen. I waited a long time. It was nine o'dock when Bernie Ohls called up and told me to come in and not stop on the way to pick any flowers.

38

They Candy in a chair against the wall of the Sheriff's anteroom. He hated me with his eyes as I went by him into the big square room where Sheriff Petersen held court in the middle of a collection of testimonials from a grateful public to his twenty years of faithful public service. The walls were loaded with photographs of horses and Sheriff 'Petersen made a personal appearance in every photograph. The corners of his carved desk were horses' heads.- His inkwell was a mounted polished horse's hoof and his pens were planted in the mate to it filled with white sand. A gold plate on each of these said something or other about a date. In the middle of a spotless desk blotter lay a bag of Bull Durham and a pack of brown cigarette papers. Petersen rolled his own. He could roll one with one hand on horseback and often did, especially when leading a parade on a big white horse with a Mexican saddle loaded with beautiful Mexican silverwork. On horseback he wore a flat-crowned Mexican sombrero. He rode beautifully and his horse always knew exactly when to be quiet, when to act up so that the Sheriff with his calm inscrutable smile could bring the horse back under control with one hand. The Sheriff had a good act. He had a handsome hawklike profile, getting a little saggy under the chin by now, but he knew how to hold his head so it wouldn't show too much. He put a lot of hard work into having his picture taken. He was in his middle fifties and his father, a Dane, had left him a lot of money. The Sheriff didn't look like a Dane, because his hair was dark and his skin was brown and he had the impassive poise of a cigar store Indian and about the same kind of brains. But nobody had ever called him a crook. There had been crooks in his department and they had fooled him as well as they had fooled the public, but none of the crookedness rubbed off on Sheriff Petersen. He just went right on getting elected without even trying, riding white horses at the head of parades, and questioning suspects in front of cameras. That's what the captions said. As a matter of fact he never questioned anybody. He wouldn't have known how. He just sat at his desk looking sternly at the suspect, showing his profile to the camera. The flash bulbs would go off, the camera men woukl thank the Sheriff deferentially, and the suspect would be removed not having opened his mouth, and the Sheriff would go home to his ranch in the San Fernando Valley. There he could always be reached. If you couldn't reach him in person, you could talk to one of his horses.

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