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're imputing too much knowledge to her," I said.

Ohls broke a cigarette in half and started chewing on one half. The other half he stuck behind his ear.

"Another reason is she wanted a man, a big, strong guy that could crush her in his arms and make her dream again.

"She hated me," I said. "I don't buy that one."

"Of course," Hernandez put in dryly. "You turned her down. But she would have got over that. And then you blew the whole thing up in her face with Spencer listening in."

"You two characters been seeing any psychiatrists lately?"

"Jesus," Ohls said, "hadn't you heard? We got them in our hair all the time these days. We've got two of them on the staff. This ain't police business any more. It's getting to be a branch of the medical racket. They're in and out of jail, the courts, the interrogation rooms. They write reports fifteen pages long on why some punk of a juvenile held up a liquor store or raped a schoolgirl or peddled ter to the senior class. Ten years from now guys like Hernandez and me will be doing Rohrschach tests and word associations instead of chin-ups and target practice. When -we go out on a ease we'll carry little black bags with portable lie detectors and bottles of truth serum. Too bad we didn't grab the four hard monkeys that poured it on Big Willie Magoon. We might have been able to unmaladjust them and make them love their mothers."

"Okay for me to blow?"

"What are you not convinced about?" Hernandez asked, snapping a rubber band.

"I'm convinced. The case is dead. She's dead, they're all dead. A nice smooth routine all around. Nothing to do but go home -and forget it ever happened. So I'll do that."

Ohls reached the half cigarette from behind his ear, looked at it as if wondering, how it got there, and tossed it over his shoulder.

"What are you crying about?" Hernandez said. "If she hadn't been fresh out of guns she might have made it a perfect score."

"Also," Ohls said grimly, "the telephone was working yesterday."

"Oh sure," I said. "You'd have come running and what you would have found would have been a mixed up story that admitted nothing but a few silly lies.- This morning you have what I suppose is a full confession. You haven't let me read it, but you wouldn't have called in the D.A. if it was just a love note. If any real solid work had been done on the Lennox case at the time, somebody would have dug up his war record and where he got wounded and all the rest of it. Somewhere along the line a connection with the Wades would have turned up. Roger Wade knew who Paul Marston was. So did another P.I. I happened to get in touch with."

"It's possible," Hernandez admitted, "but, that isn't how police investigations work. You- -don't fool around with an open-shut case, even if there's no heat on to get it finalized and forgotten. I've investigated hundreds of homicides. Some are all of a piece, neat, tidy, and according to the book. Most of them make sense here, don't make sense there. But when you get motive, means, opportunity, flight, a written confession, and a suicide immediately afterwards, you leave it lay. No police department in the world has the men 'or the time to question the obvious. The only thing against Lennox being a killer was that somebody thought he was a nice guy who wouldn't have done it and that there were others who could equally well have done it. But the others didn't take it on the lam, didn't confess, didn't blow their brains out. He did. And as for being a nice guy I figure sixty to seventy percent of all the killers that end up in the gas chamber or the hot seat or on the end of a rope are people the neighbors thought were just as harmless as a Fuller Brush salesman. Just as harmless and quiet and well bred as Mrs. Roger Wade. You want to read what she wrote in that letter? Okay, read it. I've got to go down the hall."

He stood up and pulled a drawer open and put a folder on the top of the desk. "There are five photostats in here, Marlowe. Don't let me catch you looking at them."

He started for the door and then turned his head and said to Ohls: "You want to talk to Peshorek with me?"

Ohls nodded and followed him out. When I was alone in the office I lifted the cover of the file folder and looked at the white-on-black phótostats. Then touching only the edges I counted them. There were six, each of several pages clipped together. I took one and rolled it up and slipped it into my pocket. Then I read over the next one in the pile. When I had finished I sat down and waited. In about ten minutes Hernandez came back alone. He sat down behind his desk again, tallied the photostats in the file folder, and put the file back in his desk.

He raised his eyes and looked at me without any expression. "Satisfied?"

"Lawford know you have those?"

"Not from me. Not from Bernie. Bernie made them himself. Why?"

"What would happen if one got loose?"

He smiled unpleasantly. "It won't. But if it did, it wouldn't be anybody in the Sheriff's office. The D.A. has. photostat equipment too."

"You don't like District Attorney Springer too well, do you, Captain?"

He looked surprised. "Me? I like everybody, even you. Get the hell out of here. I've got work to do."

I stood up to go. He said suddenly: "You carry a gun these days?"

"Part of the time."

"Big Willie Magoon carried two. I wonder why he didn't use them."

"I guess he figured he had everybody scared."

"That could be it," Hernandez said casually. He picked up a rubber band and stretched it between his thumbs. He stretched it farther and farther. Finally with a snap it broke. He rubbed his thumb where the loose end had snapped back against it. "Anybody can be stretched too far," he said. "No matter how tough he looks. See you around."

I went out of the door and got out of the building fast.

Once a patsy, always a patsy.

45

Back in my own house on the sixth floor of the Cahuenga Building I went through my regular double play with the morning mail. Mail slot to desk to wastebasket, Tinker to Evers to Chance. I blew a dear space on the top of the desk and unrolled the photostat on it. I had rolled it so as not to make creases.

I read it over again. It was detailed enough and reasonable enough to satisfy any open mind. Eileen Wade had killed Terry's wife in a fit of jealous fury and later when the opportunity was set up she had killed Roger because she was sure he knew. The gun fired into the ceiling of his room that night had been part of the setup. The unanswered and forever unanswerable question was why Roger Wade had stood still and let her put it over. He must have known how it would end. So he had written himself off and didn't care. Words were his business, he had words for almost everything, but none for this.

"I have forty-six demerol tablets left from my last prescription," she wrote. "I now intend to take them all and lie down on the bed. The door is locked. In a very short time I shall be beyond saving. This, Howard, is to be understood. What I write is in the presence of death. Every word is true. I have no regrets-except possibly that I could not have found them together and killed them together. I have no regrets for Paul whom you have heard called Terry Lennox. He was the empty shell of the man I loved and married. He meant nothing to me. When I saw him that afternoon for the only time after he came back from the war-at first I didn't know him. Then I did and he knew -me at once. He should have died young in the snow of Norway, my lover that I gave to death. He came back a friend of gamblers, the husband of a rich whore, a spoiled and ruined man, and probably some kind of crook in his past life. Time makes everything mean and shabby and wrinkled. The tragedy of life, Howard, is not that the beautiful things die young, but that they grow old and mean. It will not happen to me. Goodbye, Howard."

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