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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47

For a short time the next day things looked like getting lively. District Attorney Springer called an early press conference and delivered a statement. He was the big florid black-browed prematurely gray-haired type that always does so well in politics.

"I have read the document which purports to be a confession by the unfortunate and unhappy woman who recently took her life, a document which may or may not be genuine, but which, if genuine, is obviously the product of a disordered mind. I am willing to assume that the journal published this document in good faith, in spite of its many absurdities and inconsistencies, and these I shall not bore you with enumerating. If Eileen Wade wrote these words, and my office in conjunction with the staff of my respected coadjutor, Sheriff Petersen, will soon determine whether or no she did, then I say to you that she did not write them with a clear head, nor with a steady hand. It is only a matter of weeks since the unfortunate lady found her husband wallowing in his own blood, spilled by his own hand. Imagine the shock, the despair, the utter loneliness which must have followed so sharp a disaster! And now she has joined him in the bitterness of death. Is anything to be gained by disturbing the ashes of the dead? Anything, my friends, beyond the sale of a few copies of a newspaper which is badly in need of circulation? Nothing, my friends, nothing. Let us leave it at that. Like Ophelia in that great dramatic masterpiece called Hamlet, by the immortal William Shakespeare, Eileen Wade wore her rue with a difference. My political enemies would like to make much of that difference, but my friends and- fellow voters will not be deceived. They know that this office has long stood for wise and mature law enforcement, for justice tempered with mercy, for solid, stable, and conservative government. The Journal stands for I know not what, and for what it stands I do not much or greatly care. Let the enlightened public judge for itself."

The Journal printed this guff in its early edition (it was a round-the-clock newspaper) and Henry Sherman, the Managing Editor, came right back at Springer with a signed comment.

Mr. District-Attorney Springer was in good form this morning. He is a fine figure of a man and he speaks with a rich baritone voice that is a pleasure to listen to. Be did not bore us with any facts. Any time Mr. Springer cares to have the authenticity of the document in question proved to him, the Journal will be most happy to oblige. We do not expect Mr. Springer to take any action to reopen cases which had been officially dosed with his sanction or under his direction, just as we do not expect Mr. Springer to stand on his head on the tower of the City Hall. As Mr. Springer so aptly phrases it, is anything to be gained by disturbing the ashes of the dead? Or, as the Journal would prefer to phrase it less elegantly, is anything to be gained by finding out who committed a murder when the murderee is already dead? Nothing, of course, but justice and truth.

On behalf of the late William Shakespeare, the Journal wishes to thank Mr. Springer for his favorable mention of Hamlet, and for his substantially, although not exactly, correct allusion to Ophelia. 'You must wear your rue with a difference' was not said of Ophelia but by her, and just what she meant has never been very dear to our less erudite minds. But let that pass. It sounds well and helps to confuse the issue. Perhaps we may be permitted to quote, also from that officially approved dramatic production known as Hamlet, a good thing that happened to be said by a bad man: "And where the offence is let the great axe fall."

Lonnie Morgan called me up about noon and asked me how I liked it. I told him I didn't think it would do Springer any harm.

"Only with the eggheads," Lonnie Morgan said, "and they already had his number. I meant what about you?"

"Nothing about me. I'm just sitting here waiting for a soft buck to rub itself against my cheek."

"That wasn't exactly what I meant."

"I'm still healthy. Quit trying to scare me. I got what I wanted. If Lennox was still alive he could walk right up to Springer and spit in his eye."

"You did it for him. And by this time Springer knows that. They got a hundred ways to frame a guy they don't like. I don't figure what made it worth your time. Lennox wasn't that much man."

"What's that got to do with it?"

He was silent for a moment. Then he said: "Sorry, Marlowe. Shut my big mouth. Good lucL"

We hung up after the usual goodbyes.

About two in the afternoon Linda Loring called me. "No names, please," she said. "I've just flown in from that big lake up north. Somebody up there is boiling over something that was in the Journal last night. My almost ex-husband got it right between the eyes. The poor man was weeping when I left. He flew up to report."

"What do you mean, almost ex-husband?"

"Don't be stupid. For once Father approves. Paris is an excellent place to -get a quiet divorce. So I shall soon be leaving to go there. And if you have any sense left you could do worse than spend a little of that fancy engraving you showed me going a long way off yourself."

"What's it got to do with me?"

"That's the second stupid question you've asked. You're not fooling anyone but yourself, Marlowe. Do you know how they shoot tigers?"

"How would I?"

"They tie a goat to a stake and then hide out in a blind. It's apt to be rough on the goat. I like you. I'm sure I don't know why, but I do. I hate the idea of your being the goat. You tried so hard to do the right thing-as you saw it."

"Nice of you," I said. "If I stick my neck out and it gets chopped, it's still my neck."

"Don't be a hero, you fool," she said sharply. "Just because someone we knew chose to be a fall guy, you don't have to imitate him."

"I'll buy you a drink if you're ging to be around long enough."

"Buy me one in Paris. Paris is lovely in the fall."

"I'd like to do that too. I hear it was even better in the spring. Never having been there I wouldn't know."

"The way you're going you never will."

"Goodbye, Linda. I hope you find what you want."

"Goodbye," she said coldly. "I always find what I want. But when I find it, I don't want it any more."

She hung up. The rest of the day was a blank. I ate dinner and left the Olds at an all night garage to have the brake linings checked. I took a cab home. The street was as empty as usual. In the wooden mailbox was a free soap coupon. I went up the steps slowly. It was a soft night with a little haze- in the air. The trees on the hill hardly moved. No breeze. I unlocked the door and pushed it part way open and then stopped. The door was about ten inches open from the frame. It was dark inside, there was no sound. But I had the feeling that the room beyond was not empty. Perhaps a spring squeaked faintly or I caught the gleam of a white jacket across the room. Perhaps on a warm still night like this one the room beyond the door was not warm enough, not still enough. Perhaps there was a drifting smell of man on the air. And perhaps I was just on edge.

I stepped sideways off the porch on to the ground and leaned down against the shrubbery. Nothing happened. No light went on inside, there was no movement anywhere that I heard, I had a gun in a belt holster on the left side, butt forward, a short-barreled Police 38. I jerked it out and it got me nowhere. The silence continued. I decided I was a damn fool. I straightened up and lifted a foot to go back to the front door, and then a car turned the corner and came fast up the -hill and stopped almost without sound at the foot of my steps. It was a big-black sedan with the lines of a Cadillac, It could have been Linda Loring's car, except for two things. Nobody opened a door and the windows on my side were all shut tight. I waited and listened, crouched against the bush, and there was nothing to listen to and nothing to wait for. Just a dark car motionless at the foot of my redwood steps, with the windows closed. If its motor -was still running I couldn't hear it. Then a big red spotlight clicked on and the beam struck twenty feet beyond the corner of the house. And then very slowly the big car backed until the spotlight could swing across the front of the house, across the hood and up.

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