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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Policemen don't drive Cadillacs. Cadillacs with red spotlights belong to the big boys, mayors and police commissioners, perhaps District Attorneys. Perhaps hoodlums. The spotlight traversed. I went down flat, but it found me just the same. It held on me. Nothing else. Still the car door didn't open, still the house was silent and without light.

Then a siren growled in low pitch just for a second or two and stopped. And then at last the house was full of lights and a man in a white dinner jacket came out to the head of the steps and looked sideways along the wall and the shrubbery.

"Come on in, cheapie," Menendez said with a chuckle, "You've got company."

I could have shot him with no trouble at all. Then he stepped back and it was too late-even if I could have done it. Then a window went down at the back of the car and I could hear the thud as it opened. Then a machine pistol went off and fired a short burst into the slope of the bank thirty feet away from me. • "Come on in, cheapie," Menendez said again from the doorway. "There just ain't anywhere else to go."

So I straightened up and went and the spotlight followed me accurately. I put the gun back in the hoslter on my belt. I stepped up onto the small redwood landing and went in through the door and stopped just inside. A man was sitting across the room with his legs crossed and a gun resting sideways on his thigh. He looked rangy and tough and his skin had that dried-out look of people who live in sun-bleached cilmates. He was wearing a dark brown gabardine-type windbreaker and the zipper was open almost to his waist. He was looking at me and neither his eyes nor the gun moved. He was as calm as an adobe wall in the moonlight.

48

I looked at him too long. There was a brief half-seen move at my side and a numbing pain in the point of my shoulder. My whole arm went dead to the fingertips. I turned and looked at a big mean-looking Mexican. He wasn't grinning, he was just watching me. The.45 in his brown hand dropped to his side. He had a mustache and his head bulged with oily black hair brushed up and back and over and down. There was a dirty sombrero on the back of his head and the leather chin strap hung loose in two strands down the front of a stitched shirt that smelled of sweat. There is nothing -tougher than a tough Mexican, just as there is nothing gentler than a gentle Mexican, nothing more honest than an honest Mexican, and above all nothing sadder than a sad Mexican. This guy was one of the hard boys. They don't come any harder anywhere.

I rubbed my arm. It tingled a little but the ache was still there and the numbness. If I had tried to pull a gun I should probably have dropped it.

Menendez held his hand out towards the slugger. Without seeming to look he tossed the gun and Menendez caught it. He stood in front of me now and his face glistened. "Where would you like it, cheapie?" His black eyes danced.

I just looked at him. There is no answer to a question like that.

"I asked you a question, cheapie."

I wet my lips and asked one back. "What happened to Agostino? I thought he was your gun handler."

"Chick went soft," he said gently.

"He was always soft-like his boss."

The man in the chair flicked his eyes. He almost but not quite smiled. The tough boy who had paralyzed my arm neither moved nor spoke. I knew he was breathing. I could smell that.

"Somebody bump into your arm, cheapie?"

"I tripped over an enchilada."

Negligently, not quite looking at me even, he slashed me across the face with the gun barrel.

"Don't get gay with me, cheapie. You're out of time for all that. You got told and you got told nice. When I take the trouble to call around personally and tell a character to lay off-he lays off, Or else he lays down and don't get up."

I could feel a trickle of blood down my cheek. I could feel the full numbing ache of the blow in my cheekbone. It spread until my whole head ached. It hadn't been a hard blow, but the thing he used was hard. I could still talk, and nobody tried to stop me.

"How come you do your own slugging, Mendy? I thought that was coolie labor for the sort of boys that beat up Big Willie Magoon."

"It's the personal touch," he said softly, "on account of I had personal reasons for telling you. The Magoon job was strictly business. He got to thinking he could push me around-me that bought his clothes and his cars and stocked his safe deposit box and paid off the trust deed on his house, These vice squad babies are all the same. I even paid school bills for his kid. You'd think the bastard would have some gratitude. So what does he do? He walks into my private office and slaps me around in front of the help."

"On account of why?" I asked him, in the vague hope of getting him mad at somebody else.

"On account of some lacquered chippie said we used loaded dice. Seems like the bim was one of his sleepy-time gals. I had her put out of the dub-with every dime she brought in with her."

"Seems understandable," I said. "Magoon ought to know no professional gambler plays crooked games. He doesn't have to. But what have I done to you?"

He hit me again, thoughtfully. "You made me look bad. In my racket you don't tell a guy twice. Not even a hard number. He goes out and does it, or you •ain't got controL You ain't got control, you ain't in business."

"I've got a hunch that there's a little more to it than that," I said. "Excuse me if I reach for a handkerchief."

The gun watched me while I got one out and touched the blood on my face.

"A two-bit peeper," Menendez said slowly, "figures he can make a monkey out of Mendy Menendez. He can get me laughed at. He can get me the big razzoo-me, Menendez. I ought to use a knife on you, cheapie. I ought to cut you into slices of raw meat."

"Lennox was your pal," I said, and watched his eyes, "He got dead. He got buried like a dog without even a name over the dirt where they put his body. And I had a little something to do with proving him innocent. So that makes you look bad, huh? He saved your life and he lost his, and that didn't mean a thing to you. All that means anything to you is playing the big shot. You didn't give a hoot in hell for anybody but yourself. You're not big, you're just loud."

His face froze and he swung his arm back to slug me a third time and this time with the power behind it. His arm was still going back when I took a half step forward and kicked him in the pit of the stomach.

I didn't think, I didn't plan, I didn't figure my chances or whether I had any. I just got enough of his yap and I ached and bled and maybe I was just a little punch drunk by this time.

He jackknifed, gasping, and the gun fell out of his hand. He groped for it wildly making strained sounds deep in his throat. I put a knee into his face. He screeched.

The man in the chair laughed. That staggered me. Then he stood up and the gun in his hand came up with him.

"Don't kill him," he said mildly. "We want to use him for live bait."

Then there was movement in the shadows of the hall and Ohls came through the door, blank-eyed, expressionless and utterly calm. He looked down at Menendez. Menendez was kneeling with his head on the floor.

"Soft," Ohls said. "Soft as mush."

"He's not soft," I said. "He's hurt. Any man can be hurt. Was Big Willie Magoon soft?"

Ohls looked at me. The other man looked at me. The tough Mex at the door hadn't made a sound.

"Take that goddam cigarette out of your fate," I snarled at Ohls. "Either smoke it or leave it alone. I'm sick of watching you. I'm sick of you, period. I'm sick of cops."

He looked surprised. Then he grinned.

"That was a plant, kiddo," he said cheerfully. "You hurt bad? Did the nasty mans hit your facey-wacey? Well for my money you had it coming and it was damn useful that you had." He looked down at Mendy. Mendy had his knees under him. He was climbing out of a well, a few inches at a time. He breathed gaspingly.

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