American Fiction Author,Novelist and Screenwriter
Raymond Chandler, fully Raymond Thornton Chandler
American Fiction Author,Novelist and Screenwriter
You were dead, you were sleeping the big sleep, you were not bothered by things like that, oil and water were the same as wind and air to you. You just slept the big sleep, not caring about the nastiness of how you died or where you fell. Me, I was part of the nastiness now.
Your rat tail is all the fashion now. I prefer a bushy plume, carried straight up. You are Siamese and your ancestors lived in trees. Mine lived in palaces. It has been suggested to me that I am a bit of a snob. How true! I prefer to be.
You can always tell a detective on TV. He never takes his hat off.
You talk too damn much and too damn much of it is about you.
Would you convey my compliments to the purist who reads your proofs and tell him or her that I write in a sort of broken-down patois which is something like the way a Swiss waiter talks, and that when I split an infinitive, God damn it, I split it so it will stay split, and when I interrupt the velvety smoothness of my more or less literate syntax with a few sudden words of bar-room vernacular, that is done with the eyes wide open and the mind relaxed but attentive.
You boys are as cute as a couple of lost golf balls ... how in the world do you do it?
Woe, woe, woe... in a little while we shall all be dead. Therefore let us behave as though we were dead already.
When in doubt, have two guys come through the door with guns.
Without magic, there is no art. Without art, there is no idealism. Without idealism, there is no integrity. Without integrity, there is nothing but production.
What did it matter where you lay once you were dead? In a dirty sump or in a marble tower on top of a high hill? You were dead, you were sleeping the big sleep, you were not bothered by things like that. Oil and water were the same as wind and air to you.
When a book, any sort of book, reaches a certain intensity of artistic performance it becomes literature. That intensity may be a matter of style, situation, character, emotional tone, or idea, or half a dozen other things. It may also be a perfection of control over the movement of a story similar to the control a great pitcher has over the ball.
We sneered at each other across the desk for a moment. He sneered better than I did.
Undoubtedly the stories about [hard-boiled detectives] had a fantastic element. Such things happened, but not so rapidly, nor to so close-knit a group of people, nor within so narrow a frame of logic. This was inevitable because the demand was for constant action; if you stopped to think you were lost. When in doubt, have a man come through a door with a gun in his hand.
To say goodbye is to die a little.
To say she had a face that would have stopped a clock would have been to insult her.It would have stopped a runaway horse.
Throughout the history of commercial life nobody has ever quite liked the commission man. His function is too vague, his presence always seems one too many, his profit looks too easy, and even when you admit that he has a necessary function, you feel that this function is, as it were, a personification of something that in an ethical society would not need to exist. If people could deal with one another honestly, they would not need agents.
Throw up into your typewriter every morning. Clean up every noon.
There is the soft and willing alcoholic blonde who doesn
There was a desert wind blowing that night. It was one of those hot dry Santa Anas that come down through the mountain passes and curl your hair and make your nerves jump and your skin itch. On nights like that every booze party ends in a fight. Meek little wives feel the edge of the carving knife and study their husbands' necks. Anything can happen. You can even get a full glass of beer at a cocktail lounge.
There is no trap so deadly as the trap you set for yourself.
There is something about the literary life that repels me, all this desperate building of castles on cobwebs, the long-drawn acrimonious struggle to make something important which we all know will be gone forever in a few years, the miasma of failure which is to me almost as offensive as the cheap gaudiness of popular success.
There are two kinds of truth: the truth that lights the way and the truth that warms the heart. The first of these is science, and the second is art. Neither is independent of the other or more important than the other. Without art science would be as useless as a pair of high forceps in the hands of a plumber. Without science art would become a crude mess of folklore and emotional quackery. The truth of art keeps science from becoming inhuman, and the truth of science keeps art from becoming ridiculous.
There is no bad whiskey, there are only some whiskies that aren't as good as others.
There are blonde and blondes and it is almost a joke word nowadays. All blondes have their points, except perhaps the metallic ones who are as blonde as a Zulu under the bleach and as to disposition as soft as a sidewalk. There is the small cute blonde who cheeps and twitters, and the big statuesque blonde who straight-arms you with an ice-blue glare. There is the blonde who gives you the up-from-under look and smells lovely and shimmers and hangs on your arm and is always very, very tired when you take her home. She makes that helpless gesture and has that goddamned headache and you would like to slug her except that you found about the headache before you invested too much time and money and hope in her. Because the headache will always be there, a weapon that never wears out and is as deadly as the bravo
There are no 'classics' of crime and detection. Not one. Within its frame of reference, which is the only way it should be judged, a classic is a piece of writing which exhausts the possibilities of its form and can never be surpassed. No story or novel of mystery has done that yet. Few have come close. Which is one of the principal reasons why otherwise reasonable people continue to assault the citadel.