Raymond Chandler and Ian Fleming

Writers Ian Fleming and Raymond Chandler oddly enough actually formed a friendship in the 1950s. After Chandler’s death in 1959, Fleming wrote a long piece about his friend in the December 1959 issue of the London Magazine, which they’ve thoughtfully reprinted.

I first met Raymond Chandler at a dinner party given by Stephen and Natasha Spender some time in May 1955. He was just coming out of the long spell of drinking which followed the death of his wife. She died after a three years’ illness in their house at La Jolla, in California. When the police arrived they found Raymond Chandler in the sitting room firing his revolver through the ceiling. Chandler never recovered from the tragedy and, whatever the reality of his married life, his wife became a myth which completely obsessed the following years.

He sold his house in California and every scrap of furniture that reminded him of her and came to England, perhaps in one of those flights back to one’s youth and childhood (he was educated at Dulwich and worked for some time in London) that badly hurt people sometimes resort to.

He was very nice to me and said that he had liked my first book, Casino Royale, but he really didn’t want me to talk about anything much except the loss of his wife, about which he expressed himself with a nakedness that embarrassed me while endearing him to me. He showed me a photograph of her – a good-looking woman sitting in the sun somewhere. The only other snapshot in his note case was of a cat which he had adored. The cat had died within weeks of his wife’s death and this had been a final blow.

He must have been a very good-looking man but the good, square face was puffy and unkempt with drink. In talking, he never ceased making ugly, Hapsburg lip grimaces while his head stretched away from you looking along his right or left shoulder as if you had bad breath. When he did look at you he saw everything and remembered days later to criticize the tie or the shirt you had been wearing. Everything he said had authority and a strongly individual slant based on what one might describe as a Socialistic humanitarian view of the world. We took to each other and I said that I would send him a copy of my latest book and that we must meet again.

RTWT

Literary Hub republishes the original New York Times reviews of three Ray Chandler mystery novels.

Isaac Anderson, The New York Times, February 12, 1939:

Most of the characters in this story are tough, many of them are nasty and some of them are both. Philip Marlowe, the private detective who is both the narrator and the chief character, is hard: he has to be hard to cope with the slimy racketeers who are preying on the Sternwood family. Nor do the Sternwoods themselves, particularly the two daughters, respond to gentle treatment. Spoiled is much too mild a term to describe these two young women. Marlowe is working for $25 a day and expenses and he earns every cent of it. Indeed, because of his loyalty to his employer, he passes up golden opportunities to make much more. Before the story is done Marlowe just misses being an eyewitness to two murders and by an even narrower margin misses being a victim. The language used in this book is often vile, at times so filthy that the publishers have been compelled to resort to the dash, a device seldom employed in these unsqueamish days. As a study in depravity, the story is excellent, with Marlowe standing out as almost the only fundamentally decent person in it.”

RTWT

I needed a drink, I needed a lot of life insurance, I needed a vacation, I needed a home in the country. What I had was a coat, a hat and a gun. I put them on and went out of the room.

— Raymond Chandler, Farewell, My Lovely

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.

I’m an occasional drinker, the kind of guy who goes out for a beer and wakes up in Singapore with a full beard.

Today in Literature:

On this day in 1939, Raymond Chandler’s The Big Sleep was published. Chandler was fifty-one, an ex-oil company executive who had taken up writing at the age of forty-five, after being fired for alcohol-inspired absenteeism. Over the previous five years he had published enough crime stories in the pulp magazines to survive, but this was his first novel, the first of seven featuring the ever-inimitable and much-copied Philip Marlowe. Marlowe’s first words, to the first of so many women — here Carmen Sternwood, with tawny hair, slate-gray eyes and “predatory teeth, as white as fresh orange pith” — give notice:

“Tall, aren’t you?” she said.

“I didn’t mean to be.”

Her eyes rounded. She was puzzled. She was thinking. I could see, even on that short acquaintance, that thinking was always going to be a bother to her.

Ray Chandler’s Philip Marlowe added wisecracking and ruefully reflective worldly wisdom to the hard-boiled school of detective fiction, establishing a new American type which has remained popular ever since, his model being successfully exploited by a host of deliberate imitators from Ross MacDonald to Robert Parker.

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Chandler left explicit instructions in his 1950 essay “The Simple Art of Murder.”

[D]own these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid. The detective in this kind of story must be such a man. He is the hero, he is everything. He must be a complete man and a common man and yet an unusual man. He must be, to use a rather weathered phrase, a man of honor, by instinct, by inevitability, without thought of it, and certainly without saying it. He must be the best man in his world and a good enough man for any world. I do not care much about his private life; he is neither a eunuch nor a satyr; I think he might seduce a duchess and I am quite sure he would not spoil a virgin; if he is a man of honor in one thing, he is that in all things. He is a relatively poor man, or he would not be a detective at all. He is a common man or he could not go among common people. He has a sense of character, or he would not know his job. He will take no man’s money dishonestly and no man’s insolence without a due and dispassionate revenge. He is a lonely man and his pride is that you will treat him as a proud man or be very sorry you ever saw him. He talks as the man of his age talks, that is, with rude wit, a lively sense of the grotesque, a disgust for sham, and a contempt for pettiness. The story is his adventure in search of a hidden truth, and it would be no adventure if it did not happen to a man fit for adventure. He has a range of awareness that startles you, but it belongs to him by right, because it belongs to the world he lives in.

If there were enough like him, I think the world would be a very safe place to live in, and yet not too dull to be worth living in.